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THE GRAND ORGAN Olivier Latry in Recital
TEA & SYMPHONY
Friday 27 November 2015
FIND YOUR ARTThe best in fine music performance every weeknight at 8.30PM AEDT
Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1
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Thus Spake Zarathustra Edo de Waart Returns WAGNER Lohengrin: Prelude to Act I JONGEN Symphonie concertante for organ & orchestra R STRAUSS Thus Spake Zarathustra WAGNER Lohengrin: Prelude to Act III
Edo de Waart conductor • Olivier Latry organ
APT Master Series
Wed 25 Nov 8pm Fri 27 Nov 8pm Sat 28 Nov 8pm Pre-concert talk by David Larkin 45 minutes before each performance
The Grand Organ Olivier Latry in Recital COUPERIN Offertory from the Mass for Parishes RAISON Christe – Passacaglia from the Mass on the Second Tone JS BACH Passacaglia and Fugue in C minor, BWV 582 MOBBERLEY Critical Mass DURUFLÉ Suite for organ, Op.5 with improvisations by Olivier Latry
Olivier Latry organ
Tea & Symphony Fri 27 Nov 11am complimentary morning tea from 10am
Edo de Waart conducts Mozart & ElgarEDWARDS White Ghost Dancing MOZART Piano Concerto No.24 in C minor, K491 ELGAR Symphony No.1
Edo de Waart conductor Ronald Brautigam piano (PICTURED)
Thursday Afternoon Symphony Thu 3 Dec 1.30pmEmirates Metro Series Fri 4 Dec 8pmGreat Classics Sat 5 Dec 2pmPre-concert talk by David Garrett 45 minutes before each performance
Toy Stories SSO Fellows Chamber Concert STRAVINSKY Concerto in E flat (Dumbarton Oaks) ADÈS Living Toys HARRISON Jabberwock HK GRUBER Frankenstein!!
Roger Benedict conductor • Tom Heath chansonnier 2015 SSO Fellowship
Sun 29 Nov 3pm Verbrugghen Hall, Sydney Conservatorium of Music
Pokémon: Symphonic Evolutions Experience Pokémon brought to life by the Sydney Symphony Orchestra with exciting visuals from recent and classic Pokémon video games and all new arrangements!
Fri 20 Nov 8pm Sat 21 Nov 2pm Sat 21 Nov 8pm
©2015 Pokémon. ©1995 - 2015 Nintendo/Creatures Inc./GAME FREAK inc. TM, ®, and character names are trademarks of Nintendo.
Peter Cetera Live with your SSO Successful solo artist and former lead of Chicago, hear all your favourite hits Glory of Love, Hard to Say I’m Sorry, If You Leave Me Now at the State Theatre.
Fri 11 Dec 8pm Sat 12 Dec 2pm Sat 12 Dec 8pm State Theatre, Sydney
concert diary
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PRESENTED BY
This recital will be recorded by ABC Classic FM for broadcast across Australia on Tuesday 1 December at 9.30pm.
Estimated durations: 8 minutes, 2 minutes, 13 minutes, 5 minutes, 26 minutes, 10 minutes The concert will conclude at approximately 12.15pm.
COVER IMAGE: Pipes of the Sydney Opera House Grand Organ (photo by Christie Brewster)
THE GRAND ORGAN Olivier Latry organ
FRANÇOIS COUPERIN (1668 –1733) Offertoire sur les grands jeux from the Messe à l’usage de Paroisses (Mass for Parishes)
ANDRÉ RAISON (c.1640–1719) Christe – Trio en Passacaille from the Messe du Deuxième Ton (Mass on the Second Tone)
JOHANN SEBASTIAN BACH (1685–1750) Passacaglia and Fugue in C minor, BWV 582
The Raison and Bach will be played without pause
JAMES MOBBERLEY (born 1954) Critical Mass for organ and fixed media
MAURICE DURUFLÉ (1902–1986) Suite pour orgue, Op.5
Prélude (Lento) Sicilienne (Allegretto moderato) Toccata (Allegro, ma non troppo)
IMPROVISATION BY OLIVIER LATRY
TEA & SYMPHONY
FRIDAY 27 NOVEMBER, 11AM
SYDNEY OPERA HOUSE CONCERT HALL
2015 concert season
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The Grand Organ: Olivier Latry in RecitalWhen you attend an SSO Tea & Symphony concert here in the Sydney Opera House Concert Hall, the pipes of the grand organ always form an impressive backdrop. But it’s only on special occasions that this great instrument contributes to the music-making itself, and it’s even more of a special occasion when it can be heard in its full splendour as a solo instrument.
This morning we are privileged to hear one of the world’s finest organists, Olivier Latry, in recital. He is a titular organist at the Cathedral of Notre-Dame in Paris and a professor at the Paris Conservatoire, responsibilities that he combines with a busy career as a concert organist, performing around the world.
Olivier Latry’s program for this recital highlights the French organ tradition from the 17th century (with music by Couperin and Raison) to the 20th (Duruflé’s Suite from 1933). In particular – hardly surprising for a musician whose ‘day job’ immerses him in the musical workings of a cathedral – it’s a program that brings the organ’s function as a liturgical instrument into the concert hall.
Both Couperin and Raison are represented by selections from their organ masses: an Offertoire and a tiny Trio en Passacaille. The raison d’être for the latter in the program becomes obvious with the opening pedal notes of the Bach, which develops the French piece’s simple bass line into a splendid passacaglia and fugue.
Duruflé’s Suite is secular music, composed for concert performance, but even here there is a nod to the organ-in-church: it concludes with a brilliant toccata – exactly the kind of music that Couperin or Raison (or Duruflé himself!) might have performed at the conclusion of mass.
With Mobberley’s Critical Mass a ‘guest organ’ enters the mix: this is music for a solo organist, performing on the instrument you see before you, accompanied by pre-recorded sounds that come to us from the organ in the Cleveland Museum of Art. And to conclude, Olivier Latry will demonstrate the art of improvisation, basing his inventions on a theme that will be given to him just before the recital begins!
INTRODUCTION
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His many recordings include the music of JS Bach, Widor and Vierne, and the complete works of Duruflé. He has recorded a transcription disc, Midnight at Notre-Dame, featuring music by César Franck and the complete organ works of Messiaen. He has also recorded the Poulenc Concerto and the Barber Toccata Festiva with the Philadelphia Orchestra, and the Jongen Symphonie concertante with the Liège Orchestra. His most recent recording, Trois Siècles d’Orgue Notre-Dame de Paris, features music composed by past and current organists of Notre-Dame Cathedral.
Olivier Latry has previously appeared with the SSO in 2002, when he performed the Poulenc Concerto on the recently refurbished organ of the Sydney Opera House. He has given recitals in Sydney on several occasions, performing on the Hill organ in the Sydney Town Hall and the Beckerath organ in the Great Hall of Sydney University.
Olivier Latry will perform Jongen’s Symphonie concertante with the SSO and Edo de Waart here in the Sydney Opera House Concert Hall on Friday 27 and Saturday 28 November at 8pm. See www.sydneysymphony.com for details.
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Olivier Latryorgan
Olivier Latry is one of the most distinguished concert organists in the world today. A titular organist at the Cathedral of Notre-Dame in Paris, he is also Professor of Organ at the Paris Conservatory and Organist Emeritus with the Montreal Symphony Orchestra, and he appears regularly as a soloist at prestigious venues and festivals, and with leading orchestras around the world.
He was born in 1962 in Boulogne-sur-Mer, France, where he began his musical studies. From 1981 to 1985 he was titular organist of Meaux Cathedral, and at 23 won the competition to become one of the three titular organists of Notre-Dame Cathedral. In 1990 he succeeded his teacher Gaston Litaize as organ professor at the Academy of Music at St Maur-des-Fossés, and in 1995 was appointed Professor of Organ at the Paris Conservatory. In 2009 he was presented the International Performer of the Year award by the New York City chapter of the American Guild of Organists, and in 2010 received an honorary doctorate from McGill University in Montreal.
As a concert organist, he does not specialise in a specific repertoire but explores all styles of organ music, as well as the art of improvisation. In 2000 he performed three complete cycles (six recitals each) of Olivier Messiaen’s organ music, at the Cathedral of Notre-Dame in Paris, the Church of St Ignatius Loyola in New York City and St Paul’s Cathedral in London.
ABOUT THE ARTIST
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Music for a Secular Cathedral: Couperin, Raison and JS Bach
The people enter a large and impressive space; they sit talking
quietly until a hush falls. The principal actor in the scene arrives
on the platform (or perhaps, as today, emerges in a loft on high).
Music plays. A community of souls turns eyes and ears to
a common object in rapt, almost worshipful attention.
The description is of a classical concert, but it could easily
be high mass. In both there are elements of ritual and of
performance; the distinctions between sacred and secular are
easily blurred. This morning the Sydney Opera House Concert
Hall is our ‘cathedral’, and the program begins in the sacred
realm with selections from organ masses by François Couperin
le Grand and André Raison.
These are presented as concert pieces, but they come to us
via the drama of the liturgy and for French Catholic organists
such as Couperin and Raison the ‘script’ was the Paris Ceremonial
of 1662. This set out the role of the organ in the liturgy – the exact
placement and character of its contributions – and the result
was the organ mass, a functional genre shaped by rules, tradition
and taste. Unlike the choral mass (a more familiar genre for most
ABOUT THE MUSIC
François Couperin
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The beginning of Couperin’s Offertoire as it appears in the first edition (Versailles. André Danican Philidor, 1689–90).
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concert audiences today), the organ mass would comprise short
interludes alternating with plainchant at specific points (a very
old practice known as alternatim), with the organist playing
when texts would otherwise have been sung. The Credo (or
Creed) was always reserved for the chorus from a papal edict
of 1600.
The 1662 Paris Ceremonial proved to be a turning point in
French organ music, leading to the publication of many books of
liturgical music, among them Raison’s Premier Livre (a
collection including five organ masses to suit the church
modes or ‘tones’) and Couperin’s pair of masses: the Mass for
Parishes and a more modest mass for use in monasteries and
convents. Each of Couperin’s masses contains 21 pieces, most
of them very short and intended to alternate with versets of
plainchant in the ordinary of the mass.
The Offertoire was one of the principal opportunities in an
organ mass for extended musical display because the activity
it accompanies (the preparation of bread and wine for
communion) can take some time. This recital begins with the
PARTS OF THE MASS
Organ prelude before the MassProcessional
KyrieLord, have mercy – the first sung prayerOrgan versets may alternate with sung chantGloriaGlory to God – a celebratory hymn
Readings from scripture and prayersCredoWe believe – a communal profession of faithOffertory
The elements of bread and wine are presented (sometimes in procession), prepared and formally offered by a priest. Since this can take a while, this is a major opportunity for music.
Sanctus – BenedictusHoly, holy, holy…
The Sanctus is a general acclamation, beginning the Eucharistic Prayer, leading to…The Lord’s Prayer
Begins the Communion RiteAgnus DeiLamb of God
Follows the breaking of the bread and leads to CommunionConcluding rite is followed by the dismissal ‘Go, the Mass is ended’
Deo GratiasAs the people disperse, there may be organ music. The French call this a ‘sortie’ (going out), and it often takes the form of a brilliant toccata.
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Offertoire from Couperin’s Mass for Parishes. This mass, scored
for a large organ, has a grand, public air and, at nearly nine
minutes, the Offertoire is its most substantial section. It’s clear
that the young Couperin was already an organist of considerable
ability and imagination.
The ‘grands jeux’ of the title refers to the intended colour or
registration: a loud and impressive effect achieved through reed
stops. Within the Offertoire itself, Couperin also indicates the
use of the bright and flute-like cornet stop (for example, in the
second phrase) and alternations between manuals: the ‘grand
Clavier’ and the more chamber-like effect of the ‘positif’.
The Offertoire is organised in three contrasting parts. The
first is an example of the classic French overture style with long,
held notes interspersed by short notes or quicker flourishes for
a majestic effect. About three minutes in there is a sudden
move from C major to C minor and a new theme is introduced
in delicate and subdued tones. Here, in a shift of geography,
Couperin writes an Italian ricercar, with each of the three
weaving voices in the texture entering in turn with the same
melody. The final section returns to the major key and adopts
the sprightly skipping rhythms of a gigue.
These three sections can be recognised as symbolic of the
Holy Trinity: the majesty of the Father, the suffering of the Son,
and the enlivening presence of the Holy Spirit.
André Raison’s Christe from the Mass on the Second Tone
also represents a three-fold symbolism, but on a smaller scale.
It’s a trio with three independent voices or melodic lines, and it
adopts a three-beat metre. Liturgically, it sits at the centre of
the five organ versets that make up the Kyrie, alternating with
sung chant for nine sections in total:
Kyrie eleison (Lord, have mercy): organ – chant – organ
Christe eleison (Christ, have mercy): chant – organ – chant
Kyrie eleison (Lord, have mercy): organ – chant – organ
In French organ masses of this period, the individual versets
were very brief – somewhere between one or two minutes
each – and Raison’s Christe is no exception. Even so, it is a fully
formed passacaille (or passacaglia), with a simple eight-note
theme providing the characteristic repeating bass line – played
six times in all. Mostly this theme is heard ‘straight’, with just
a few simple French agréments or ornaments, but on two of
the repetitions Raison introduces more elaborate divisions to
ornament the bass line.
By contrast with Couperin’s Offertoire, Raison’s Christe might
seem slight, especially when shorn of its framing plainchant and
ritual. But its place in the program will be clear from the moment
RAISON (c.1640–1719) Christe – Trio en Passacaille from the Mass on the Second Tone
André Raison was the organist at the Abbey of Ste Geneviève from 1666 to 1716, and an influential figure in French organ music. He published two books of organ music: a volume of organ masses and magnificats, and a volume of variations on noëls. The collection of masses (1688) contains a lengthy preface with instructions for performance (including the advice that the dance rhythms be played slightly slower in respect for the holiness of the location) and a guide to ornamenting cadences. The five masses are presented as ‘sufficient’ for use with all eight of the church modes or ‘tones’ of plainchant (the Mass on the Second Tone is in G minor).
COUPERIN (1668–1733) Offertoire sur les grands jeux from the Mass for Parishes
François Couperin is best known to modern listeners as a composer for harpsichord, but from the age of 25 until his death he was the principal organist to Louis XIV at Versailles. He’d inherited the post of organist at the Church of St Gervais in Paris when he was just 11 after the premature death of his father and was formally installed when he reach his majority. (His uncle had acted as a kind of ’regent’ in the meantime – like the Bach family in Germany, the Couperins represented a long-standing musical dynasty in France.) In 1690, while at St Gervais, he published his two organ masses.
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J.S. BACH (1685–1750) Passacaglia and Fugue in C minor, BWV 582
It’s not known exactly when Bach composed his only Passacaglia, but it’s agreed that it was an early work, completed by the time he was 23, and possibly composed when he was in Arnstadt (1703–07). Stylistically, the influence is Dietrich Buxtehude, whom Bach admired so much that he once walked 200 miles to visit the older organist. (He’d been granted four weeks’ leave for the purpose but lingered four months!)
you hear the pedal at the beginning of Bach’s Passacaglia and Fugue, BWV 582. The key has shifted from G minor to C minor,
but the melodic shape of Bach’s first eight notes is identical.
Is Bach quoting Raison? We can’t know for sure. It’s possible
Bach knew Raison’s organ masses, but beyond this quotation –
if in fact it is a quotation – there is no satisfying evidence:
no correspondence, report or library catalogue. Two factors
support the theory, though. The second half of Bach’s
passacaglia theme (the remaining seven notes) resembles
the bass line of another Raison Christe, a Trio en Chaconne,
which suggests Bach was familiar with Raison’s masses as a
collection. And, given that it’s unusual for a passacaglia to
precede a fugue (you’re more likely to see a prelude, toccata
or fantasia in that spot), it’s conceivable that Bach borrowed
Raison’s passacaglia genre together with the theme. We’ll likely
never know, but there is no disputing that these two passacaglias,
one miniature and one mighty, both share the same starting
material.
Raison’s tiny Christe offered a passacaglia in essence: the
simple repeating bass line that underpins the weaving inventions
of the upper voices, the three-beat metre and, albeit slow and
stylised, the dance origins of the genre. Bach takes the essence
and expands on its possibilities.
At the beginning the pedal sets out the bass line in full –
15 notes that form a harmonically complete eight-bar melody –
and this theme is strictly maintained, although sometimes it
moves from the bass to the treble voice.
Bach builds 20 variations on the theme, adopting increasingly
elaborate figurations for each one and at one point breaking
into rippling, harp-like arpeggios. These are followed by a
glorious fugue (marked ‘Thema fugatum’) in which the theme
sets off in the treble above a countersubject built from pairs of
repeated notes. After nearly 15 minutes of brilliant invention,
Bach leaves the listener with one more surprise: a ‘shattering’
chord and dramatic pause before bringing the whole
piece home.
SYDNEY SYMPHONY ORCHESTRA © 2015 WITH RESEARCH BY DELIA BARTLE
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James Mobberley Critical Mass for organ and fixed media
Dizzying chromatic passages ripple as percussive bangs rattle in
hollow tones… Synthesised tones emerge and disperse, and the
live organ battles with a pre-recorded organ…
To create this immersive sound world, American composer
James Mobberley uses fixed media – the playback of pre-
recorded material as opposed to the real-time processing or
manipulation of sound in live electronics. These pre-recorded
sounds are literally ‘fixed’ – the duration and tempo remains the
same for every performance – and the organist is driven by this
endless propulsion, causing a chain reaction from start to finish.
Hence the title Critical Mass – the smallest amount of fissionable
material sufficient to sustain a chain reaction.
When writing for fixed media with live performers, Mobberley
explains:
…I’m usually most interested in selecting recorded sounds
that are either directly produced by the instruments that will
be playing live or that are similar to them. This often makes it
difficult for an audience to tell which sounds are live and which
are recorded. They also are frequently constructed so as to
create a ‘meta-instrument’ – one that plays outside the normal
range, or faster than the fingers can go, or louder or softer
than the instrument can produce. So my first step is to create
or record a set of sounds that I can use. Usually these are
‘standard’ instrumental (or instrument-like) sounds, plus
some other sounds, such as synthetic, vocal or natural
(environmental) sounds. Working with sounds to create fixed
media is a form of performance – the composer takes raw
material and sculpts it into a layer of music that needs to be
as musically satisfying as the layers produced by the live
performer(s), with careful attention to articulation, timbre,
phrasing, dynamics, and rubato.
KeynotesMOBBERLEYBorn Des Moines, Iowa, 1954
James Mobberley writes music that ranges from orchestral to electro-acoustic, and his output includes scores for dance and film. He is a professor at the University of Missouri–Kansas City Conservatory of Music and Dance, and was the first composer-in-residence with the Kansas City Symphony in 1991. A particular specialty of his is music for solo instrument with fixed media playback and he has now written 15 such pieces. Many of his work titles take inspiration from scientific concepts.
He studied with Roger Hannah at the University of North Carolina, and earned his doctorate at the Cleveland Institute of Music studying with Donald Erb and Eugene O’Brien. His awards include a Guggenheim Fellowship and a Composer’s Fellowship from the National Endowment for the Arts.
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Jazz legend Wynton Marsalis makes his long-awaited SSO debut with his band, Hollywood Rhapsody brings the best of movie music to the stage and Pink Martini in a thrilling and eclectic program.
KaleidoscopeJazz meets orchestra!
Pink Martini with the SSOFri 16 Sep | Sat 17 Sep Eclectic and exotic songs in jazz-classical style.
Toby Thatcher conductor Pink Martini
Hollywood RhapsodyFri 17 Jun | Sat 18 Jun Including highlights from… Psycho, Citizen Kane, The Adventures of Robin Hood, Casablanca, Ben Hur... and many more
John Wilson conductor
Wynton Marsalis and the SSO Fri 26 Feb | Sat 27 FebBernstein Fancy Free – Ballet; Prelude, Fugue and Riffs Marsalis Swing Symphony Australian premiere
Wynton Marsalis trumpet Jazz at the Lincoln Center Orchestra
*See T&C at sydneysymphony.com
All three concerts for just $99* | City Recital Hall, Angel Placesydneysymphony.com/subscriptions
PRIORITYFLEXIBILITYSAVINGSCONVENIENCE
Olivier Latry’s world tour, ending here in Sydney, has included 21 performances of Critical Mass. This, points out Mobberley, introduces a special challenge: ‘Some organs have been around for centuries, and there have been many tunings.’ The Sydney Opera House organ, for example, is tuned to modern concert pitch (A=440Hz) but there’s an organ in Belgium that sounds more than a semitone flat at A=409Hz! To accommodate the various organs Latry would be playing, Mobberley needed to prepare three versions of the fixed media, lowering the pitch of the playback without altering the timing.
The fixed media track for Critical Mass consists mostly of sounds recorded on the McMyler organ at the Cleveland Museum of Art, together with ambient electronic pitches and metallic bangs created by slapping the pipes. It’s the overlapping of these musical layers with the live organ in performance that creates Mobberley’s ‘meta instrument’, and in Critical Mass a key aspect of the performer’s role is to choose registrations that will blend with the recorded organ.
Mobberley opens a world of creative sonic opportunities by mixing pre-recorded materials with virtuoso live performance. ‘One of the joys of working in the electronic music medium,’ he says, ‘is having a huge range of sounds from which to construct fixed media – I feel very much like a kid in a candy store!’
DELIA BARTLE © 2015
AYO MUSIC PRESENTATION FELLOW
Critical Mass was commissioned by Frank K Griesinger and is dedicated to organist Karel Paukert, who premiered the work in 1989 at the Cleveland Museum of Art. We believe this performance will be the Australian premiere.
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KeynotesDURUFLÉ Born Louviers, 1902 Died Louveciennes, 1986
French composer and organist Maurice Duruflé was a student of Paul Dukas and shared with his teacher a perfectionist instinct and a relatively small surviving output of compositions – 19 published works. A Catholic and a church organist (he held the organ post at St Étienne-du- Mont in Paris from 1929 until his death), he also composed devotional and liturgical works, including a Requiem, which is his best-known music. In 1939 he gave the premiere of Poulenc’s Organ Concerto. Duruflé was a consultant for organ restoration following the devastation of France in the world wars, and was determined to revitalise French musical culture in the process.
SUITE FOR ORGAN
The Suite for organ was composed in 1933 and dedicated to Dukas. The slow Prélude begins with sombre, even funereal, sounds (the theme is marked tristamente), before expanding to display the full power of the organ. The Sicilienne – a lilting dance form – shows Duruflé in a ‘quest for colour’ and contrasting timbres. The Toccata introduces its ‘rhythmic and vigorous’ principal theme in the pedal after a short and busy introduction. In the middle section a new theme appears, to be combined with the first, and after a return of the introduction, the suite comes to a brilliant conclusion.
Maurice Duruflé Suite pour orgue, Op.5Prélude (Lento) Sicilienne (Allegretto moderato) Toccata (Allegro, ma non troppo)
Against a B flat octave the organist slowly pedals an eerily chromatic figure. The pedal introduces an E natural, setting up the ‘devil’s interval’ (diabolus in musica) to create a sense of ominous premonition. A quiet falling pattern begins, occasionally drifting upwards before sinking again as the octave continues to drone. Fleeting arpeggios ripple, and glorious but brooding chords pace like heavy footsteps. This striking opening of Duruflé’s Opus 5 Suite sets the tone for a work in which the expressive power, virtuosity and majesty of the organ is revealed.
Duruflé’s love for the organ developed during his childhood when he was student at the Rouen Cathedral Choir School. At 17 he moved to Paris to study organ with Charles Tournemire and with Louis Vierne, then organist at the Cathedral of Notre Dame. These two masters inspired Duruflé’s use of the shapes and colours of Gregorian plainsong, even in secular works, as in the beginning of the Prélude of Opus 5.
Composed in 1933, the Suite for organ was dedicated to his composition teacher Paul Dukas, and it’s perhaps no coincidence that the Prélude shares with Dukas’s piano sonata of 1899 the key of E flat minor and its sombre character. There are just two themes in this first movement. The first is the simple eight-note motif marked out in the pedal at the beginning; the second comprises three long phrases, smooth and lyrical. These develop and play against each other as Duruflé gradually unleashes the power of the organ.
The second movement is a Sicilienne, a baroque dance form characterised by gentle, lilting rhythms and a lyrical melody. Duruflé described it as having a ‘classic construction’, with three statements of the main theme, separated by two episodes. The focus is colour and a quest for contrasting timbres, and the impressionistic effects, together with the music’s melodic fluidity, suggest the style of Ravel and Debussy.
According to French organist Marie-Claire Alain: ‘Maurice Duruflé was the only one of my professors to explain and demonstrate the nature of touch at the organ. It was he who made me understand the importance of note values and how they are held, the relation of one note to another within the concept of a musical line.’ The Toccata embraces the gamut of keyboard ‘touch’ – from weighty, sustained chords to bell-like melodies – and is notoriously challenging to play, with widespread
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and dense chords that stretch beyond the regular handspan, as well as figuration requiring a very light touch. Flurries of fast notes unfurl in vibrant patterns, lending the movement an improvisatory character, and themes overlap with kaleidoscopic colour.
Duruflé’s self-criticism often led to him revising his works years after they’d been published. He disliked the original ending of the Toccata enough to completely rewrite it: ‘The first theme is very bad…and as the theme is the essential thing in a composition, the composition cannot be successful with a bad theme.’
Duruflé encouraged his students to play with energy but warned against excessive elaboration, preferring precision to flamboyance. (He was very particular, marking every detail in his organ music: fingerings, registrations, changes between the manuals or keyboard, phrasing and articulation.) He disliked organists taking liberties with his works, particularly in this Toccata. His wife – herself an organist – remarked: ‘At the end of the Toccata, one finds a series of virtuosic chords. My husband did not like anyone to begin with a rubato followed by an accelerando. He had a horror of this effect of a train starting up.’
DELIA BARTLE © 2015 AYO MUSIC PRESENTATION FELLOW
‘Maurice Duruflé was the only one of my professors to explain and demonstrate the nature of touch at the organ.’MARIE-CLAIRE ALAIN
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The Art of Improvising
Improvisation is composing in the moment, and it happens all the time. People throw together a meal with the contents of the pantry, or they speak without notes. Every time we do something unprepared, we’re using the innovative and creative resourcefulness that makes us human. Improvising in music means to take a risk – to be musically vulnerable and to create something shaped by technique and experience that’s entirely individual and spontaneous.
There was a time when every musician improvised. Bach improvised at the organ, Mozart at the piano. In particular, concerto soloists were expected to extemporise their own cadenzas. Things changed in the 19th century and Beethoven provides the landmark example. In his Emperor piano concerto he not only notated the cadenza but added a stern instruction that performers not add anything of their own. Other composers followed suit, placing cadenzas in unexpected points in the structure and dictating their exact content. So quickly did the improvised cadenza fall out of fashion that when Brahms left space for one in his violin concerto it was unusual and noteworthy.
Over time, other avenues for improvisation fell from favour: by the middle of the 20th century, for example, it was rare for pianists to improvise preludes in recital. Outside of jazz, improvisation
JS Bach was renowned as a master improviser
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Not quite a lost art…
Australian pianist Geoffrey Tozer would often end his recitals with improvisations using themes and styles suggested by the audience. And in a recent recital of Haydn sonatas for the SSO, Geoffrey Lancaster demonstrated that the art of preluding is not entirely lost! In the world of organ playing, where improvisation remains an essential skill, Marcel Dupré was especially renowned for his ability to improvise entire organ symphonies on themes submitted by listeners before his concerts. And in this recital, Olivier Latry will similarly improvise on a theme given to him just before the performance.
came to be regarded as something inaccessible within the Western music tradition. In 2008 when Gabriela Montero devoted a portion of her SSO recital program to improvisations, it was considered novel and remarkable.
But there’s one place where improvisation is alive and well in classical music, and that’s the organ loft.
The organ is the only classical instrument to have maintained a continuous tradition of improvisation over the centuries. Since the 16th century, church organists have relied on improvisation to provide the vast amount of music that accompanies and punctuates the liturgy. An organist ‘job interview’ might include challenges such as the improvisation of a strict four-part fantasia on a given theme. To this day, organ guilds around the world include improvisation among the skills needed for certification of advanced ability.
Improvisation in church, says David Hangreaves, mirrors the ‘liturgical drama and establishes a common atmosphere’. But it’s also common for organists to improvise in a concert setting. And in that context, Hangreaves continues, ‘improvisation is a creative language that develops musical content or expresses personal states of mind and feeling with an intrinsic value for the individual musician’.
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MORE MUSIC
THE BEST OF THE ORGAN
For a selection of organ masterpieces, look no further than Glorious Pipes – Organ Music. This two-disc set features some of the world’s most respected organists playing music by JS Bach, Charles-Marie Widor and Dietrich Buxtehude. The set concludes with Olivier Latry’s virtuosic interpretation of two works by Olivier Messiaen.DEUTSCHE GRAMMOPHON
OLIVIER LATRY
On Midnight at Notre-Dame Olivier Latry performs spellbinding transcriptions of music by JS Bach, Mozart, Berlioz and more – all recorded on the Cavaillé-Coll organ at Notre-Dame Cathedral in Paris. It’s a true testament to the king of the instruments.DEUTSCHE GRAMMOPHON 474 8162
Recordings of organ music depend as much on the instrument as the performer, and in Messiaen: Complete Organ Works, Olivier Latry once again explores the rich possibilities of the Notre-Dame organ. Deutsche Grammophon engineers have carefully balanced the cathedral’s acoustic resonance and the organ’s up-close dynamic range in this bright and articulated performance. DEUTSCHE GRAMMOPHON 471 4802
MORE MOBBERLEY
For an introduction to James Mobberley’s orchestral sound world, look for Paul Freeman Introduces… with Mobberley’s piano concerto, his concerto for marimba eight hands, and the ballet score Arena. The soloists are Richard Cass (piano) and the enemble Marimba Yajalon, with the Czech National Symphony Orchestra. ALBANY RECORDS TROY335
And if you’d like to hear Critical Mass again, head to Mobberley’s channel on SoundCloud for a recording by dedicatee Karel Paukert. soundcloud.com/jim-mobberley/critical-mass
RARE RAISON
For more from this relatively unknown composer, try David Ponsford’s recital on the beautiful 1714 Boizard organ in the Benedictine abbey of Saint-Michel-en-Thiérache. French Organ Music Volume Three features the Mass on the First Tone by Raison, and two suites from his pupil and JS Bach contemporary Louis-Nicolas Clérambault.NIMBUS NI6268
JOSEPH JONGEN
Today’s soloist, Olivier Latry, has recorded Jongen’s Symphonie concertante with the Liège Philharmonic Orchestra and conductor Pascal Rophé. The organ is an instrument by Pierre Schyven in the Liège Salle Philharmonique. Filling out the disc is Saint-Saëns’ Third Symphony (‘avec orgue’).CYPRES 7610
Broadcast Diary
November–December
abc.net.au/classic
Saturday 28 November, 1pm
THUS SPAKE ZARATHUSTRAEdo de Waart conductor Olivier Latry organ
Wagner, Jongen, Richard Strauss, Wagner
Tuesday 1 December, 9.30pm
THE GRAND ORGANOlivier Latry organ
Couperin, Raison, JS Bach, Mobberley, Duruflé, and an improvisation by Olivier Latry
SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand:
sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOURTuesday 8 December, 6pm
Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.
finemusicfm.com
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SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than two dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop
Strauss & 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 DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302
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
Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301
Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402
LOOK OUT FOR…
Our recording of Holst’s Planets with David Robertson. Available now!
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
MAHLER ODYSSEY
The complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kindertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.
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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
PRIORITYFLEXIBILITYSAVINGSCONVENIENCE
THREE-CONCERT PACKAGES FROM $87! No fees when you book these concerts online at
sydneysymphony.com/subscriptions Call 8215 4600 Mon–Fri 9am–5pm
NEW IN 2016!
*See T&C at sydneysymphony.com ©Emma Chichester Clark, Illustration Reproduced by permission of Walker Books Ltd, London
Playlist is your perfect introduction to classical music – a one-hour informal concert where a member of the SSO curates a unique program – their Playlist – of music that has inspired them and shaped their life. Join us at the bar and meet the musicians after every concert!
Playlist
Alexandre’s PlaylistTue 1 Nov | 6.30pm
Music by Bach, Haydn, Martin, Schoenberg and Schubert, and including RAVEL Mother Goose: The Enchanted Garden
Toby Thatcher conductor
Rick’s PlaylistTue 24 May | 6.30pm
Music by JS Bach, Beethoven, Mozart, Elgar and Stravinsky, and including WAGNER Good Friday Music from Parsifal
Brett Weymark conductor
Lerida’s Playlist Tue 15 Mar | 6.30pm
Music by Mendelssohn, Fauré, Copland, Mahler and Bach, and including Vaughan Williams The Lark Ascending
Andrew Haveron violin-director
Lerida Delbridge violin
New to classical music and want to know more? LERIDA DELBRIDGE
Assistant ConcertmasterRICHARD MILLER Principal Timpani
ALEXANDRE OGUEY Principal Cor Anglais
From James Morrison’s jazzy hits to The Composer is Dead with Frank Woodley, or the magic of The Pied Piper of Hamelin, these magical introductions to orchestral music will plant the seed for a lifetime love of orchestral music.
Family concerts
The Pied Piper of HamelinSun 9 Oct | 2pm
Colin Matthews The Pied Piper of Hamelin Australian premiere
Toby Thatcher conductor Sydney Children’s Choir
The Composer is DeadSun 22 May | 2pm
Stookey & Snicket The Composer is Dead
Toby Thatcher conductor Frank Woodley narrator and The Inspector
James Morrison PresentsSun 20 Mar | 2pm
Family fun and jazzy hits from Dixieland to Duke Ellington, and beyond.
Benjamin Northey conductor James Morrison jazz trumpet and presenter
City Recital Hall, Angel Place
SYDNEY OPERA HOUSE
CITY RECITAL HALL, ANGEL PLACE
23
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
PRIORITYFLEXIBILITYSAVINGSCONVENIENCE
THREE-CONCERT PACKAGES FROM $87! No fees when you book these concerts online at
sydneysymphony.com/subscriptions Call 8215 4600 Mon–Fri 9am–5pm
NEW IN 2016!
*See T&C at sydneysymphony.com ©Emma Chichester Clark, Illustration Reproduced by permission of Walker Books Ltd, London
Playlist is your perfect introduction to classical music – a one-hour informal concert where a member of the SSO curates a unique program – their Playlist – of music that has inspired them and shaped their life. Join us at the bar and meet the musicians after every concert!
Playlist
Alexandre’s PlaylistTue 1 Nov | 6.30pm
Music by Bach, Haydn, Martin, Schoenberg and Schubert, and including RAVEL Mother Goose: The Enchanted Garden
Toby Thatcher conductor
Rick’s PlaylistTue 24 May | 6.30pm
Music by JS Bach, Beethoven, Mozart, Elgar and Stravinsky, and including WAGNER Good Friday Music from Parsifal
Brett Weymark conductor
Lerida’s Playlist Tue 15 Mar | 6.30pm
Music by Mendelssohn, Fauré, Copland, Mahler and Bach, and including Vaughan Williams The Lark Ascending
Andrew Haveron violin-director
Lerida Delbridge violin
New to classical music and want to know more? LERIDA DELBRIDGE
Assistant ConcertmasterRICHARD MILLER Principal Timpani
ALEXANDRE OGUEY Principal Cor Anglais
From James Morrison’s jazzy hits to The Composer is Dead with Frank Woodley, or the magic of The Pied Piper of Hamelin, these magical introductions to orchestral music will plant the seed for a lifetime love of orchestral music.
Family concerts
The Pied Piper of HamelinSun 9 Oct | 2pm
Colin Matthews The Pied Piper of Hamelin Australian premiere
Toby Thatcher conductor Sydney Children’s Choir
The Composer is DeadSun 22 May | 2pm
Stookey & Snicket The Composer is Dead
Toby Thatcher conductor Frank Woodley narrator and The Inspector
James Morrison PresentsSun 20 Mar | 2pm
Family fun and jazzy hits from Dixieland to Duke Ellington, and beyond.
Benjamin Northey conductor James Morrison jazz trumpet and presenter
City Recital Hall, Angel Place
SYDNEY OPERA HOUSE
CITY RECITAL HALL, ANGEL PLACE
24
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
TECHNICAL MEDIA PRODUCER 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
HEAD OF PRODUCTION 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
PhilanthropyHEAD OF PHILANTHROPY
Rosemary SwiftPHILANTHROPY 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 BenetatosMULTIMEDIA 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 Andrew BaxterEwen 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
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
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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
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
Scott KinmontAssociate Principal TromboneAudrey Blunden Chair
Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw
Nicole MastersSecond ViolinNora Goodridge Chair
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
Janet and Robert Constable with Associate Principal Flute Emma Sholl. ‘When we first met her in the Green Room at the Opera House,’ recalls Robert, ‘it was a lovely hug from Emma that convinced us that this was not only an opportunity to support her chair but to get involved with the orchestra and its supporters. It has been a great experience.’
KE
ITH
SA
UN
DE
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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 McKernanBarbara MaidmentMr & Mrs Nigel PriceDrs Eileen & Keith OngMr Robert & Mrs Rosemary Walsh
Sydney Symphony Orchestra 2015 Fellows
KE
ITH
SA
UN
DE
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Commissioning CircleSupporting the creation of new works.
ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM
Raji AmbikairajahChristine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO
Jane Mathews AO
Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous
“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director
BECOME A PATRON TODAY. Call: (02) 8215 4650 Email: [email protected]
Foundations
A U S T R A L I A - K O R E AF O U N D A T I O N
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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 DavisJennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM
John Lam-Po-Tang
Peter 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 ClampettEstate 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 OUR PHILANTHROPY TEAM
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 &
Jo FeatherstoneChristine 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 Foundation
Caroline WilkinsonJune & Alan Woods Family
BequestAnonymous (2)
BRONZE $5,000–$9,999John Augustus & Kim RyrieDushko BajicStephen 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 KatzIn memoriam
Dr Reg Lam-Po-TangBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable
Foundation
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Playing Your Part
SSO PATRONS
BRONZE PATRONS CONTINUED
J A McKernanNexus ITMs Jackie O’BrienJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine
ShawRodney Rosenblum am & Sylvia
RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanJohn & Josephine StruttMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous (2)
PRESTO $2,500–$4,999Mr Henri W Aram oam
G & 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-HudsonDr & Mrs Michael HunterMr John W Kaldor AMProfessor Andrew Korda am &
Ms Susan PearsonProfessor Winston LiauwDr Barry LandaMrs Juliet LockhartRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment
Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonRosemary SwiftMr Ervin Vidor am &
Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert
Baulderstone
Yim Family FoundationDr John YuAnonymous (2)
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 HallidayJanette HamiltonSandra HaslamMrs Jennifer HershonSue HewittDorothy Hoddinott ao
Kimberley Holden
Mr Kevin Holland & Mrs Roslyn Andrews
The Hon. David Hunt ao qc & Mrs Margaret Hunt
Mr Phillip Isaacs oam
Dr Owen JonesMrs Margaret KeoghAron KleinlehrerMrs Gilles KrygerMr Justin LamBeatrice 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 HortonJudith OlsenMr & Mrs OrtisAndrew Patterson & Steven BardyIn memory of Sandra Paul
PottingerMr Stephen PerkinsAlmut PiattiDr John I PittThe 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 RusitiJorie Ryan for Meredith RyanIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairCatherine StephenThe Honourable Brian Sully am qc
Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher Thomas
Kevin TroyJohn E TuckeyJudge 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 AndrewsDr Gregory AuMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettMs Baiba BerzinsJan 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 CoventryDr Peter CraswellMr David CrossMark Dempsey sc
Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenDr Sally Greenaway
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VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyAlexandra McGuiganOscar McMahonTaine Moufarrige
Founding PatronShefali PryorSeamus R Quick
Founding PatronChris Robertson &
Katherine Shaw Founding Patrons
MEMBERSLaird AbernethyElizabeth AdamsonClare Ainsworth-HerschellCharles ArcusPhoebe ArcusJames ArmstrongLuan AtkinsonDushko Bajic
Supporting PatronJoan BallantineScott BarlowAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordJames BessonAndrew BotrosPeter BraithwaiteAndrea BrownNikki BrownAttila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldPeter CreedenAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiKaren EwelsRoslyn FarrarTalitha FishburnNaomi Flutter
Alexandra GibsonSam GiddingsJeremy GoffLisa GoochHilary GoodsonTony GriersonJason HairKathryn HiggsPeter HowardJennifer HoyKatie HryceJames HudsonJacqui HuntingtonVirginia JudgePaul KalmarTisha KelemenAernout KerbertPatrick KokAngela KwanJohn Lam-Po-TangTristan LandersJessye LinGarry LinnaneDavid LoSaskia LoFern MoufarrigeMarcus MoufarrigeSarah MoufarrigeAlasdair Murrie-WestJulia NewbouldAnthony NgNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupStephanie PriceMichael RadovnikovicBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony SchembriBenjamin SchwartzBen ShipleyCecilia StornioloBen SweetenRandal TameSandra TangIan TaylorZoe TaylorCathy ThorpeMichael TidballMark TrevarthenMichael TuffyRussell van HoweSarah VickMichael WatsonAlan WattersJon WilkieYvonne Zammit
SSO Vanguard
A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists
n n n n n n n n n n
Mr Geoffrey GreenwellMr Richard Griffin am
In memory of Beth HarpleyV HartsteinBenjamin Hasic & Belinda DavieAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningProf. Ken Ho & Mrs Tess HoDr Mary JohnssonAernout Kerbert & Elizabeth
NevilleDr Henry KilhamJennifer KingMiss Joan KleinMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaIn memory of Marjorie LanderElaine M LangshawMargaret LedermanRoland LeeMr David LemonPeter Leow & Sue ChoongMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockAnne Pittman
John Porter & Annie Wesley-Smith
Mrs Greeba PritchardMichael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerMr 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
Create a sustainable future for orchestral music by helping to build the audiences of tomorrow.
SUPPORT THE SSO EDUCATION FUND. Call: (02) 8215 4650 Email: [email protected]
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SALUTE
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
PLATINUM PARTNER MAJOR PARTNERS
GOLD PARTNERS
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
Salute 2015_Sep_#32+_rev.indd 1 18/09/2015 10:02 am