pure magic - d32h38l3ag6ns6.cloudfront.net magic mahler & tchaikovsky thursday afternoon...
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PURE MAGIC Mahler & Tchaikovsky
THURSDAY AFTERNOON SYMPHONY
Thursday 7 May 2015
EMIRATES METRO SERIES
Friday 8 May 2015
GREAT CLASSICS
Saturday 9 May 2015
concert diary
Bold as BrassBROUGHTON Fanfares, Marches, Hymns and FinaleKATS-CHERNIN MaterKOEHNE Albany Harbour (The Voyage)PUCCINI arr. G Boyd Scenes from Turandot
Michael Mulcahy conductorSSO Brass Ensemble
Tea & Symphony
Fri 1 May 11am Complimentary morning tea from 10am
Discover Mahler Songs of a WayfarerMAHLER Songs of a Wayfarer
Richard Gill conductor [PICTURED]
Alexander Knight baritone SSO Sinfonia
DownerTenix Discovery
Tue 5 May 6.30pm City Recital Hall Angel Place
Tchaikovsky’s Nutcracker Pure MagicMAHLER Songs from Des Knaben Wunderhorn (Youth’s Magic Horn)TCHAIKOVSKY Nutcracker: Act II
(Kingdom of the Sweets)
Mark Wigglesworth conductor [PICTURED]
Caitlin Hulcup mezzo-soprano Randall Scarlata baritone
Thursday Afternoon Symphony
Thu 7 May 1.30pm Emirates Metro Series
Fri 8 May 8pm Great Classics
Sat 9 May 2pmPre-concert talk 45 minutes before each performance
Romantic VisionsWagner, Bartók & BrahmsWAGNER Siegfried IdyllBARTÓK Piano Concerto No.3BRAHMS orch. Schoenberg Piano Quartet in G minor
Matthias Pintscher conductor [PICTURED]
Peter Serkin piano
APT Master Series
Wed 13 May 8pmFri 15 May 8pmSat 16 May 8pmPre-concert talk at 7.15pm
SSO Chamber Music Cocktail HourIntimate space, inspiring music and a delicious cocktail to enjoy – One hour of sheer bliss.Hear individual members of your SSO up close in this year’s new Chamber Music Cocktail Hour series featuring music by Brahms (Clarinet Quintet, String Quintet No.2, String Sextet No.2) and others.
Sat 16 May 6pmSat 6 June 6pmSat 18 July 6pmUtzon Room Sydney Opera House
CLASSICAL
SSO PRESENTS
JOSH PYKE Live with your SSOJosh Pyke will perform hits from across all of his albums, including Leeward Side, Middle of the Hill and The Lighthouse Song.
Christopher Dragon conductor Josh Pyke vocalist/guitar
SSO presents
Wed 29 Apr 8pmMeet the Music
Thu 30 Apr 6.30pmPre-concert talk 45 minutes before each performance
Tickets also available atSYDNEYOPERAHOUSE.COM 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pmCITYRECITALHALL.COM 8256 2222 Mon–Fri 9am–5pm
All concerts at Sydney Opera House unless otherwise statedNO FEES WHEN YOU BOOK CLASSICAL CONCERTS ONLINE WITH THE SSO
FOR COMPLETE DETAILS OF THE 2015 SEASON VISIT
SYDNEYSYMPHONY.COM CALL 8215 4600 Mon–Fri 9am–5pm
WELCOME TO THEEMIRATES METRO SERIES
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.
Friday’s performance will recorded by ABC Classic FM for broadcast on Sunday 10 May at 1pm.
Pre-concert talk by Yvonne Frindle in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/speaker-bios for more information.
Estimated durations: 65 minutes, 20-minute interval, 41 minutes The concert will conclude at approximately 3.45pm (Thu), 10.15pm (Fri), 4.15pm (Sat).
2015 concert season
PURE MAGICMark Wigglesworth conductor Caitlin Hulcup mezzo-soprano Randall Scarlata baritone
GUSTAV MAHLER (1860–1911) Des Knaben Wunderhorn (Youth’s Magic Horn)
Revelge (Reveille) RS Rheinlegendchen (Little Rhine Legend) CH Trost im Unglück (Solace in Misfortune) RS Verlor’ne Müh (Wasted Effort) CH Der Schildwache Nachtlied (The Sentry’s Nightsong) RS Das irdische Leben (The Earthly Life) CH Lied des Verfolgten im Turm (Song of the Persecuted in the Tower) RS Wer hat dies Liedel Erdacht? (Who has thought up this pretty little song?) CH Des Antonius von Padua Fischpredigt (St Anthony of Padua’s Sermon to the Fishes) RS Urlicht (Primal Light) CH Lob des hohen Verstandes (In Praise of Superior Intellect) RS Wo die schönen Trompeten blasen (Where the Fine Trumpets Sound) RS Der Tamboursg’sell (The Drummer Boy) RS
INTERVAL
THURSDAY AFTERNOON SYMPHONYTHURSDAY 7 MAY, 1.30PM
EMIRATES METRO SERIESFRIDAY 8 MAY, 8PM
GREAT CLASSICSSATURDAY 9 MAY, 2PM
SYDNEY OPERA HOUSE CONCERT HALL
PYOTR ILYICH TCHAIKOVSKY (1840–1893) Nutcracker: Act II – Kingdom of Sweets
Scene: The Magic Castle on the Mountain of Sweets Scene: Clara and the Nutcracker Prince Character Dances (Divertissement): Chocolate (Spanish Dance) Coffee (Arabian Dance) Tea (Chinese Dance) Trépak (Russian Dance) Dance of the Mirlitons Mother Gigogne and the Clowns Waltz of the Flowers Pas de deux: Intrada Variation I (Tarantella) Variation II (Dance of the Sugar Plum Fairy) Coda Final Waltz and Apotheosis
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Konstantin Ivanov’s set design for the original production of Nutcracker in 1892 (Watercolour on paper).
AK
G-I
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READ IN ADVANCEYou can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/program_library
The foyer fanfare for this concert is Please Take Your Seats, composed by Marcus Milton (16) of St Andrew’s Cathedral School. This is a youth creativity project by the Sydney Opera House and Artology.
INTRODUCTION
On the surface, this is a concert about youth, innocence and
enchantment. Mahler’s orchestral songs in the first half are
drawn from the riches of Des Knaben Wunderhorn (The Youth’s
Magic Horn) and Act II of Tchaikovsky’s Nutcracker is set in the
Kingdom of Sweets and features a heroine still young enough to
play with dolls.
Below the surface, however, the ‘pure magic’ of this program
is more complex. Nutcracker might be well-known as a ballet for
children, a Christmas confection, but the story by ETA Hoffmann
on which it is based is a much darker and more intricate affair.
It says something of Tchaikovsky’s imagination and artistry
that he took the relatively bland ballet scenario presented to
him and crafted a sophisticated and galvanising score. Even in
Act II – by which point the drama is effectively over – it seems
Tchaikovsky may have created a private subtext of his own.
The act is framed by gentle, haunting music, and alongside the
sparkle and good cheer is a melody drawn from a lullaby for sick
children (the Arabian dance) and a motif (in the pas de deux)
echoing the Orthodox funeral rite. Then to learn that
Tchaikovsky’s sister died when he was working on the ballet…
it’s easy to consider, as does Roland Wiley, that Act II of
Nutcracker might be more than just a musical idealisation of
childhood but a kind of nostalgia for happier times.
Des Knaben Wunderhorn takes its title from the first of the
700 or so ‘old German songs’ that fill the three volumes of the
collection. A boy gallops to the castle gates to present the
beautiful and wise empress with a bejewelled horn capable of
sweeter music than even the birds and the mermaids. But as
Paul Hamburger has pointed out, Moritz von Schwind’s painting
(see page 8) of a ‘recumbent youth lifting up a kind of
cornucopia from which myths and legends might be flowing’
gives a better idea of the entire collection’s Romantic range.
Mahler’s choices are diverse: soldier’s songs, humour, religious
themes and songs of love, foolish and fond. But as with
Tchaikovsky, underneath the magic is a prevailing mood of
nostalgia.
Pure Magic: Mahler and Tchaikovsky
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Gustav Mahler Des Knaben Wunderhorn (Youth’s Magic Horn)Caitlin Hulcup mezzo-soprano Randall Scarlata baritone
In the concert hall, Mahler is best known for his immense,
almost overwhelming symphonies. Many of the ideas in the first
four symphonies, however, came from Mahler’s early songs,
especially his Songs of a Wayfarer cycle (1896) and his many
settings of poems from Des Knaben Wunderhorn (1883–1901).
The relationship between songs and symphonies in Mahler’s
writing is complex, and goes beyond the obvious point that
Mahler often included the human voice in his symphonic
writing. (Three of the first four symphonies, for example,
include movements which are really orchestral songs and
Symphony No.8 involves a huge double chorus, children’s choir
and eight soloists.) There is much cross-fertilisation between
songs and symphonies: from the third movement of the
Resurrection Symphony (No.2), which takes almost all its
ABOUT THE MUSIC
KeynotesMAHLER
Born Kalischt, 1860 Died Vienna, 1911
Mahler is now regarded as one of the greatest symphonists of the turn of the 20th century. But during his life his major career was as a conductor – he was effectively a ‘summer composer’. Mahler believed that a symphony must ‘embrace the world’, and his are large-scale, requiring huge orchestras and often lasting more than an hour. They cover a tremendous emotional range, and they have sometimes been described as ‘Janus-like’ in the way they blend romantic and modern values, self-obsession and universal expression, idealism and irony. But from the outset of his composing career, Mahler’s instincts were leading him along two intertwining paths: symphonies was one, orchestral songs the other.
YOUTH’S MAGIC HORN
One of Mahler’s main sources of vocal texts was the collection of poems published as Youth’s Magic Horn in 1805–08. They reflect the spirit of German Romanticism with their idealised view of folk traditions and nostalgic character, and while the texts were collected from folk sources, they were often modified to accommodate literary structures and some were written by the editors. Mahler also drew on this collection for Songs of a Wayfarer and his Second, Third and Fourth symphonies.
In the Forest (Des Knaben Wunderhorn) by Moritz von Schwind (c.1850)
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thematic material from St Anthony of Padua’s Sermon to the
Fishes, to the first movement of the Third Symphony, which
Mahler described as a ‘rhythmic study’ for Revelge, which he
‘could never have composed without it’. Subtle traces of two
of the songs in tonight’s selection, Das irdische Leben and
Rheinlegendchen, can also be heard in Symphony No.2, and
Urlicht will be known to many music-lovers as the meditative
fourth movement of that symphony.
Perhaps it is not a coincidence that Mahler, who was known
as a conductor of opera but who wrote no operas of his own,
was drawn to the use of voices and of words in his symphonic
writing. ‘You can express so much more in the music than the
words actually say,’ he wrote. ‘The text is actually a mere
indication of the deeper significance to be extracted from it.’
The poems of the Youth’s Magic Horn collection, assembled
by Achim von Arnim and Clemens Brentano and published in
1805–08, are high German Romanticism with their emphasis
on the folk tradition, the simple, artless life of the ‘little people’,
and the glamour of bygone days. These treasures of the past
were to be the seed of a new German cultural empire. Mahler
spent nearly 20 years of his composing life drawing on this
collection:
I have devoted myself heart and soul to [this] poetry (which
is essentially different from any other kind of ‘literary poetry,’
and might almost be called something more like Nature and
‘You can express so much more in the music than the words actually say.’
MAHLER
Portrait sketch of Mahler by Emil Orlik (1902)
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Life – in other words, the sources of all poetry – than art) in
full awareness of its character and tone.
Songs such as the dark and tragic Irdische Leben suggest
that Mahler was attracted to this icon of German Romanticism
not by any desire to indulge in the past or to stir hearts and
minds in support of a new age of cultural glory: by changing
that poem’s title (originally Verspätung, or ‘Delay’) Mahler
showed that he had found in the sorrows of one mother and
child the pain of all humankind:
human life…is symbolised by the child’s crying for bread
and the answer of the mother, consoling it with promises
again and again. In life, everything that one most needs for
the growth of the spirit and body is withheld – as with the
dead child – until it is too late. And I believe that this is
characteristically and frighteningly expressed in the
uncanny notes of the accompaniment, which bluster past
as in a storm; in the child’s anguished cry of fear, and the
slow, monotonous responses of the mother – of Fate,
which is in no particular hurry to satisfy our cries for bread.
Several of the songs in this concert – Wo die schönen
Trompeten blasen, Revelge and Der Tambourg’sell – evoke the
pain of humankind through a military theme. Mahler had from
his childhood been fascinated by band music: in Wo die
schönen, the hollow glamour of uniforms and trumpet fanfares
is contrasted sharply with the lyrical, expressive writing for
strings, which evokes the love of the young girl for the naive
young man whose life will most likely be cut short by war.
It was not Mahler’s intention, however, to dwell on suffering:
in 1896 he declared that ‘the aim of art, as I see it, must always
be the ultimate liberation from and transcendence of sorrow.’
Of the Sermon to the Fishes, he wrote to Natalie Bauer-Lechner:
A somewhat sweet-and-sour humour prevails in the
Fischpredigt. Antonius preaches to the fishes, but he seems
to be drunk. His speech is slurred (in the clarinet) and
confused. And what a glittering congregation!…I practically
saw them in the music and burst out laughing.
Songs such as Rheinlegendchen, with its ländler rhythms, are
among the more carefree numbers in the Magic Horn set, dance-
like tunes which sparkle with good humour while still bearing
the stamp of Mahler’s harmonic wit.
ADAPTED FROM A NOTE BY NATALIE SHEA
SYMPHONY AUSTRALIA © 2002
Mahler left no definitive sequence
for performances of songs from Des
Knaben Wunderhorn. In fact he is on
record as telling baritone Johannes
Messchaert, who performed the
cycle in 1907, that he should make
up his own mind about the
sequence. In this concert we are
performing all but one of the 14
orchestral song settings.
The orchestra for Des Knaben
Wunderhorn comprises two flutes,
piccolo, two oboes, cor anglais, two
clarinets, E-flat clarinet and three
bassoons; four horns, two trumpets,
trombone and tuba; timpani and
percussion, harp and strings.
Songs from Des Knaben
Wunderhorn were most recently
heard in the Sydney Opera House
when the Vienna Philharmonic
toured Australia in 2011; Matthias
Goerne was the soloist and
Christoph Eschenbach conducted.
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1. Revelge
Des Morgens zwischen drein und vieren,
Da müssen wir Soldaten marschieren
Das Gäßlein auf und ab;
Trallali, trallaley, trallalera,
Mein Schätzel sieht herab.
“Ach Bruder jetzt bin ich geschossen,
Die Kugel hat mich schwer getroffen,
Trag mich in mein Quartier,
Trallali, trallaley, trallalera,
Es ist nicht weit von hier.”
“Ach Bruder, ich kann dich nicht tragen,
Die Feinde haben uns geschlagen,
Helf dir der liebe Gott;
Trallali, trallaley, trallalera,
Ich muß marschieren bis in Tod.”
“Ach, Brüder! ihr geht ja an mir vorüber,
Als wär’s mit mir vorbei,
Trallali, trallaley, trallalera,
Ihr tretet mir zu nah.
Ich muß wohl meine Trommel rühren,
Trallali, trallaley, trallalera
Sonst werde ich mich verlieren;
Trallali, trallaley, trallalera
Die Brüder dick gesät,
Sie liegen wie gemäht.”
Er schlägt die Trommel auf und nieder,
Er wecket seine stillen Brüder,
Trallali, trallaley, trallali, trallaley!
Sie schlagen ihren Feind,
Trallali, trallaley, trallalera,
Ein Schrecken schlägt den Feind.
Er schlägt die Trommel auf und nieder,
Da sind sie vor dem Nachtquartier schon wieder,
Trallali, trallaley, trallalera,
Ins Gäßlein hell hinaus,
Sie ziehn vor Schätzleins Haus.
Trallali, trallaley, trallalera,
Des Morgen stehen da die Gebeine
In Reih und Glied sie stehn wie Leichensteine,
Die Trommel steht voran,
Daß sie ihn sehen kann.
Trallali, trallaley, trallalera.
1. Reveille
In the morning between three and four,
we soldiers must march,
Up and down the street;
Tralali, tralaley, tralalera
My sweetheart looks down.
“Ah brother, I’ve been shot,
The bullet has wounded me badly,
Carry me to my quarters,
Tralali, tralaley, tralalera
It’s not far from here.”
“Ah brother, I cannot carry you,
The enemy has beaten us,
May God help you;
Tralali, tralaley, tralalera
I must march on to my death.”
“Ah brothers, you pass by me,
As if it were all over for me!
Tralali, tralaley, tralalera
You tread too close.
I must play my drum
Tralali, tralaley, tralalera
Else I’ll be lost;
Tralali, tralaley, tralalera
My brothers lie thick on the ground,
As if they were scythed grass.
He plays the drum up and down,
He wakes his silent brothers,
Tralali, tralaley, tralali, tralaley!
They strike at their enemy,
Tralali, tralaley, tralalera
Terror strikes their enemy.
He plays the drum up and down,
They’re back before their quarters,
Tralali, tralaley, tralali, tralaley!
Straight into the street
They march to his sweetheart’s house.
Tralali, tralaley, tralalera
In the morning their bones lie there,
In rank and file as tombstones.
The drummer book is at the front
So that she can see him.
Tralali, tralaley, tralalera.
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2. Rheinlegendchen
Bald gras’ ich am Neckar, bald gras’ ich am
Rhein;
Bald hab’ ich ein Schätzel, bald bin ich allein!
Was hilft mir das Grasen, wenn d’Sichel nicht
schneid’t!
Was hilft mir ein Schätzel, wenn’s bei mir nicht
bleibt!
So soll ich denn grasen am Neckar, am Rhein,
So werf’ ich mein goldenes Ringlein hinein.
Es fließet im Neckar und fließet im Rhein,
Soll schwimmen hinunter ins Meer tief hinein.
Und schwimmt es, das Ringlein, so frisst es ein
Fisch!
Das Fischlein soll kommen auf’s König’s sein Tisch!
Der König tät fragen, wem’s Ringlein sollt’ sein?
Da tät mein Schatz sagen: das Ringlein g’hört
mein.
Mein Schätzlein tät springen Berg auf und Berg ein,
Tät mir wied’rum bringen das Goldringlein mein!
Kannst grasen am Neckar, kannst grasen am
Rhein!
Wirf du mir nur immer dein Ringlein hinein!
3. Trost im Unglück
Wohlan! Die Zeit ist kommen!
Mein Pferd, das muß gesattelt sein!
Ich hab’ mir’s vorgenommen,
geritten muß es sein!
Geh’ du nur hin!
Ich hab’ mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl leben!
Ja leben!
Ohn’ dich kann ich wohl sein!
So setz’ ich mich auf’s Pferdchen,
und trink’ ein Gläschen kühlen Wein!
Und schwör’s bei meinem Bärtchen:
dir ewig treu zu sein!
Du glaubst, du bist der Schönste
wohl auf der ganzen weiten Welt,
2. Little Rhine Legend
Now I thresh by the Neckar, now I thresh by the
Rhine;
Now I have a sweetheart, now I am alone!
What use is my threshing if the sickle doesn’t
cut?
What use is a sweetheart who won’t stay?
So if I am to thresh by the Neckar and by the Rhine,
then I’ll throw in my golden ring.
It will flow with the Neckar and the Rhine,
And float right down into the deep sea.
And as it floats, the little ring, a fish will eat it!
The fish will eventually come to the King’s table!
The king will ask whose ring it is,
and my sweetheart will say: ‘The ring belongs
to me.’
My sweetheart will hurry up hill and down hill,
and bring me back my ring!
‘You can thresh by the Neckar, and thresh by the
Rhine
if you will always throw your ring in for me!’
3. Solace in Misfortune
Well! The time has come!
My horse must be saddled!
I’ve made up my mind,
I must ride away!
Go, just go!
I have my due!
I love you only in folly!
I can live without you!
Yes, live!
Without you I can well be!
So I’ll sit on my horse
and drink a glass of chilled wine,
and swear by my beard,
to be faithful to you forever!
You think, you are the fairest
in the whole wide world,
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und auch der Angenehmste!
Ist aber weit, weit gefehlt!
In meines Vaters Garten
wächst eine Blume drin!
So lang’ will ich noch warten,
bis die noch größer ist!
Und geh’ du nur hin!
Ich hab mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl leben,
ohn’ dich kann ich wohl sein!
Du glaubst, ich werd’ dich nehmen!
Das hab’ ich lang’ noch nicht im Sinn!
Ich muß mich deiner schämen,
wenn ich in Gesellschaft bin!
4. Verlor’ne Müh
Sie:
Büble, wir wollen außre gehe!
Wollen wir? Unsere Lämmer besehe?
Gelt! Komm’, lieb’s Büberle,
komm’, ich bitt’!
Er:
Närrisches Dinterle,
ich geh dir holt nit!
Sie:
Willst vielleicht ä bissel nasche?
Hol’ dir was aus meiner Tasch’!
Hol’, lieb’s Büberle,
hol’, ich bitt’!
Er:
Närrisches Dinterle,
ich nasch’ dir holt nit!
Sie:
Gelt, ich soll mein Herz dir schenke!?
Immer willst an mich gedenke!?
Nimm’s! Lieb’s Büberle!
Nimm’s, ich bitt’!
Er:
Närrisches Dinterle,
ich mag es holt nit!
and also the most agreeable!
But you are far, far from it!
In my father’s garden
a flower is growing!
I’ll keep waiting
till it is bigger!
And off you go now!
I have my due!
I love you only in folly!
Without you I can well live!
Without you I can well exist!
You think I’m going to take you!
That I will not think of for a long time!
I must be ashamed of you,
when I am in public!
4. Wasted Effort
She:
Laddie, let’s go out!
Shall we? To look at our lambs?
Eh, Come, dear laddie!
Come on, please!
He:
Foolish lassie,
I won’t go with you!
She:
Maybe you want something to nibble?
Take something from my pocket!
Take it, dear laddie!
Take it, please!
He:
Foolish lassie,
I don’t want to nibble anything!
She:
Eh, shall I give you my heart!?
Then you’ll always think of me?
Take it! Dear laddie!
Take it, please!
He:
Foolish lassie,
I don’t want it!
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5. Der Schildwache Nachtlied
“Ich kann und mag nicht fröhlich sein;
Wenn alle Leute schlafen,
So muß ich wachen,
Muß traurig sein.”
“Lieb’ Knabe, du sollst nicht traurig sein,
Will deiner warten,
Im Rosengarten,
Im grünen Klee.”
“Zum grünen Klee, da komm ich nicht,
zum Waffengarten
Voll Helleparten
Bin ich gestellt.”
“Stehst du im Feld, so helf dir Gott,
An Gottes Segen
Ist alles gelegen,
Wer’s glauben tut.”
“Wer’s glauben tut, ist weit davon,
Er ist ein König, Er ist ein Kaiser,
Er führt den Krieg.
Halt! Wer da? Rund!
Bleib’ mir vom Leib!”
“Wer sang es hier? Wer sang zur Stund’?
Verlorne Feldwacht
Sang es um Mitternacht.
Mitternacht! Feldwacht!”
6. Das irdische Leben
“Mutter, ach Mutter! es hungert mich,
Gieb mir Brot, sonst sterbe ich.”
“Warte nur, warte nur, mein liebes Kind,
Morgen wollen wir ernten geschwind.”
Und als das Korn geerntet war,
Rief das Kind noch immerdar:
“Mutter, ach Mutter! es hungert mich,
Gieb mir Brot, sonst sterbe ich.”
“Warte nur, warte nur, mein liebes Kind,
Morgen wollen wir dreschen geschwind.”
Und als das Korn gedroschen war,
Rief das Kind noch immerdar:
5. The Sentry’s Night Song (A Scene from Army Life)
“I can’t and may not be cheerful;
When everyone sleeps,
I must keep watch,
I must be sad.”
“Dear lad, you mustn’t be sad,
I will wait for you
In the rose garden,
In the green clover.”
“To the green clover, I cannot go;
To the weapons garden,
Full of halberds,
I’ve been posted.”
“When you are in battle, may God help you!
On God’s blessing
Everything depends,
For him who believes.”
“He who believes is far away.
He is a king, he is an emperor,
He sends us to war.
Halt! Who’s there? Turn around!
Stand back from me!”
Who sang here? Who was singing now?
A forlorn sentinel
Singing at midnight.
Midnight! A sentry!
6. The Earthly Life
“Mother, oh Mother! I’m hungry;
Give me bread, or I shall die!”
“Wait a little, my darling child;
Tomorrow we shall harvest quickly.”
And when the corn had been harvested,
The child wailed again:
“Mother, oh Mother! I’m hungry;
Give me bread, or I shall die!”
“Wait a little, my darling child;
Tomorrow we shall thresh quickly.”
And when the corn had been threshed,
The child wailed again:
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“Mutter, ach Mutter! es hungert mich,
Gieb mir Brot, sonst sterbe ich!”
“Warte nur, warte nur, mein liebes Kind,
Morgen wollen wir backen geschwind.”
Und als das Brot gebacken war,
Lag das Kind auf der Totenbahr.
7. Lied des Verfolgten im Turm
Der Gefangene:
Die Gedanken sind frei,
Wer kann sie erraten?
Sie rauschen vorbei
Wie nächtliche Schatten.
Kein Mensch kann sie wissen,
Kein Jäger sie schießen;
Es bleibet dabei,
Die Gedanken sind frei.
Das Mädchen:
Im Sommer ist gut lustig sein
Auf hohen wilden Heiden,
Dort findet man grün Plätzelein,
Mein herzverliebtes Schätzelein,
Von dir mag ich nit scheiden.
Der Gefangene:
Und sperrt man mich ein
Im finstern Kerker,
Dies alles sind nur
Vergebliche Werke;
Denn meine Gedanken
Zerreißen die Schranken
Und Mauern entzwei,
Die Gedanken sind frei.
Das Mädchen:
Im Sommer ist gut lustig sein
Auf hohen wilden Bergen;
Man ist da ewig ganz allein,
Man hört da gar kein Kindergeschrei,
Die Luft mag einem da werden.
Der Gefangene:
So sei es, wie es will,
Und wenn es sich schicket,
Nur alles in der Still;
“Mother, oh Mother! I’m hungry;
Give me bread, or I shall die!”
“Wait a little, my darling child;
Tomorrow we shall bake quickly.”
And when the bread had been baked,
The child was lying on the funeral bier.
7. Song of the Persecuted in the Tower
The prisoner:
Thoughts are free,
Who can guess them?
They rush past
Like nocturnal shadows.
No man can know them,
No hunter shoot them;
For so it shall always be:
Thoughts are free.
The maiden:
In summer it is good to make merry
On high, wild meadows,
There we can find green nooks;
My heart’s beloved treasure,
I never want to part from you!
The prisoner:
And if they should lock me up
In a dark dungeon,
It would be
All in vain,
For my thoughts
Break the barriers
And walls in two:
Thoughts are free!
The maiden:
In summer it is good to be merry
On high, wild mountains;
There one is always alone;
One hears no children shrieking,
And the air is so inviting.
The prisoner:
Let things be, just as they will;
And if it must be so,
But let it be in silence;
SSO CHAMBER MUSIC
COCKTAIL HOURThree inspiring evenings at the Utzon Room, Sydney Opera House
Lights shimmering on the harbour, a uniquely intimate space, inspiring music, and a delicious cocktail to enjoy – all the elements for one hour of sheer bliss.
Hear individual members of your SSO up close in this year’s new chamber series with music of Brahms, some of the most beautiful chamber music ever written.
BONES BRAHMS & BRASS SAT 16 MAY | 6PM
WEBERN arr. Hetzler Slow Movement in E flat
BRUCKNER arr. Doms Two Motets arranged for trombone quartet
BRAHMS String Quintet No.2
RIFFS BRAHMS FUSIONSAT 6 JUNE | 6PM
MACKEY Heavy Light, for electric guitarFusion Tune, for electric guitar and cello
BRAHMS String Sextet No.2
ECHOES LOVE & NOSTALGIASAT 18 JULY | 6PM
DVOŘÁK Five songs from Cypresses, for string quartet
BRAHMS Clarinet Quintet
COCKTAIL BAR FROM 5.30PMA selection of drinks will be available for cash and may be enjoyed before and during the concert.
SINGLE TICKETS ALSO AVAILABLE AT SYDNEYOPERAHOUSE.COM 9250 7777 Mon–Sat 9am–8.30pm; Sun 10am–6pm
^Single concert tickets do not include drink voucher. Booking fees of $5.00–$8.95 may apply.*Drink voucher may only be redeemed at Utzon Room Bar on 16 May, 6 June & 18 July events.
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17
Mein Wunsch und Begehren
Niemand kann’s wehren;
Es bleibet dabei,
Die Gedanken sind frei.
Das Mädchen:
Mein Schatz, du singst so fröhlich hier
Wie’s Vögelein in dem Grase;
Ich steh so traurig bei Kerkertür,
Wär ich doch tot, wär ich bei dir,
Ach, muß ich denn immer klagen?
Der Gefangene:
Und weil du so klagst,
Der Lieb ich entsage,
Und ist es gewagt,
So kann mich nicht plagen!
So kann ich im Herzen
Stets lachen, bald scherzen;
Es bleibet dabei,
Die Gedanken sind frei.
8. Wer hat dies Liedel erdacht?
Dort oben am Berg in dem hohen Haus,
Da guckt ein fein’s, lieb’s Mädel heraus!
Es ist nicht dort daheime!
Es ist des Wirt’s sein Töchterlein!
Es wohnet auf grüner Haide!
Mein Herzle is’ wundt!
Komm’, Schätzle, mach’s g’sund!
Dein’ schwarzbraune Äuglein,
Die hab’n mich verwund’t!
Dein rosiger Mund
Macht Herzen gesund.
Macht Jugend verständig,
Macht Tote lebendig,
Macht Kranke gesund.
Wer hat denn das schöne Liedel erdacht?
Es haben’s drei Gäns’ über’s Wasser gebracht!
Zwei graue und eine weisse!
Und wer das Liedel nicht singen kann,
Dem wollen sie es pfeifen! Ja!
My wish and desires
None can forbid
For so it shall always be:
Thoughts are free.
The maiden:
My darling, you sing so cheerfully here,
Like a little bird in the grass;
I stand so sadly by the prison door.
Would I were dead, if only I were with you!
Ah! must I lament forever?
The prisoner:
And because you lament so,
I renounce love,
And if I dare this,
Nothing can torment me.
Then in my heart
I can always laugh and joke,
For so it shall always be:
Thoughts are free.
8. Who has thought up this pretty little song?
Up there on the mountain, in a high-up house,
a lovely, darling girl looks out of the window.
She does not live there:
she is the daughter of the innkeeper,
and she lives on the green meadow.
‘My heart is sore!
Come, my treasure, make it well again!
Your dark brown eyes
have wounded me.
Your rosy mouth
makes hearts healthy.
It makes youth wise,
brings the dead to life,
gives health to the ill.’
Who has thought up this pretty little song then?
It was brought over the water by three geese –
two grey and one white –
and if you cannot sing the little song,
they will whistle it for you!
18
9. Des Antonius von Padua Fischpredigt
Antonius zur Predigt
Die Kirche find’t ledig.
Er geht zu den Flüssen
und predigt den Fischen;
Sie schlagen mit den Schwänzen,
Im Sonnenschein glänzen.
Die Karpfen mit Rogen
Sind all’ hierher zogen
Haben d’Mäuler aufrissen,
Sich Zuhörens beflissen;
Kein Predigt niemalen
Den Fischen so g’fallen.
Spitzgoschete Hechte,
Die immerzu fechten,
Sind eilend herschwommen,
Zu hören den Frommen;
Auch jene Phantasten,
Die immerzu fasten;
Die Stockfisch ich meine,
Zur Predigt erscheinen;
Kein Predigt niemalen
Den Stockfisch so g’fallen.
Gut Aale und Hausen,
Die vornehme schmausen,
Die selbst sich bequemen,
Die Predigt vernehmen.
Auch Krebse, Schildkroten,
Sonst langsame Boten,
Steigen eilig vom Grund,
Zu hören diesen Mund:
Kein Predigt niemalen
den Krebsen so g’fallen.
Fisch große, Fisch kleine,
Vornehm und gemeine,
Erheben die Köpfe
Wie verständge Geschöpfe:
Auf Gottes Begehren
Die Predigt anhören.
Die Predigt geendet,
Ein jeder sich wendet,
Die Hechte bleiben Diebe,
9. St Anthony of Padua’s Sermon to the Fishes
St Anthony comes to preach
And finds the church empty.
He goes to the rivers
To preach to the fishes;
They flap their tails,
Glistening in the sunshine.
The carp with their roe
Have all come here,
With mouths wide open,
Listening eagerly.
No sermon ever
Pleased the fishes so much.
Sharp-toothed pike
That are always fighting,
Have swum here hurriedly
To hear this pious man;
Also, those dreamers
That are always fasting –
The cod, I mean –
Turn up for the sermon;
No sermon ever
Pleased the cod so much.
Good eels and sturgeons,
The elegant feast –
Condescend to
Listen to the sermon.
Also crabs, and turtles,
Usually so slow,
Rise swiftly from the bottom,
To hear this voice.
No sermon ever
pleased the crabs so much.
Fish great and small,
Noble and common,
Lift their heads
Like intelligent creatures:
At God’s behest
They listen to the sermon.
The sermon ended,
Each turns away;
The pike remain thieves,
19
Die Aale viel lieben.
Die Predigt hat g’fallen.
Sie bleiben wie alle.
Die Krebs gehn zurücke,
Die Stockfisch bleiben dicke,
Die Karpfen viel fressen,
die Predigt vergessen.
Die Predigt hat g’fallen.
Sie bleiben wie alle.
10. Urlicht
O Röschen rot,
Der Mensch liegt in größter Not,
Der Mensch liegt in größter Pein,
Je lieber möcht’ ich im Himmel sein.
Da kam ich auf einem breiten Weg,
Da kam ein Engelein und wollt’ mich abweisen.
Ach nein, ich ließ mich nicht abweisen!
Ich bin von Gott und will wieder zu Gott,
Der liebe Gott wird mir ein Lichtchen geben,
Wird leuchten mir bis in das ewig selig’ Leben!
11. Lob des hohen Verstandes
Einstmals in einem tiefen Tal
Kuckuck und Nachtigall
Täten ein Wett’ anschlagen:
Zu singen um das Meisterstück,
Gewinn’ es Kunst, gewinn’ es Glück:
Dank soll er davon tragen.
Der Kuckuck sprach: “So dir’s gefällt,
Hab’ ich den Richter wählt”,
Und tät gleich den Esel ernennen.
“Denn weil er hat zwei Ohren groß,
So kann er hören desto bos
Und, was recht ist, kennen!”
Sie flogen vor den Richter bald.
Wie dem die Sache ward erzählt,
Schuf er, sie sollten singen.
Die Nachtigall sang lieblich aus!
Der Esel sprach: “Du machst mir’s kraus!
The eels, great lovers.
The sermon has pleased them,
But they stay the same.
The crabs still walk backwards,
The cod stay fat,
The carps still guzzle,
The sermon is forgotten!
The sermon has pleased them,
But they stay the same.
10. Primal Light
O little red rose,
Man lies in greatest need,
Man lies in greatest pain.
I would much rather be in heaven.
Then I came upon a wide path,
There appeared an Angel who would turn me away.
But no, I would not be turned away!
I came from God, and will return to God,
The loving God will give me a little light,
To light my way to eternal, blessed life!
11. In Praise of Superior Intellect
Once in a deep valley,
The cuckoo and the nightingale
Set a contest:
To sing the best song.
To win by art, to win by luck,
The winner would have his reward.
The cuckoo said: “If it please you,
I have chosen the judge.”
And he immediately named the donkey:
“Since he has two huge ears,
The better to hear what is bad
And know what is correct.”
They flew before the judge
And when the matter was explained to him,
He told them they should sing.
The nightingale sang out sweetly!
The donkey said: “You make me confused!
20
Du machst mir’s kraus! I-ja! I-ja!
Ich kann’s in Kopf nicht bringen!”
Der Kuckuck drauf fing an geschwind
Sein Sang durch Terz und Quart und Quint.
Dem Esel g’fiels, er sprach nur
“Wart! Wart! Wart! Dein Urteil will ich sprechen,
Wohl sungen hast du, Nachtigall!
Aber Kuckuck, singst gut Choral!
Und hältst den Takt fein innen!
Das sprech’ ich nach mein’ hoh’n Verstand!
Und kost’ es gleich ein ganzes Land,
So laß ich’s dich gewinnen!
Kuckuck, kuckuck, i-ja!”
12. Wo die schönen Trompeten blasen
Wer ist denn draussen und wer klopfet an,
Der mich so leise, so leise wecken kann?
Das ist der Herzallerlieble dein,
Steh’ auf und lass mich zu dir ein!
Was soll ich hier nun länger steh’n?
Ich seh’ die Morgenröt’ aufgeh’n,
Die Morgenröt’, zwei helle Stern’.
Bei meinem Schatz, da wär ich gern’,
bei meiner Herzallerlieble.
Das Mädchen stand auf und liess ihn ein;
Sie heisst ihn auch willkommen sein.
Willkommen, lieber Knabe mein,
So lang hast du gestanden!
Sie reicht’ ihm auch die schneeweisse Hand.
Von ferne sang die Nachtigall,
Das Mädchen fing zu weinen an.
Ach weine nicht, du Liebste mein,
Auf’s Jahr sollst du mein Eigen sein.
Mein Eigen sollst du werden gewiss,
Wie’s Keine sonst auf Erden ist!
O Lieb auf grüner Erden.
Ich zieh’ in Krieg auf grüne Haid’,
Die grüne Haide, die ist so weit!
Allwo dort die schönen Trompeten blasen,
Da ist mein Haus, von grünem Rasen.
You make me confused! Hee-haw!
I can’t get it into my head!”
The cuckoo then quickly started
His song in thirds and fourths and fifths;
The donkey liked it, and only said:
“Wait! Wait! Wait! I will pronounce judgement now.
You sang well, Nightingale!
But, Cuckoo, you sing a good chorale!
And you keep the rhythm well!
I speak from my superior intellect,
And even though it should cost an entire land,
I declare you the winner!
Cuckoo, cuckoo! Hee-haw!”
12. Where the Fine Trumpets Sound
Who is then outside, and who is knocking,
Who can so softly, softly waken me?
It is your darling,
Arise and let me come in to you!
Why should I stand here any longer?
I see the dawn arrive,
The dawn, two bright stars,
With my darling would I gladly be,
With my heart’s most beloved!
The maiden arose and let him in;
She welcomed him as well:
Welcome, my beloved boy,
You have stood outside so long!
She reached to him her snow-white hand.
From afar a nightingale sang;
The maiden began to weep.
Oh, do not cry, my darling,
Next year you shall be my own!
My own shall you certainly be,
As no one else on earth is.
O Love on the green earth!
I go to war on the green heath,
The green heath that is so broad!
It is there where the fine trumpets sound,
There is my house of green grass!
21
13. Der Tambourg’sell
Ich armer Tambourgesell,
Man führt mich aus dem Gwölb,
Wär ich ein Tambour blieben,
Dürft ich nicht gefangen liegen.
O Galgen, du hohes Haus,
Du siehst so furchtbar aus,
Ich schau’ dich nicht mehr an,
Weil i’ weiß, daß i’ gehör dran.
Wenn Soldaten vorbeimarschieren,
Bei mir nicht einquartieren.
Wenn sie fragen, wer i’ g’wesen bin:
Tambour von der Leibkompanie.
Gute Nacht, ihr Marmelstein,
Ihr Berg und Hügelein.
Gute Nacht, ihr Offizier,
Korporal und Musketier.
Gute Nacht! Ihr Offizier,
Korporal und Grenadier!
Ich schrei mit lauter Stimm’,
Von euch ich Urlaub nimm.
Gute Nacht! Gute Nacht.
13. The Drummer Boy
I’m a poor drummer boy –
they’re leading me from my cell.
If I had stayed a drummer
I wouldn’t have been imprisoned.
O gallows, you lofty house,
You look so fearsome,
I won’t look at you any more
because I know that’s where I belong.
When soldiers march by
who weren’t quartered with me –
and they ask who I was, I say:
Drummer in the first company.
Good night, marble stones,
You mountains and hills –
Good night, you officers,
corporals and musketeers.
Good night, you officers,
corporals and grenadiers,
I cry with a loud voice,
and take my leave of you!
Good night! Good night.
22
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23
ABOUT THE MUSIC
KeynotesTCHAIKOVSKY
Born Kamsko-Votkinsk, 1840 Died St Petersburg, 1893
Tchaikovsky represented a new direction for Russian music in the late 19th century: fully professional and cosmopolitan in outlook. He embraced the genres and forms of Western European tradition – symphonies, concertos and overtures – bringing to them an unrivalled gift for melody and an extraordinary dramatic sense.
He composed three full ballet scores: Swan Lake (1877), The Sleeping Beauty (1889) and Nutcracker (1892). At the time, ballet music as a genre was looked down on by serious composers, but Tchaikovsky took his commissions very seriously. His inspiration and models came from the French composer Delibes, and he went so far as to say that Swan Lake was ‘poor stuff’ compared to Delibes’ Sylvia. The ballet scores of both men were remarkable for bringing new musical refinement and power to the ballet stage. Tchaikovsky’s ballets reveal the profound love he felt for his task – the scores are infused with sophisticated and expressive symphonic elements without ever losing sight of the practical and stylistic demands of dancers and choreographers. No wonder that Tchaikovsky’s ballet music is as effective in the concert hall as it is in the theatre.
Pyotr Ilyich Tchaikovsky Nutcracker: Act II – Kingdom of SweetsScene: The Magic Castle on the Mountain of Sweets Scene: Clara and the Nutcracker Prince Character Dances (Divertissement): Chocolate (Spanish Dance) Coffee (Arabian Dance) Tea (Chinese Dance) Trépak (Russian Dance) Dance of the Mirlitons Mother Gigogne and the Clowns Waltz of the Flowers Pas de deux: Intrada Variation I (Tarantella) Variation II (Dance of the Sugar Plum Fairy) Coda Final Waltz and Apotheosis
It may seem strange to be listening to a complete act from a
ballet without the dancing, but great ballet music loses nothing
when transferred to the concert hall. Some of the most famous
ballets in the repertoire owe their enduring popularity to the
magnificent music that has been composed for them: Swan
Lake, Sleeping Beauty and Prokofiev’s Romeo and Juliet are just
a few.
But great ballet music is not to be taken for granted. After a
golden era during the French baroque period (Louis XIV, the Sun
King, liked to dance and looked rather fine in tights), ballet music
slumped in reputation and quality. It took a 19th-century
Frenchman, Léo Delibes, to lift ballet from its musical doldrums
with his scores for Sylvia and the more famous Coppélia, and it
was a Russian Francophile, Tchaikovsky, who followed his lead
and became one of the first composers to write ballet music that
was truly symphonic.
Tchaikovsky took ballet very seriously (he liked to dance too).
It’s no wonder that his three ballet scores – Swan Lake, Sleeping
Beauty and Nutcracker – are as popular as concert suites as they
are on the stage.
Unusually, it was as a concert suite that some of the Nutcracker
music was first presented to the public in 1892 – a 19th-century
‘trailer’ for the ballet in preparation. The suite of musical
highlights was so successful that most of the numbers were
encored. This performance of all the music from Act II gives you
the opportunity to enjoy some of those same dances – including
everyone’s favourites, the Dance of the Sugar Plum Fairy and the
24
Waltz of the Flowers – along with rare treats not often heard
outside the theatre.
Nutcracker is loosely based on a ‘fairytale’ for grownups by
E.T.A. Hoffmann. In its translation to dance the tale lost some
of its darkly mysterious qualities and nowadays, especially in
the United States, the ballet is entrenched as a Christmas
entertainment for children of all ages. The ballet scenario is a
lopsided affair – the first act carries virtually all the action of
the Christmas Eve party and Clara’s dream (or is it?) in which
the Nutcracker Prince does battle with oversized rats and mice;
the second act is a pure confection with little apparent
significance to the plot.
Tchaikovsky himself felt unhappy with the scenario and of
all his ballets Nutcracker is the one that has responded best to
new interpretations of its themes. The most interesting of these
is Graeme Murphy’s inspired interpretation for the Australian
Ballet – the tender and dramatic reverie of a former Russian
ballerina with a Hills hoist in her backyard.
But whether the production is traditional or revisionist,
Tchaikovsky’s music shines. He skilfully evokes a world of
childlike wonder and shimmering fantasy, and it is in Act II, in
the Kingdom of Sweets, that his genius for national colour and
jewel-like divertissements emerges.
Act II owes something to the tradition of court galas instituted
by Louis XIV. A flimsy scenario is sufficient pretext for glorious
music: the Sugar Plum Fairy, Queen of the Kingdom, celebrates
the bravery of 12-year-old Clara and her Nutcracker Prince with a
festival in the Magic Castle.
The castle works its magic by lulling us into a richly swirling
theme with flourishing flutes and rippling passages from the
harp and celesta, the signature colour of the Fairy herself.
The Prince then tells of the battle with the Mouse King, providing
Tchaikovsky with the opportunity for a nice symphonic gesture,
a recapitulation of themes from Act I. All pretence of storytelling
over, the party then begins with a sequence of characterful
divertissements.
The choreographer Marius Petipa had imagined dances for the
confections of the day, each associated with a different country.
Chocolate is given a Spanish dance with a brilliant solo for the
trumpet and castanets for colour. The coffee is evidently Arabian
(‘Café mocca’, to quote Petipa’s instructions), although its
convincingly ‘Oriental’ music with hypnotic accompaniment is
actually based on a Georgian lullaby traditionally sung to children
suffering from the measles. Chinese tea makes a fleeting
appearance, a jogging number with an acrobatic flute.
Detail from Nikolai Kuznetsov’s portrait of Tchaikovsky, made soon after the premiere of Nutcracker
25
The Trépak, a Russian Dance, begins ‘molto vivace’ (very
lively) and accelerates from there. Following its rumbustious
finish the music immediately assumes a deft and dainty
character for the Dance of the Mirlitons. (In the musical world
a mirliton is a reed pipe, or, more familiarly, a kazoo. For a
confectioner it can be a mousse-filled pastry tube, the ends
sealed with chocolate.) A trio of flutes play perfectly coordinated
arabesques while the cor anglais offers its poignant view
of affairs.
Mother Gigogne is better known to English speakers as the
Old Woman Who Lived in a Shoe, and her French fairytale origins
inspired the use of sprightly French nursery tunes, including
‘Cadet Rousselle’ in the middle.
Two grand waltzes take pride of place in the Kingdom of
Sweets. The Waltz of Flowers is perhaps Tchaikovsky’s most
famous waltz of all and in its traditional choreography it fills
the stage with a cast of thousands, including children carrying
garlands. An effusion of melody and impetuous grace reveals
Tchaikovsky in his element. The Final Waltz is more courtly in
its character, but no less exhilarating as it leads into the
apotheosis. Here the same charming music that beckoned us
into the Kingdom of Sweets brilliantly bids goodbye and returns
Clara to the real world.
But Tchaikovsky’s real coup is in the Pas de deux for the
Prince and the Sugar Plum Fairy – opulent, ‘colossal in effect’
and perhaps the finest music in the whole ballet. While in Paris,
the composer was seduced by the ‘glistering tones’ of a
marvellous new instrument, ‘something between a small piano
and a Glockenspiel’. Determined to surprise Russian audiences
(and his composer colleagues!) he had one shipped secretly
to St Petersburg. The bell-like sound of the celesta worked its
magic in the Dance of the Sugar Plum Fairy – a distillation of
the delicate effects, exotic colour and lyricism that make
Nutcracker so irresistible.
YVONNE FRINDLE © 2000 / 2015
Act II of Nutcracker calls for three flutes (one doubling piccolo), two oboes,
cor anglais, two clarinets, bass clarinet and two bassoons; four horns, two
trumpets, three trombones and tuba; timpani and percussion; two harps,
celesta and strings.
We believe this is the first time the SSO has performed a complete act
from Nutcracker; it’s more common for us to play highlights or a concert
suite. In 2012 we performed highlights from Act II in concerts conducted
by Andrew Grams.
Varvara Nikitina danced the Sugar Plum Fairy in the first production of Nutcracker. The first section of the pas de deux with the prince (danced by Pavel Gerdt) exploited hidden stage machinery to make it appear that she was floating across the stage on a scarf.
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Sleeping Beauty is Tchaikovsky’s other great ballet, and it can be found, together with Swan Lake, Nutcracker, his Pathétique Symphony and selected orchestral works, in a bargain-priced 6CD set from Brilliant Classics, with performances by the Suisse Romande Orchestra and Ernest Ansermet.BRILLIANT CLASSICS 94031
Broadcast DiaryMay–June
abc.net.au/classic
Friday 8 May, 8pm PURE MAGICSee this program for details.
Friday 15 May, 8pm ROMANTIC VISIONSMatthias Pintscher conductor Peter Serkin piano
Wagner, Bartók, Brahms orch. Schoenberg
Friday 22 May, 8pm PETER SERKIN IN RECITALRenaissance keyboard pieces, Nielsen, Reger, Mozart, Beethoven
Tuesday 9 June, 9.30pm FATHERS AND SONSAndrew Haveron violin-director Yelian He cello
JS Bach, CPE Bach, L Mozart, WA Mozart
SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOUR
Tuesday 12 May, 6pm
Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.
finemusicfm.com
MORE MUSIC
MORE MAHLER
Mahler turned to Des Knaben Wunderhorn many times during his composing career and, as in this concert, most recordings can only present a selection. But if completeness is your thing, look for The Complete Wunderhorn Songs sung by Dietrich Henschel with Boris Berezovsky at the piano. You’ll hear the earlier songs, composed for voice and piano, together with those conceived for orchestra. EVIL PENGUIN RECORDS 13
For the orchestral Wunderhorn songs in full colour try the recording in which Dietrich Henschel is joined by Sarah Connolly with Philippe Herrewegghe conducting the Champs-Élysées Orchestra.HARMONIA MUNDI 290 1920
And if you’re looking for Mahler’s other songs with orchestra, you can’t go wrong with discs from our Mahler Odyssey set, recorded with Vladimir Ashkenazy in 2010–11. You’ll find Songs of a Wayfarer sung by baritone Markus Eiche (and coupled with the First Symphony) and Song of the Earth, featuring mezzo-soprano Lilli Paasikivi and tenor Stuart Skelton. Also in the collection is an album drawn from our archives with performances of the Rückert-Lieder and Kindertotenlieder as well as Song of the Earth.SSO LIVE 201001; 201004; 201204
MORE TCHAIKOVSKY
There’s an abundance of recordings of Tchaikovsky’s ballet music, whether suites and highlights or complete recordings. For Nutcracker you can’t go past the exhilarating performance by Valery Gergiev with the Kirov Theatre Orchestra (the orchestra of the Mariinsky Theatre in St Petersburg, where the ballet was premiered). The eye-catching production is also available on video.PHILIPS 462 1142 DECCA 074 3217 (DVD); 074 3301 (Blu-ray)
A more recent recording of the complete ballet, by the Berlin Philharmonic and Simon Rattle, comes in an ‘Experience Edition’ with lavish digital extras on EMI Classics. Available in physical format or as a download through iTunes.EMI CLASSICS 31621
Also highly recommended is Graeme Murphy’s brilliant re-imagining of Nutcracker from an Australian perspective. Nutcracker: The Story of Clara takes its inspiration from the visits to Australia of touring companies such as the Ballets Russes in the 1940s. Available on DVD through ABC Shops and the Australian Ballet.ABC DVD R-105058-9
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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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SSO Online
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Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music in London. A few weeks after leaving the Academy, he won the Kondrashin International Conducting Competition in the Netherlands and since then has worked with many of the world’s leading orchestras and opera companies.
In 1992 he became Associate Conductor of the BBC Symphony Orchestra and further appointments have included Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales. In September he will take up the post of Music Director for English National Opera.
In addition to concerts with most of the UK’s orchestras, Mark Wigglesworth has regularly guest conducted many of Europe’s finest ensembles, including the Berlin Philharmonic, Royal Concertgebouw Orchestra, Salzburg Mozarteum Orchestra, Orchestra of La Scala Milan, Finnish Radio Symphony, Gothenburg Symphony, Oslo Philharmonic and the Budapest Festival Orchestra.
He is just as busy in North America, where his engagements include the Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and the Chicago, Boston, Montreal and Toronto symphony orchestras. He regularly visits the Minnesota Orchestra and has a standing
commitment to the New World Symphony in Miami.
Equally at home in the opera house, Wigglesworth was Music Director of Opera Factory, London, and has performed at Glyndebourne, Welsh National Opera, English National Opera, La Monnaie, Netherlands Opera, Metropolitan Opera and the Royal Opera House, Covent Garden. In Sydney he has conducted Peter Grimes for Opera Australia.
His recording projects include the complete Shostakovich symphonies, as well as Mahler’s Sixth and Tenth symphonies, recorded with the Melbourne Symphony Orchestra, and a recording of English repertoire with the SSO. Most recently he has recorded the Brahms piano concertos with soloist Stephen Hough and the Salzburg Mozarteum Orchestra.
Mark Wigglesworth conducted the SSO in the closing concert of the 2000 Olympic Arts Festival and more recently in 2009, when he conducted an all-English program.
Mark Wigglesworthconductor
THE ARTISTS
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Caitlin Hulcup trained initially as a violinist, then, after winning an Australian Opera Foundation competition, she studied at the National Opera Studio in London. She has since appeared at international opera houses including the Wiener Staatsoper, Deutsche Staatsoper Berlin, Royal Opera House London, Bayerisches Staatsoper, Maggio Musicale Fiorentino and Palau de les Arts Valencia.
Her opera roles have included Cherubino (The Marriage of Figaro), Rosina (The Barber of Seville), Dorabella (Così fan tutte), Hansel (Hansel and Gretel), Carmen and Calbo (Maometto II). With Zubin Mehta she has sung Donna Elvira (Don Giovanni) and Octavian (Der Rosenkavalier). She has also sung Octavian at Moscow’s Bolshoi Theatre with Vasily Sinaiski and in Beijing with Sebastian Lang-Lessing. In baroque repertoire, she gained acclaim for the title roles of Handel’s Ariodante, Vivaldi’s Griselda and as Cesare in Catone in Utica, and most recently in Gluck’s Iphigénie en Tauride for Pinchgut Opera and Orfeo ed Euridice for Scottish Opera. Future engagements will include Idamante (Idomeneo) with Tobias Ringborg and a return to Scottish Opera as Ariodante.
Highlights from her concert performances include Beethoven’s Ninth Symphony with Gustavo Dudamel in Venezuela and at the BBC Proms, Mozart’s Great C Minor Mass with Jeremy Rhorer, Mahler’s Eighth Symphony in Edinburgh with Peter Oundjian and Beethoven’s Missa Solemnis with Martin Haselböck.
Caitlin Hulcupmezzo-soprano
Randall Scarlata has appeared as soloist with top orchestras and on important concert stages throughout the world. He is particularly well known as a recitalist and collaborates regularly with pianists such as Gilbert Kalish, Jeremy Denk, Jonathan Biss, Benjamin Hochman, Inon Barnatan and Laura Ward. A frequent performer of new music, he has given premieres of music by Ned Rorem, George Crumb, Richard Danielpour, Christopher Theofanidis, Thea Musgrave, Mohammed Fairouz, Daron Hagen, Samuel Adler and Paul Moravec. His awards and honours include Young Concert Artists, Das Schubert Lied, Joy in Singing, The Naumburg Competition, The International Brahms Competition, the Alice Tully Vocal Arts Debut Recital Award, and a Fulbright Grant to study in Vienna, Austria.
Highlights of the 2014–15 season include recital appearances in Austria, at the Schola Cantorum in Paris, and throughout the United States. He also appears at the Festival Internacional Cervantino in Guanajuato, Mexico to premiere four new works for voice and chamber ensemble, and with the early music group Tempesta di Mare for performances of Handel’s Messiah. Other engagements include performances of Stephen Paulus’ To Be Certain of the Dawn and Crumb’s Voices from the Morning of the Earth (American Songbook VI), which he has also recorded. Also to be released this year is his recording of Schubert’s Winterreise, with Gilbert Kalish.
Randall Scarlattabaritone
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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 Chief Conductor and Artistic Director
PATRON Professor The Hon. Dame Marie Bashir ad cvo
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FIRST VIOLINS Andrew HaveronCONCERTMASTER
Sun YiASSOCIATE CONCERTMASTER
Kirsten Williams ASSOCIATE CONCERTMASTER
Fiona Ziegler ASSISTANT CONCERTMASTER
Jenny BoothSophie ColeAmber DavisClaire HerrickNicola LewisEmily LongAlexandra MitchellAlexander NortonRebecca Gill*Vivien Jeffery*Emily Qin°Lucy Warren*Dene Olding CONCERTMASTER
Lerida DelbridgeASSISTANT CONCERTMASTER
Georges LentzLéone Ziegler
SECOND VIOLINSMarina MarsdenMarianne BroadfootShuti HuangStan W KornelBenjamin LiPhilippa PaigeMaja VerunicaMadeleine Boud*Alexandra D’Elia*Freya Franzen*Monique Irik°Elizabeth Jones°Narine Melconian*Cristina Vaszilcsin*Kirsty Hilton Emma Jezek ASSISTANT PRINCIPAL
Emma HayesNicole MastersBiyana Rozenblit
VIOLASRoger Benedict Tobias Breider Anne-Louise ComerfordSandro CostantinoRosemary CurtinGraham HenningsAmanda VernerLeonid VolovelskyElla Brinch*Andrew Jezek*Vera Marcu*David Wicks*Justin Williams ASSISTANT PRINCIPAL
Jane HazelwoodStuart JohnsonJustine MarsdenFelicity Tsai
CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL
Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleAdrian WallisDavid WickhamEleanor Betts*Rowena Macneish *Umberto ClericiChristopher Pidcock
DOUBLE BASSESKees Boersma Neil Brawley PRINCIPAL EMERITUS
David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°Max McBride*Alex Henery David Murray
FLUTES Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO
Janet Webb
OBOESShefali Pryor David PappAlexandre Oguey PRINCIPAL COR ANGLAIS
Diana Doherty
CLARINETSLawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET
Rowena Watts*Francesco Celata Christopher Tingay
BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON
HORNSRobert Johnson Geoffrey O’Reilly PRINCIPAL 3RD
Euan HarveyKaty Grisdale*Ben Jacks Marnie SebireRachel Silver
TRUMPETSDavid Elton Josh Rogan°Paul Goodchild Anthony Heinrichs
TROMBONESRonald Prussing Christopher HarrisAshley Carter*Scott Kinmont Nick Byrne
TUBASteve Rossé
TIMPANIMark Robinson ASSISTANT PRINCIPAL
Richard Miller
PERCUSSIONRebecca Lagos Timothy ConstableIan Cleworth*Kevin Man* HARP Louise Johnson Genevieve Huppert* CELESTASusanne Powell*
BOLD = PRINCIPAL
ITALICS = ASSOCIATE PRINCIPAL
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN
GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT
The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.
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 RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES
Dene OldingCONCERTMASTER
Andrew HaveronCONCERTMASTER
Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE
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Sydney Symphony Orchestra Staff
BEHIND THE SCENES
MANAGING DIRECTOR
Rory Jeffes
EXECUTIVE TEAM ASSISTANT
Lisa Davies-Galli
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNING
Benjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER
Eleasha Mah
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING ENTERPRISE MANAGER
Philip Powers
LibraryAnna Cernik Victoria Grant Mary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Rachel McLarin
EDUCATION MANAGER
Amy Walsh
EDUCATION OFFICER
Tim Walsh
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
ORCHESTRA MANAGER
Rachel Whealy
ORCHESTRA COORDINATOR
Rosie Marks-Smith
OPERATIONS MANAGER
Kerry-Anne Cook
PRODUCTION MANAGER
Laura Daniel
STAGE MANAGER
Courtney Wilson
PRODUCTION COORDINATOR
Ollie Townsend
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
A/ SENIOR SALES & MARKETING MANAGER
Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA
Eve Le Gall
MARKETING MANAGER, CRM & DATABASE
Matthew Hodge
A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS
Jonathon Symonds
DATABASE ANALYST
David Patrick
SENIOR GRAPHIC DESIGNER
Christie Brewster
GRAPHIC DESIGNER
Tessa Conn
SENIOR ONLINE MARKETING COORDINATOR
Jenny Sargant
MARKETING ASSISTANT
Laura Andrew
Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS
Lynn McLaughlin
BOX OFFICE SYSTEMS SUPERVISOR
Jennifer Laing
BOX OFFICE BUSINESS ADMINISTRATOR
John Robertson
CUSTOMER SERVICE REPRESENTATIVES
Karen Wagg – CS ManagerMichael Dowling Tim Walsh
PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
PhilanthropyHEAD OF PHILANTHROPY
Luke Andrew Gay
PHILANTHROPY MANAGER
Jennifer Drysdale
A/ PATRONS EXECUTIVE
Sarah Morrisby
PHILANTHROPY COORDINATOR
Claire Whittle
Corporate RelationsCORPORATE PARTNERSHIPS MANAGER
Belinda Besson
CORPORATE PARTNERSHIPS EXECUTIVE
Paloma Gould
CommunicationsCOMMUNICATIONS & MEDIA MANAGER
Bridget Cormack
PUBLIC RELATIONS MANAGER
Katherine Stevenson
DIGITAL CONTENT PRODUCER
Kai Raisbeck
PUBLICITY & EVENTS COORDINATOR
Caitlin Benetatos
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTURE
IN-HOUSE COUNSEL
Michel Maree Hryce
John C Conde AO Chairman Terrey Arcus AM
Ewen Crouch AM
Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor AM
David LivingstoneThe Hon. Justice AJ Meagher Goetz Richter
Sydney Symphony Orchestra CouncilGeoff Ainsworth AM
Doug BattersbyChristine BishopThe Hon John Della Bosca MLC
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
Sydney Symphony Orchestra Board
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Chair Patrons
SSO PATRONS
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 OboeAndrew Kaldor AM & Renata Kaldor 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
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
Maestro’s Circle
David Robertson
Peter Weiss AO Founding President & Doris Weiss
John C Conde AO Chairman
Brian Abel
Tom Breen & Rachel Kohn
The Berg Family Foundation
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson & Orli Shaham
Penelope Seidler AM
Mr Fred Street AM & Dorothy Street
Brian White AO & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
n n n n n n n n n n
Umberto Clerici has been Principal Cello of the SSO since 2014. He has performed as a soloist with orchestras around the world and served as principal cello at the Teatro Regio in Turin in his native Italy before joining the SSO. Umberto’s chair is generously supported by Garry and Shiva Rich. Their son Samuel recently started learning the cello and aspires to join the SSO one day.
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Learning & Engagement
SSO PATRONS
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
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 Principal Patron, Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,
Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass Chair
fellowship supporting patronsMr Stephen J BellGary Linnane & Peter BraithwaiteJoan 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 HollowayTony Strachan
major education donorsBronze Patrons & above
John Augustus & Kim RyrieMr Alexander & Mrs Vera BoyarskyBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationThe Ian Potter FoundationJames N Kirby Foundation Mrs & Mr Judith A. McKernanMr & Mrs Nigel Price
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 [email protected]
A U S T R A L I A - K O R E AF O U N D A T I O N
Australia-Korea FoundationCrown FoundationThe Greatorex Foundation
Foundations
James N Kirby FoundationPacker Family FoundationIan Potter Foundation
Sydney Symphony Orchestra 2015 Fellows
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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.
Stuart Challender Legacy SocietyCelebrating the vision of donors who are leaving a bequest to the SSO.
Playing Your Part
DIAMOND PATRONS $50,000+The Estate of Dr Lynn JosephMr Andrew Kaldor AM &
Mrs Renata Kaldor AO
In Memory of Matthew KrelRoslyn Packer AO
Ian Potter FoundationPaul Salteri AM & Sandra
SalteriMr Fred Street AM &
Mrs Dorothy Street Mr Peter Weiss AO &
Mrs Doris WeissMr Brian White AO &
Mrs Rosemary White
PLATINUM PATRONS $30,000–$49,999Anne & Terrey Arcus AM
Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde AO
Robert & Janet ConstableMrs Barbara MurphyMrs W SteningKim Williams AM &
Catherine Dovey
GOLD PATRONS $20,000–$29,999Brian AbelGeoff Ainsworth AM
Robert Albert AO & Elizabeth Albert
Christine Bishop Sandra & Neil BurnsJames & Leonie FurberI KallinikosHelen Lynch AM & Helen
BauerMrs T Merewether OAM
Rachel & Geoffrey O’ConorVicki OlssonAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli
ShahamMrs Penelope Seidler AM
G & C Solomon in memory of Joan MacKenzie
Geoff StearnRay Wilson OAM in memory
of James Agapitos OAM
Anonymous (2)
SILVER PATRONS $10,000–$19,999
Bailey Family FoundationAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch AO &
Shanny CrouchThe Hon. Mrs Ashley
Dawson-Damer AM
Paul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantIan Dickson & Reg HollowayEstate of Irwin ImhofSimon JohnsonMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidJustice Jane Mathews AO
The Hon. Justice AJ Meagher & Mrs Fran Meagher
Mr John MorschelDrs Keith & Eileen OngKenneth Reed AM
Mr John Symond AM
The Harry Triguboff Foundation
Caroline WilkinsonAnonymous (2)
BRONZE PATRONS $5,000–$9,999John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara
BoshoffMr Alexander & Mrs Vera
BoyarskyPeter Braithwaite &
Gary LinnaneMr David & Mrs Halina BrettMr Howard ConnorsEwen Crouch AM &
Catherine CrouchIn memory of Dr Lee
MacCormick EdwardsDr Stephen Freiberg &
Donald CampbellDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesThe late Mrs Isabelle JosephMr Frank Lowy AC &
Mrs Shirley Lowy OAM
Henri W Aram OAM & Robin Aram
Stephen J BellMr David & Mrs Halina BrettHoward ConnorsGreta DavisBrian GalwayMiss Pauline M Griffin AM
John Lam-Po-Tang
Peter Lazar AM
Daniel LemesleLouise MillerJames & Elsie MooreDouglas 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 RyanJune & 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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BRONZE PATRONS CONTINUED
Robert McDougallJ A McKernanDavid Maloney AM &
Erin FlahertyR & S Maple-BrownMora MaxwellWilliam McIlrath Charitable
FoundationTaine MoufarrigeNexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson &
Katharine ShawRodney Rosenblum AM &
Sylvia RosenblumDr Evelyn RoyalManfred & Linda SalamonMrs Joyce Sproat &
Mrs Janet CookeTony StrachanDavid Tudehope & Liz DibbsMr Robert & Mrs Rosemary
WalshWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family
BequestAnonymous (2)
PRESTO PATRONS $2,500–$4,999Mr Henri W Aram OAM
Ian BradyMr Mark Bryant oamIta Buttrose AO OBE
Mrs Stella ChenDr Rebecca ChinDr Diana Choquette &
Mr Robert MillinerFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggJames & Yvonne HochrothMr Roger Hudson &
Mrs Claudia Rossi-HudsonProf. Andrew Korda am &
Ms Susan PearsonIn memoriam
Dr Reg Lam-Po-TangHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienJuliana SchaefferDr Agnes E SinclairEzekiel Solomon AM
Mr Ervin Vidor AM & Mrs Charlotte Vidor
Lang Walker AO & Sue WalkerYim Family Foundation Anonymous (2)
VIVACE PATRONS $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons AO
Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenRoslynne BracherMrs R D Bridges OBE
Lenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMr B & Mrs M ColesMs Suzanne CollinsJoan Connery OAM &
Maxwell Connery OAM
Debby Cramer & Bill CaukillMr John Cunningham SCM &
Mrs Margaret CunninghamGreta DavisLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane
BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr Matt GarrettVivienne Goldschmidt &
Owen JonesMrs Fay GrearIn Memory of Angelica GreenAkiko GregoryMr & Mrs Harold &
Althea HallidayJanette HamiltonMrs Jennifer HershonAngus HoldenMr Kevin Holland &
Mrs Roslyn AndrewsThe Hon. David Hunt AO QC &
Mrs Margaret HuntDr & Mrs Michael HunterMr Philip Isaacs OAM
Michael & Anna JoelMrs W G KeighleyDr Andrew KennedyJennifer KingAron KleinlehrerMr Andrew Korda &
Ms Susan PearsonMr Justin LamMr Peter Lazar AM
Professor Winston LiauwAirdrie LloydMrs Juliet LockhartPeter Lowry OAM &
Dr Carolyn Lowry OAM
Kevin & Deirdre McCannIan & Pam McGawMatthew McInnesMacquarie Group FoundationBarbara MaidmentJohn MarRenee MarkovicMr Danny R MayI MerrickHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr Darrol NormanE J NuffieldDr Mike O’Connor AM
Mr & Mrs OrtisMr Andrew C PattersonMichael PaulAlmut PiattiIn memory of Sandra Paul
PottingerDr Raffi QasabianMr Patrick Quinn-GrahamErnest & Judith RapeePatricia H Reid Endowment
Pty LtdDr Marilyn RichardsonIn memory of Katherine
RobertsonMr David RobinsonTim RogersLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully QC
Mrs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking
CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyMary Whelan & Robert
BaulderstoneDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalBetty WilkenfeldDr Edward J WillsProf. Neville Wills &
Ian FenwickeAnn & Brooks C Wilson AM
Dr Richard Wing
Dr Peter Wong & Mrs Emmy K Wong
Geoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (12)
ALLEGRO PATRONS $500–$999Nikki AbrahamsMs Jenny AllumKatherine AndrewsMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdBarracouta Pty LtdBeauty Point Retirement
ResortMr Michael BeckDr Andrew BellRichard & Margaret BellJan BiberMinnie BiggsG D BoltonIn memory of Jillian BowersR D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettRosemary CampbellMr JC Campbell QC &
Mrs CampbellJudy ChiddyIn memory of Beth HarpleyMr Phillip CornwellDr Peter CraswellMr David CrossPhil Diment AM & Bill
ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDana DupereDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor
CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRichard Griffin AM
Dr Jan GroseBenjamin Hasic &
Belinda DavieMr Robert HavardMrs Joan HenleyRoger Henning
Playing Your Part
SSO PATRONS
37
“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
Sue HewittDr Joan-Mary HindsDorothy Hoddinott AO
Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiDr Barry LandaElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowMelvyn MadiganMs Jolanta MasojadaMr Guido MayerLouise MillerPatricia MillerKenneth Newton MitchellMrs Judith MortonMr Graham NorthMr Sead NurkicDr A J PalmerDr Kevin PedemontDr Natalie E PelhamDr John PittJohn Porter & Annie
Wesley-SmithMrs Greeba PritchardThe Hon. Dr Rodney Purvis AM &
Mrs Marian PurvisMichael QuaileyMiss Julie RadosavljevicRenaissance Tours
VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige
Founding PatronShefali PryorSeamus R Quick
Founding PatronChris Robertson &
Katherine Shaw Founding Patrons
MEMBERSClare Ainsworth-HershallJames ArmstrongPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam BeaupeurtAnthony BeresfordAndrew BotrosPeter BraithwaiteAndrea BrownAttila BrungsIan BurtonJennifer BurtonPaul ColganClaire CooperBridget CormackRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleNaomi FlutterAlistair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegPeter Howard
Jennifer HoyKatie HryceVirginia JudgeJonathan KennedyAernout KerbertPatrick KokJohn Lam-Po-TangTristan LandersJessye LinGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryDavid McKeanJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanJune PickupRoger PickupCleo PosaStephanie PriceMichael RadovnikovicSudeep RaoBenjamin RobinsonAlvaro Rodas FernandezAdam SadlerAnthony Michael SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorMichael TidballMichael TuffyKim WaldockJon WilkieYvonne ZammitAmy Zhou
SSO Vanguard
A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists
Janelle RostronMrs Christine Rowell-MillerMrs Louise RowstonJorie Ryan for Meredith RyanMr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawJudge David S ShillingtonMrs Diane Shteinman AM
Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanFred & May SteinAshley & Aveen StephensonMargaret & William SuthersMargaret SwansonDr Jenepher ThomasMrs Caroline ThompsonMrs June ThorntonPeter & Jane ThorntonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyEdward & Yvonne WillsYetty WindtMr Evan WongMrs Robin YabsleyAnonymous (34)
SSO Patrons pages correct as of 27 February 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_April_#16+.indd 1 22/04/15 1:14 PM