THE MATRIX LIVE KALEIDOSCOPE Friday 26 September 2014 Saturday 27 September 2014
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THE MATRIXLIVE
KALEIDOSCOPE
Friday 26 September 2014 Saturday 27 September 2014
KALEIDOSCOPE
FRIDAY 26 SEPTEMBER, 8PM
SATURDAY 27 SEPTEMBER, 8PM
SYDNEY OPERA HOUSE CONCERT HALL
The Matrix LIVE Frank Strobel conductor Dominic Grimshaw boy soprano
The Matrix Music by Don DavisAustralian premiere of the Film in Concert presentation
2014 concert season
1. Main Title – Trinity Infinity
2. White Rabbit
3. Sneak Rue Eve
4. Unable to Speak
5. The Road to Truthville
6. The Lafayette Mirror
7. The Power Plant
8. Welcome to the Real World
9. Aboard the Nebuchadnezzar
10. The Truth
1 1. No Return
12. Bow Whisk Orchestra
13. The Dojo Fight
14. Switch or Break Show
15. Jump Program
16. Mentoring Morpheus
17. What a Mindjob
18. Cypher Conspicuous
19. Departure and Arrival
20. Spoon Boy Sermon
21. Oraculous Honesty
22. The Hotel Ambush – Exit Mr Hat
23. Cypherpunk
24. Think Tank
25. A Virus
26. There is No Elevator
27. Bullet Time
28. Trinity Ability
29. Ontological Shock
30. The Subway Fight
31. Neo on the Run
32. Anything is Possible
FILMPHILHARMONIC EDITION
The Matrix Live: Film in Concert is a production of European FilmPhilharmonic Institute Film by courtesy of Warner Bros. Pictures Music by courtesy of Don Davis
Pre-concert talk by Christopher Gordon at 7.15pm in the Northern Foyer Visit bit.ly/SSOspeakerbios for more information.
This performance is presented without an interval and will finish at approximately 10.20pm.
Clockwise from top left: Thomas Anderson aka Neo (Keanu Reeves); the police are no match for Trinity (Carrie-Anne Moss); Morpheus (Laurence Fishburne) is interrogated by Agent Smith (Hugo Weaving); Neo takes on Agent Smith in a subway station; Cypher (Joe Pantoliano) betrays his human shipmates.
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Clockwise from top left: Thomas Anderson aka Neo (Keanu Reeves); the police are no match for Trinity (Carrie-Anne Moss); Morpheus (Laurence Fishburne) is interrogated by Agent Smith (Hugo Weaving); Neo takes on Agent Smith in a subway station; Cypher (Joe Pantoliano) betrays his human shipmates.
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ABOUT THE COMPOSERLE
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Don DavisA native of Anaheim, California, Don Davis began playing trumpet and piano at the age of nine, and started writing music at twelve. As his affinity for music grew, so did his aspirations, and soon he was composing and arranging orchestral charts for the local jazz ensembles he performed with. After high school, he majored in music theory and composition at UCLA, playing trumpet in college jazz ensembles and orchestras. Although his primary interest had been jazz and rock, he found himself enamoured with the avant-garde side of modern music. UCLA introduced him to a new world of musical possibilities, and before long he’d begun to plan his future as a composer with an eye toward film music.
After graduating, Davis continued to study composition with Henri Lazarof and orchestration under Albert Harris. Harris introduced him to film and television composer Joe Harnell, best known for his work on TV shows such as V and The Incredible Hulk. Harnell was immediately impressed by Davis’s attention to orchestral detail, as evidenced by a chamber symphony Davis was writing at the time. He became a mentor to Davis and introduced him to the professional world of film and television scoring. Davis immersed himself in this new medium, and at the age of 22, accepted a job as one of Harnell’s orchestrators on The Incredible Hulk.
With his foot in the door of the music industry, Davis began to land an increasing number of high-profile jobs. He regularly
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orchestrated composer Mark Snow’s music for Hart to Hart, eventually scoring four complete episodes on his own. This caught the attention of composer Lee Holdridge, who’d composed the theme music for the television series Beauty and the Beast, and he helped Davis land the job composing weekly scores for the show. Davis’s rich, orchestral style meshed perfectly with the supernaturally romantic tone of the show and he went on to compose 46 Beauty and the Beast scores and achieve acclaim as one of television’s most gifted young composers.
After Beauty and the Beast, Davis’s career soared and he was commissioned to compose scores for dozens of top television movies and series. He provided rousing, brassy music for Steven Spielberg’s seaQuest DSV, he contributed a subtle blend of elements for Life of the Party: The Pamela Harriman Story (with Ann Margret), and his tense, terse harmonies added a creepy ambience to the NBC miniseries House of Frankenstein. His television work would present opportunities to compose everything from the austere orchestral stabs in Peter Benchley’s The Beast, to the comic woodwind schizophrenia of Tiny Toon Adventures, to the new age, iconic string textures of the Star Trek: The New Generation series. To date, he has garnered eight Emmy nominations and two wins.
In 1997, Davis composed the score for Larry and Andy Wachowski’s off-beat thriller Bound, and the directing brothers immediately formed a close working relationship with Davis. Together they work-shopped the Bound score: Davis would prepare a series of musical ideas and he and the directors would sift through his detailed work and decide upon the best approach. The result was one of the year’s most sophisticated, moody, and aptly applied film scores. It mixed moments of gritty jazz with lushly orchestrated (and foreboding) soundscapes to lend a sense of supercharged anxiety to the story of double- and triple-crosses.
The Wachowskis and Davis again collaborated on The Matrix trilogy. Davis’s three scores incorporate elements of popular music, electronic synthesizer effects, and even a touch of the avant-garde: the orchestral score features three grand pianos, one of them ‘prepared’ (a process where all manner of objects are wedged in between the wires of a piano). Much of the Matrix music keys off the film’s remarkable visual sense. Davis often employs an echoic, antiphonal orchestral effect – where different sections of the orchestra imitate each other at varying speeds – in order to support the film’s heavy use of reflective imagery. The music also incorporates perpetual motion motifs to portray the story’s tumultuous layers of reality. This compositional technique allows Davis to stay within set harmonic territory while exploring intriguing orchestral textures and colours.
ABRIDGED FROM A BIOGRAPHY BY
DOUG ADAMS
RECENT SCORES
The Good Life (2007) Ten Inch Hero (2007) The Marine (2006) Mighty Times: The Children’s March (2004) Space Odyssey: Voyage to the Planets (TV 2004) The Animatrix (2003) The Matrix Revolutions (2003) The Matrix Reloaded (2003)
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Mystery and Modernity: The Matrix and Don Davis’s musicBy Jakob Buhre
What is the Matrix?
One of the biggest cinematic enterprises produced at the end of the last millennium kicked off with a question. The first film previews flickering across the screen in 1999 always ended with: ‘What is the Matrix?’ and displayed the Internet address whatisthematrix.com. On the associated website, an infinite stream of digital characters poured over a black background, interrupted by short film snippets. Slow-motion bullets, characters in sun glasses and leather coats fighting suspended in the air – images that could have pointed in a number of directions: a distant planet, a new dimension, the film version of a computer game?
The audience’s curiosity was certainly piqued. They flocked to the cinemas in large numbers to find out the answer and watch a film that promised to be a lot more than a mere Hollywood action flick. From an objective point of view, The Matrix turned out to be a science fiction film produced for the sum of approximately 60 million dollars, the first part of a trilogy, 136 minutes jam-packed with special effects, a dramatic plot, a love story and superhuman fighting scenes between the forces of good and evil.
Thomas Anderson, played by Keanu Reeves, is a computer programmer who has been plagued for years by the feeling that something is not quite right with his life. Searching for the reason why, he comes across the term ‘Matrix’ on the Internet. Under the alias Neo, he makes contact with a group of hackers to find out more. Already being watched by the mysterious Agents, he finally gets to meet Morpheus, the leader of the hackers, who informs Neo that his entire life has been spent in a computer-simulated world.
He takes Neo to the real world where it is now around the year 2199. At this stage, the humans have lost the battle against the intelligent machines they created in the past. The machines keep humans in gigantic power stations and harvest their energy – their brains connected to an intricate computer world that simulates real life. From a space ship, Morpheus, Neo and the hacker team enter the Matrix where the ultimate duel between man and machine takes place.
In cinematic terms, The Matrix certainly set new standards. The editing, the sound and the visual effects all received Oscars, and the costume and set design attracted as much attention as the Asian cinema-inspired fighting scenes. Film experts enthused about the bullet time technique where the camera revolves around flying bullets recording their flight in slow-motion.
Nevertheless, all this does not explain why The Matrix became
ABOUT THE MUSIC
THE MATRIX (1999)
Keanu Reeves Neo Laurence Fishburne Morpheus Carrie-Anne Moss Trinity Hugo Weaving Agent Smith
Directors: Andy and Larry Wachowski Music: Don Davis
Camera: Bill Pope Set Design: Owen Paterson Film Editing: Zach Staenberg Costumes: Kym Barrett
FOR TONIGHT’S PERFORMANCE
Johannes Bernstein, cinema technician Simon Böttler, sound design and sound engineer
Morpheus
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one of the most successful films in cinematic history (it grossed over 460 million dollars worldwide at the box office). The mystery set in motion by the makers before the launching of the film continued on screen – and then, after the final scene, it continued on in the minds of the audiences. The plot supplies an excellent projection screen for theories on perception, reality, dependence and self-determination. If The Matrix is seen as a parable of the human condition, questions arise such as: Are we nothing but slaves in a system which controls us without our knowledge? Are we incapable of exerting any free will and breaking out from our confines? How much of what we perceive is happening entirely in our head? Is capitalism the system portrayed by the Matrix?’
Trinity helps Neo eliminate the guards on the roof of the compound where Morpheus is held captive.
A Sentinel (or ‘Squiddy’ as the Human Resistance calls them) – it’s ripping open the hull of the hovercraft to get at Morpheus and his team.
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This Gen X/Gen Y membership program includes an exciting series of events both in and out of the Sydney Opera House. Vanguard breaks down barriers, bringing members closer to SSO musicians and the music they play. Members support the orchestra for just $42/month.
vanguard – unexpected and unusual!
by contacting Amelia Morgan-Hunn at [email protected]
Find out more Vanguard style: SSO musicians Emma Sholl and Shefali Pryor
For a Hollywood production, The Matrix received an unusual amount of attention in newspapers’ feature pages. It engendered an immense amount of discussion and speculation on the Internet.
The mind games were sustained by various allusions and symbols that Andy and Larry Wachowski, the directors and screenwriters, spread liberally throughout the film. One of the most prominent placements is the book Simulacra and Simulation by Jean Baudrillard. Thomas Anderson uses it in his first scene as the hiding place for his computer disks. In the treatise, the French philosopher deals with the loss of distinction between reality and simulation, between reality and effigy in the mass media. The film dialogue also contains a number of philosophical references. Morpheus tells Neo: ‘Like everyone else, you were born into bondage, born into a prison you cannot smell, taste, or touch. A prison for your mind.…Free your mind.’ Later, he asks: ‘What is real – how do you define real?’
How do you define real? – Don Davis’s score
It is this feeling of unreality that dominates the film’s atmosphere from the beginning. That it also transfers to the audience is primarily due to the film’s orchestral music, composed by Don Davis.
It starts off very quietly in the background. There are fast string glissandos without discernible direction, the violins make a mysterious whirring sound, double basses provide a muffled rumble, and overlaid horns and trumpets add the occasional shrill accent. Again and again, the music merges with mysterious sounds and sound effects and it takes some time until clear score structures emerge. In the film’s quieter moments, unchanging tone sequences are layered on top of each other, choral arrangements give the settings a mystical atmosphere while explosive orchestral passages with powerful percussion accompany the dramatic scenes.
In composing the music to The Matrix, Don Davis achieved the feat of combining modern musical styles with the dramaturgical
DON DAVIS
Don Davis, born in 1957 in Anaheim, California, studied music and composition at the University of California and started in the film business in his early twenties. Initially, he concentrated on orchestrating and conducting film music until he established himself as a composer in his own right at the start of the 1980s. Aside from numerous American television series, he wrote the music for Haunted Hill and Jurassic Park III and was also responsible for the soundtrack to the Wachowski brothers’ 1996 debut film Bound. Don Davis does, however, also compose music outside the movie world. To date, he has written close to 30 chamber music and orchestral works, has been at the Donaueschingen Festival for New Music several times, and in 2010 his opera Río de Sangre was premiered in Milwaukee.
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requirements of an action film. The influence of 1960s Minimalism, characteristically based on constantly repeating patterns, can be heard in many places in the score. The instrumentation also shows clear references to works such as Harmonielehre (1985) by John Adams and Itaipu (1990), an oratorio by Philip Glass. This is particularly evident in the scene in which Neo takes the decision to swallow the red pill, allowing him to leave simulated reality for the first time.
One of the most interesting features in terms of new music is the scene where Neo is being questioned by the Agents. Employing the aleatoric technique, Don Davis lets his orchestra improvise freely over several brief sections, thus creating an outlandish, oppressive texture which our ears find hard to decipher. Uncoupled from the screen and presented as a contemporary concert work, these sounds would probably be avoided by many classical music fans. In The Matrix, however, they present a highly effective stylistic device.
Trinity looks on helplessly, monitoring Neo’s vital signs as he engages Smith in brutal combat.
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Film in Concert
This becomes all the more impressive when the orchestra is
performing in the same hall as the audience, as in tonight’s film-
in-concert presentation. The music to The Matrix is being played
live with the film, specially adapted by the team of the European
Filmphilharmonic Institute in close cooperation with Don Davis
himself. This gives us an even better insight into Don Davis’s film
music concept. With the audience able to hear the many nuances
and compositional details that otherwise fall victim to loud sound
effects in the film version, some scenes now leave a deeper
impression. Frank Strobel conducts the orchestra both by sight and
with the help of a time signal via headphones that is indispensable
when musical accents coincide with events of the screen.
Man and Machine
Aside from the live orchestral music, electronically programmed
modern pop music also plays an important role in the Matrix
soundtrack. Several scenes are accompanied by Big Beat techno
music, a sub-genre that, like the film itself, emerged in the late
1990s. Rhythms deviating in structure from the previously
straight techno bass combine with rock guitar riffs, modern
synthesizer sounds and at times aggressive vocals. One of the
first representatives of this sub-genre was the British band The
Prodigy, whose song ‘Mindfields’ plays in the club where Neo
meets hacker Trinity, and the British duo Propellerheads, whose
‘Spybreak’ provides the music for the famous lobby scene.
The coexistence, or even symbiosis, of orchestral and
electronic music is one of the outstanding features of The Matrix
and one of the main reasons its score attracted such special
attention. When rebel leader Morpheus takes Neo into a simulated
city scene as part of the Matrix training program, strings merge
with computer beats in ‘Clubbed to death’ by techno producer
Rob D. Once again, the sound design epitomizes the convergence
of the real and digital worlds.
It is exactly this interface between man and machine, reality
and virtuality that is fascinating society at the dawn of the new
millennium and is engendering considerable debate. Don Davis
and the entire Matrix team managed to address this subject with
remarkable clarity and insight. Although at the end, both the script
and the music’s heroic trumpet flourishes comply with Hollywood’s
mainstream laws; attentive spectators will be aware that the
makers of The Matrix are not out for commercial gain.
What is the Matrix? In a 1999 Internet chat, the Wachowski
brothers, who have not given any interviews in over ten years,
came up with the ambiguous answer: ‘It is two hours and 15
minutes long…And the doors are actually made out of wood.’JAKOB BUHRE © EUROPEAN
FILMPHILHARMONIC INSTITUTE
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The Matrix – did you know?
n In order to stay on budget and not compromise the demands of the script, the filmmakers opted to shoot on location and stages here in Sydney, where they could better stretch their resources.
n The Jean Baudrillard book Simulacra and Simulation, which Keanu Reeves hollows out to hide his computer disks, was created by Sydney bookbinders Newbold & Collins, who also made Farmer Hoggett’s book The Rules of Sheepdog Trials in Babe (and who bind each year’s set of program books for the SSO archives).
n The Matrix trilogy contains numerous references, homages and allusions to literary works, from sources as varied as Alice’s Adventures in Wonderland, Kafka and Philip K Dick as well as Baudrillard. Filmic influences include Ghost in the Shell, Akira and The Good, the Bad and the Ugly, as well as the cinema of John Woo and Stanley Kubrick.
n In 1993, Carrie-Anne Moss coincidentally appeared in a television show called Matrix. The short-lived Canadian show bears no relation to the film trilogy.
n Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss and Hugo Weaving each did four months of intensive martial arts training to prepare for their roles. The kung fu choreographer Woo-Ping Yuen was handpicked by the Wachowskis because of his renowned work on Jet Li’s Fist of Legend.
n For the scene in which Neo tries to evade capture from the agents in the MetaCortex office, Keanu Reeves volunteered to climb out on the window ledge, 34 stories up.
n All the animals featured in The Matrix are computer-generated images.
n To create the climactic helicopter crash, complete with rippling window explosion, a set was built in the desert featuring a 40-foot model of the building, constructed entirely of mirrored glass and surrounded by green screens.
n Although the famed ‘bullet time’ sequences involved some of the most groundbreaking CGI effects ever seen, they also required the use of still photography, a technique employed by filmmakers since the invention of the medium.
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MORE MUSIC
THE MATRIXWhether tonight’s performance has triggered or rekindled an interest in the music that underscores The Matrix, we highly recommend The Ultimate Matrix Collection. In addition to the movie trilogy, the 10-DVD set includes The Animatrix, a wealth of mini-features, additional scenes and commentary. And for music lovers a rare treat: a music-only audio track for The Matrix.
WARNER HOME VIDEO
Ten tracks from the original motion picture score of The Matrix were released in 1999 on the Varèse Sarabande Records label.
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And if you’d like to complete the trilogy, substantial selections from The Matrix Reloaded and The Matrix Revolutions soundtracks were released on Maverick Records (Warner Sunset).
MAVERICK 48411-2 (Reloaded)
MAVERICK 48412 (Revolutions)
MORE DON DAVISThe Matrix is distinctive for its use of the symphony orchestra. By contrast, highlights from Davis’s score for the 2002 action-thriller Ballistic: Ecks vs Sever reveal an electronica-based soundtrack, with tracks from Darude, Parrot and Barry Taylor. Also on the Varèse Sarabande Records.
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You can hear Don Davis in concert hall mode on the album Look Ahead, recorded by the Debussy Trio (flute, viola and harp). ’Til Human Voices Wake Us and Slam Ahead were both written for the Debussy Trio, as are the other pieces on this gorgeous album.
KLAVIER RECORDS 11180
His tango-inspired piano piece Illicit Felicity (based on music from the soundtrack for Bound) has been recorded by Gloria Cheng on her entertaining album Piano Dance: A 20th-Century Portrait and keeps good company with music by Debussy, Hindemith, Bartók, Stravinsky, Prokofiev, Poulenc and Ravel, as well as Ligeti’s exhilarating Hungarian Rock and Philip Glass’s hypnotically seductive Modern Love Waltz.
TELARC 80459
For something more astringent, try his string quartet Bleeding Particles, recorded by the Arditti Quartet on the album California Composers.
ALBANY MUSIC 159
On a larger scale, there’s the complete recording of his three-act opera from 2010, Río de Sangre. The libretto, by Kate Gale, places the action in an unnamed South
American country and the opera is sung in Spanish and full of Latin musical influences. The recording features the original cast with the Florentine Opera Company and the Milwaukee Symphony Orchestra conducted by Joseph Rescigno.
ALBANY RECORDS TROY1296-97
www.dondavis.net/discography
Broadcast DiaryOctober
Saturday 4 October, 1pm HEAVENLY SCHUBERTOleg Caetani conductorCherubini, Schubert
Wednesday 8 October, 8pm PRESENTING THE AYO (2011)Thomas Dausgaard conductor Dene Olding violinDebussy, Vine, Nielsen
Friday 10 October, 8pm TCHAIKOVSKY 5Thomas Søndergård conductor James Ehnes violinStenhammar, Prokofiev, Tchaikovsky
Saturday 18 October, 1pm VIVALDI’S FOUR SEASONSJames Ehnes violin-directorVivaldi, Mozart
Thursday 23 October, 8pm DRAMATIC TRUMPETBrett Dean conductor Håkan Hardenberger trumpetDean, Sibelius
Sunday 26 October, 2pm RUSSIAN DAYDREAMSPinchas Steinberg conductorNatascha Petrinsky mezzo-sopranoSydney Philharmonia ChoirsTchaikovsky, Prokofiev
SYDNEY SYMPHONY ORCHESTRA HOURTuesday 14 October, 6pm
Richard Gill talks about our Discovery concerts, education and some of his favourite music. Hosted by Andrew Bukenya.
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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
LOOK OUT FOR…Our recording of Holst’s Planets with David Robertson. Due for release later in 2014.
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Song of the Earth SSO 201004
From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204
MAHLER ODYSSEYThe 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.
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.
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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
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With his exceptional musicianship, technical expertise and dedication, Frank Strobel has established himself as one of the most versatile conductors of his generation. In particular, his work has opened up new insights into the world of film music, and he is internationally renowned for world premieres and restorations of works by composers such as Sergei Prokofiev, Alfred Schnittke, Franz Schreker and Siegfried Wagner, from which many first recordings have resulted. He has been Artistic Director of the European FilmPhilharmonic Institute in Berlin since 2000.
Frank Strobel is strongly committed to the music of Alfred Schnittke (1934–1998) and is the authorised editor of the work of the composer, whom he helped notate his works in his final years. In 1992 he conducted the first performance of Schnittke’s End of St Petersburg at the Alte Oper Frankfurt.
As well as editing and conducting the original scores of silent film classics, Frank Strobel has made a specialty of arranging and performing new scores. He edited the reconstructed original music by Prokofiev for Alexander Nevsky in 2003, which he then conducted and recorded for CD, winning the Preis der Deutschen Schallplattenkritik 2004. He has also conducted presentations of Robert
Wiene’s restored film Der Rosenkavalier with music by Richard Strauss. Frank Strobel enjoys particularly close professional relationships with orchestras such as the Finnish Radio Symphony Orchestra, Frankfurt Radio Symphony Orchestra and London Symphony Orchestra.
In the 2014–15 season he will conduct the premiere of the new score by Philippe Schoeller for the 1919 film J’accuse with the Orchestre Philharmonique de Radio France, and he will make debuts with the Tonhhalle Orchestra Zurich and ORF Radio Symphony Orchestra Vienna. He will return to the Staatskapelle Dresden with Der Rosenkavalier, Beethoven Orchestra Bonn, Finnish Radio Symphony Orchestra, and NDR Radio Orchestra Hannover with the 2013 Spanish silent film Blancanieves, as well as touring with the King’s Singers and engagements with the Iceland Symphony Orchestra, Orchestre National de Lille, Orchestre Philharmonique de Luxembourg, Radio Symphony Orchestra Berlin, Spanish National Orchestra and Staatskapelle Weimar.
Frank Strobel’s previous appearances with the SSO have included Metropolis (2011), Battleship
Potemkin (2009) and Charlie Chaplin’s Gold Rush (2009).
Frank Strobel conductor
THE ARTISTS
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Dominic Grimshaw is 12 years old and attends the Conservatorium High School. He is a member of the Senior Choir of the Sydney Children’s Choir and is tutored in singing by Tanith Bryce and Amandine Petit.
His musical accomplishments include roles with Opera Australia – First Spirit in The Magic
Flute (2014) and the Shepherd Boy in Tosca (2013) – and appearances as a member of the OA Children’s Chorus in Tosca and La bohème (2013) and Die tote Stadt and Turandot (2012). In 2011 he sang Young Frog and as a member of the children’s chorus in the Sydney Chamber
Opera production of The Cunning Little Vixen. And at the 2014 Helpmann Awards he sang the ‘Pie Jesu’ from Andrew Lloyd Webber’s Requiem in duet with soprano Taryn Fiebig.
His most recent appearances with the SSO were in July, when he sang the part of Lindsay in Jandamarra, and in May, when he sang in Elijah as a member of the Conservatorium High School Choir. As a member of the Sydney Children’s Choir he has also sung with the SSO in Robertson Conducts John Williams, The Lord of the Rings:
The Return of the King, Carmina Burana, The Queen
of Spades and Britten’s War Requiem.
Dominic Grimshaw boy soprano
STRAVINSKY’S FIREBIRD“...here the colours of this fantastical dream remained to linger in the imagination.” Sydney Morning Herald, 2008 (concert review)
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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 first year of David Robertson’s tenure as Chief Conductor and Artistic Director.
DAVID ROBERTSON Chief Conductor and Artistic Director
PATRONHer Excellency, Prof. The Hon. Dame Marie Bashir ad cvo
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FIRST VIOLINS Dene Olding CONCERTMASTER
Kirsten Williams ASSOCIATE CONCERTMASTER
Lerida Delbridge ASSISTANT CONCERTMASTER
Fiona Ziegler ASSISTANT CONCERTMASTER
Brielle ClapsonClaire HerrickGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonLéone ZieglerAndrew Haveron CONCERTMASTER
Sun Yi ASSOCIATE CONCERTMASTER
Jenny BoothSophie ColeAmber Davis
SECOND VIOLINS Marianne Broadfoot Emma HayesShuti HuangStan W KornelBenjamin LiNicole MastersBelinda Jezek*Rebecca Gill*Vivien Jeffery°Liisa Pallandi†
Emily Qin*Nicholas Waters†
Kirsty Hilton Marina Marsden Emma Jezek ASSISTANT PRINCIPAL
Maria DurekPhilippa PaigeBiyana RozenblitMaja Verunica
VIOLASRoger Benedict Justin Williams ASSISTANT PRINCIPAL
Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonCarl Lee†
Justine MarsdenAmanda VernerTobias Breider Anne-Louise Comerford Felicity Tsai Leonid Volovelsky
CELLOSHenry David Varema Leah Lynn ASSISTANT PRINCIPAL
Kristy ConrauTimothy NankervisElizabeth NevilleChristopher PidcockDavid WickhamRowena Macneish*Umberto ClericiCatherine Hewgill Fenella GillAdrian Wallis
DOUBLE BASSESKees Boersma Neil Brawley PRINCIPAL EMERITUS
Steven LarsonRichard LynnBenjamin WardJosef Bisits°Alex Henery David CampbellDavid Murray
FLUTES Emma Sholl Rosamund Plummer PRINCIPAL PICCOLO
Phil Murray*Janet Webb Carolyn Harris
OBOESDavid PappAlexandre Oguey PRINCIPAL COR ANGLAIS
Diana Doherty Shefali Pryor
CLARINETSFrancesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET
Lawrence Dobell
BASSOONSMatthew Wilkie Noriko Shimada PRINCIPAL CONTRABASSOON
Fiona McNamara
HORNSRobert Johnson Marnie SebireMilen Boubbov*Sydney Braunfeld*Jenny McLeod-Sneyd*Timothy Skelly*Michael Wray*Ben Jacks Geoffrey O’Reilly PRINCIPAL 3RD
Rachel SilverEuan Harvey
TRUMPETSPaul Goodchild Anthony HeinrichsPeter Miller*David Elton
TROMBONESRonald Prussing Nick ByrneBrett Page*Jonothan Ramsay*Scott Kinmont Christopher Harris PRINCIPAL BASS TROMBONE
TUBASteve Rossé
TIMPANIRichard Miller PERCUSSIONRebecca Lagos Timothy ConstableMark Robinson Ian Cleworth*Joshua Hill*William Jackson*Chiron Meller*Alison Pratt*Philip South*
HARP Louise Johnson KEYBOARDSCatherine Davis*Susanne Powell*
BOLD = PRINCIPALITALICS = ASSOCIATE PRINCIPAL
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN† = SSO FELLOWGREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT
PETER MILLER (TRUMPET) APPEARS COURTESY OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRA.
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
Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE
Andrew HaveronCONCERTMASTER
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BEHIND THE SCENES
MANAGING DIRECTOR
Rory Jeffes
EXECUTIVE TEAM ASSISTANT
Lisa Davies-Galli
ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING
Benjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER
Eleasha Mah
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING ENTERPRISE MANAGER
Philip Powers
LibraryAnna CernikVictoria GrantMary-Ann Mead
LEARNING AND ENGAGEMENTDIRECTOR OF LEARNING AND ENGAGEMENT
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Mark Lawrenson
EDUCATION MANAGER
Rachel McLarin
EDUCATION OFFICER
Amy Walsh
ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
ORCHESTRA MANAGER
Rachel Whealy
ORCHESTRA COORDINATOR
Georgia Fryer
OPERATIONS MANAGER
Kerry-Anne Cook
PRODUCTION MANAGER
Laura Daniel
STAGE MANAGER
Courtney Wilson
PRODUCTION COORDINATORS
Tim DaymanDave Stabback
SALES AND MARKETINGDIRECTOR OF SALES & MARKETING
Mark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
A/ SENIOR SALES & MARKETING MANAGER
Matthew Rive
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
ONLINE MARKETING COORDINATOR
Jonathon Davidoff
MARKETING ASSISTANT
Theres Mayer
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 – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh
PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
PhilanthropyHEAD OF PHILANTHROPY
Luke Andrew Gay
DEVELOPMENT MANAGER
Amelia Morgan-Hunn
PHILANTHROPY COORDINATOR
Sarah Morrisby
Corporate RelationsBUSINESS DEVELOPMENT MANAGER
Belinda Besson
CORPORATE RELATIONS MANAGER
Janine Harris
CommunicationsPUBLIC RELATIONS MANAGER
Katherine Stevenson
COMMUNICATIONS & MEDIA MANAGER
Bridget Cormack
DIGITAL CONTENT PRODUCER
Kai Raisbeck
SOCIAL MEDIA AND PUBLICITY OFFICER
Caitlin Benetatos
BUSINESS SERVICESDIRECTOR 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
SYDNEY SYMPHONY ORCHESTRA STAFF
John C Conde ao ChairmanTerrey Arcus am
Ewen Crouch am
Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am
David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter
SYDNEY SYMPHONY ORCHESTRA BOARD
SYDNEY SYMPHONY ORCHESTRA COUNCIL
Geoff Ainsworth am
Andrew Andersons ao
Michael Baume ao
Christine BishopIta Buttrose ao obe
Peter CudlippJohn Curtis am
Greg Daniel am
John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe
Dr Michael Joel am
Simon JohnsonYvonne Kenny am
Gary LinnaneAmanda LoveHelen Lynch am
David Maloney am
David Malouf ao
Deborah MarrThe Hon. Justice Jane Mathews ao
Danny MayWendy McCarthy ao
Jane MorschelDr Timothy Pascoe am
Prof. Ron Penny ao
Jerome RowleyPaul Salteri am
Sandra SalteriJuliana SchaefferLeo Schofield am
Fred Stein oam
Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White
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Through their inspired financial support, Patrons ensure the SSO’s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference.
sydneysymphony.com/patrons (02) 8215 4674 • [email protected]
MAKE A DIFFERENCE
SYDNEY SYMPHONY ORCHESTRA PATRONS
MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanBrian AbelGeoff Ainsworth am Tom Breen & Rachael KohnThe Berg Family FoundationAndrew Kaldor am & Renata Kaldor aoVicki Olsson
Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetMr Frank Lowy ac & Mrs Shirley Lowy oam
Brian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam
CHAIR PATRONS
01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair
02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair
03 Lerida Delbridge Assistant Concertmaster Simon Johnson Chair
04 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair
05 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair
06 Richard Gill oam Artistic Director, Education Paul Salteri am & Sandra Salteri Chair
07 Jane Hazelwood, Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett
08 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair
09 Robert Johnson Principal Horn James & Leonie Furber Chair
10 Elizabeth Neville Cello Ruth & Bob Magid Chair
11 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair
12 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair
13 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair
14 Kirsten Williams, Associate Concertmaster I Kallinikos Chair
FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,
CALL (02) 8215 4619.
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PLAYING YOUR PART
The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons
DIAMOND PATRONS: $30,000+Geoff Ainsworth am
Anne & Terrey Arcus am
Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde ao
Robert & Janet ConstableThe Estate of Dr Lynn JosephMr Andrew Kaldor am &
Mrs Renata Kaldor ao
In Memory of Matthew KrelMrs Roslyn Packer ao
Ian Potter FoundationPaul Salteri am & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &
Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine
Dovey
PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth
AlbertSandra & Neil BurnsJames & Leonie Furber
I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam
Mrs Barbara MurphyMr B G O’ConorVicki OlssonAndy & Deirdre PlummerDavid RobertsonMrs Penelope Seidler am
G & C Solomon in memory of Joan MacKenzie
Geoff StearnRay Wilson oam in memory of
James Agapitos oam
Anonymous (1)
GOLD PATRONS: $10,000–$19,999Bailey Family FoundationAlan & Christine BishopAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny
CrouchThe Hon. Mrs Ashley
Dawson-Damer am
Ian Dickson & Reg HollowayPaul EspieEdward & Diane Federman
Nora GoodridgeMr Ross GrantMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher &
Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngGarry & Shiva RichCaroline WilkinsonAnonymous (2)
SILVER PATRONS: $5000–$9,999John AugustusStephen J BellDr Hannes & Mrs Barbara
BoshoffMr Alexander & Mrs Vera
BoyarskyPeter Braithwaite & Gary
LinnaneMr David & Mrs Halina BrettEwen Crouch am & Catherine
CrouchIn memory of Dr Lee
MacCormick EdwardsDr Stephen Freiberg & Donald
CampbellDr Colin GoldschmidtThe Greatorex Foundation
Rory & Jane JeffesThe late Mrs Isabelle JosephFrank Lowy am & Shirley
Lowy oam
J A McKernanDavid Maloney am & Erin
FlahertyR & S Maple-BrownJustice Jane Mathews ao
Mora MaxwellWilliam McIlrath Charitable
FoundationJohn & Akky van OgtropSeamus Robert QuickRodney Rosenblum am &
Sylvia RosenblumDr Evelyn RoyalThe late Greta C RyanManfred & Linda SalamonMrs Joyce Sproat &
Mrs Janet CookeMr John Symond am
David 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 BryantDr Rebecca ChinDr Diana Choquette &
Mr Robert MillinerMr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdWarren GreenAnthony GreggAnn HobanIrwin Imhof in memory of
Herta ImhofMr John Lam-Po-TangJames & Elsie MooreMr Darrol NormanMs Jackie O’BrienDr Agnes E SinclairTony StrachanYim Family Foundation
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 BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMrs Stella ChenMs Suzanne CollinsJoan Connery oam &
Maxwell Connery oam
Debby Cramer & Bill CaukillMr John Cunningham scm &
Mrs Margaret CunninghamLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane
BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’Neill
Mrs Margaret EppsProfessor Michael Field am
Mr Tom FrancisMr Matt GarrettVivienne Goldschmidt &
Owen JonesMrs Fay GrearIn Memory of Angelica GreenAkiko GregoryMr & Mrs Harold & Althea
HallidayJanette HamiltonAngus HoldenDr & Mrs Michael HunterMichael & Anna JoelMrs W G KeighleyDr Andrew KennedyAron KleinlehrerProf. Andrew Korda am &
Ms Susan PearsonMr Justin LamMr Peter Lazar am
Professor Winston LiauwAirdrie LloydPeter Lowry oam & Dr Carolyn
Lowry oam
Kevin & Deirdre McCannIan & Pam McGawMacquarie Group Foundation
Barbara MaidmentJohn MarRenee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyDr Mike O’Connor am
Mr & Mrs OrtisMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiIn memory of Sandra Paul
PottingerDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment
Pty LtdDr Marilyn RichardsonLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDavid Smithers am & Isabel
SmithersDr Judy SoperMrs Judith Southam
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PLAYING YOUR PART
TO FIND OUT MORE ABOUT BECOMING A
SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE
CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674
OR EMAIL [email protected]
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Ms Barbara SpencerMrs Elizabeth SquairCatherine StephenThe Hon. Brian Sully qc
Mrs Margaret SwansonThe Taplin FamilyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalDr Edward J WillsProf. Neville Wills & Ian
FenwickeAnn & Brooks C Wilson am
Dr Richard WingDr Peter Wong & Mrs Emmy K
WongGeoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (15)
ALLEGRO PATRONS: $500–$999Ms Jenny AllumMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdMichael Baume ao & Toni BaumeBeauty Point Retirement ResortMr Michael BeckDr Andrew BellRichard & Margaret BellMrs Jan BiberMinnie Biggs
G D BoltonMr Colin G BoothDr Margaret BoothIn memory of Jillian BowersMrs R D Bridges obe
R D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellMr JC Campbell qc &
Mrs CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkIn memory of Beth HarpleyMr Phillip CornwellDom Cottam & Kanako ImamuraDr Peter CraswellMr David CrossPhil Diment am & Bill ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRuth GrahameMr Robert GreenRichard Griffin am
Dr Jan GroseBenjamin Hasic & Belinda DavieMr Robert HavardMrs Joan HenleyRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao
Mr Kevin Holland & Mrs Roslyn Andrews
Bill & Pam HughesMs Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkChris J KitchingMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowDr David LuisMelvyn MadiganMs Jolanta MasojadaHelen & Phil MeddingsI MerrickLouise MillerPatricia MillerKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldMr Sead NurkicDr A J PalmerDr Kevin PedemontDr John PittMrs Greeba PritchardThe Hon. Dr Rodney Purvis am
& Mrs Marian PurvisMiss Julie RadosavljevicRenaissance Tours
Anna RoMr David RobinsonAgnes RossMrs Christine Rowell-Miller Mr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawV ShoreMrs Diane Shteinman am
Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanAshley & Aveen StephensonMargaret & William SuthersDr & Mrs H K TeyDr Jenepher ThomasMr Michael ThompsonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyAudrey & Michael WilsonYetty WindtDr Richard WingateMr Evan WongMrs Robin YabsleyAnonymous (45)
SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS
Vanguard CollectiveJustin Di Lollo ChairBelinda BentleyAmelia Morgan-HunnJonathan PeaseShefali PryorSeamus R QuickCamille Thioulouse
MembersJames ArmstrongJoan BallantineAndrew BaxterMar BeltranNicole BilletDavid BluffPeter BraithwaiteBlake Briggs
Andrea BrownMelanie BrownProf. Attila BrungsIan & Jennifer BurtonHelen CaldwellHilary CaldwellPaul ColganJuliet CurtinAlvaro R FernandezAlastair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffTony GriersonLouise HaggertyRose HercegPhilip Heuzenroeder
Francis HicksPeter HowardJennifer HoyKatie HryceJustin JamesonJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersGary LinnaneGabriel LopataKylie McCaigRebecca MacFarlingDavid McKeanTaine MoufarrigeNick NichlesKate O’Reilly
Sudeep RaoMichael ReedePaul ReidyChris RobertsonDr Benjamin RobinsonJacqueline RowlandsBenjamin SchwartzCaroline SharpenKatherine ShawRandal TameSandra TangMichael TidballMark TimminsKim WaldockJonathan WatkinsonJon WilkieYvonne Zammit
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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
MAJOR PARTNERS
GOLD PARTNERS
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
Salute 2014_FOUR-2A_23Jul.indd 1 23/07/14 9:03 AM
❝The rehearsals are not always pretty.
❞each other. It’s fun to watch them both being so diplomatic! But I’m so impressed with the patience that they’ve shown the children.’
For Jane’s own pre-concert preparation, she likes to take deliberate time getting ready. ‘I’ll have dinner in the green room – grateful thanks to the canteen! – and then get dressed and go up on stage quite early.’ That gives her viola time to acclimatise to the temperature and humidity in the hall. ‘I notice if the temperature changes a lot. My viola is pretty stable, but it can affect the tuning. Galamian’s book Principles of Violin: Playing & Teaching says you should be able to play in tune even when your instrument is out of tune, but I like to give myself a helping hand by starting with an instrument that’s in tune!’
Chair Patrons Bob & Julie Clampett support Jane Hazelwood’s Viola Chair in memory of their daughter Carolyn Clampett. To find out more about the Chair Patrons program call (02) 8215 4619.
Any parent in search of an instrument for their young child would do well to consider the viola. Why? Well, as violist Jane Hazelwood says, if they were to one day end up in the viola section of an orchestra, they’d find a ‘very friendly, quite relaxed group of musicians who work together in a democratic and very supportive way’. Jane continues: ‘I really love to feel as if I’m part of a team. I love it when I can listen to the whole viola sound, and not just me. As a section, we’re on a journey trying to make a group sound – we’re a team.’
Music has long been a part of Jane’s life, from early days at National Music Camps when her parents – former SSO
concertmaster Don Hazelwood and clarinettist Anne Menzies – tutored many of today’s great orchestral players. ‘In our family,’ says Jane, ‘my brother and I were allowed to choose our own instrument, but the rule was we had to stick with it until we were 14 years old.’ Jane’s three children were also invited to pick an instrument to study.
With so many musicians in the family, it was only natural they start their own concert series. ‘The rehearsals,’ laughs Jane, ‘are not always pretty. My father and my husband [Carl Pini, former concertmaster of the MSO and the Philharmonia Orchestra] are bending over backwards to be respectful to
FAMILY AFFAIRA career in music was inevitable for violist Jane Hazelwood
ORCHESTRA NEWS | SEPTEMBER–OCTOBER 2014
SSO Bravo! #7 2014 Insert.indd 1 10/09/14 8:11 AM
Our Chief Conductor David Robertson surprised guests at our latest Vanguard event with a special appearance playing his Fender Stratocaster electric guitar. He joined 12 of our musicians at Carriageworks for an intimate performance of Terry Riley’s minimalist masterpiece In C. David told us afterwards: ‘At first I was very nervous, but then the way the musicians were playing was so enjoyable that I relaxed into it and that was really fun.’ For more information on Vanguard head to www.sydneysymphony.com/ vanguard
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How does each member of the orchestra knows exactly when to start playing their instrument? After all, the music in front of them is just for their particular instrument, isn’t it?Sarah via email.
An individual orchestral part doesn’t just tell the musician what notes to play but also indicates when and for how long they must remain silent. There are symbols for precisely indicating periods of rest, whether at the beginning of the piece or at any point during
the music. Counting very long periods of rest requires tremendous focus, and if you look very closely, you might even spot a musician or two counting subtly on their fingers to help keep track in performance!
In addition, individual parts may sometimes include a cue, printed in smaller notation, that will indicate an important melody or rhythm that is being played by someone else immediately before the relevant entry. This helps those musicians who prefer to listen to what their colleagues are playing
and rely on their ears to signal when their next entry is approaching.
And finally, part of the conductor’s job is to cue or signal to the musicians when they are meant to enter. Not for every single entry, of course, but certainly for especially important or tricky entries.Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at [email protected] or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.
Ask a Musician
for the best seats, with savings of up to 20% before single tickets go on sale. Book today! www.sydneysymphony.com/subscribe
Artistic HighlightSkelton –v– Tristan
Stuart Skelton
The heldentenor – ‘hero tenor’ in German – is a rare beast indeed. Capable of producing big, dramatic, ringing sounds, the heldentenor also has to have the ability to soar and sustain in the upper ranges. Stuart Skelton is just such a singer and has the ‘cords of steel’ to prove it.
In 2015, Stuart takes on the title role in Wagner’s Tristan und Isolde, David Robertson’s next opera in the concert hall project. David was particularly excited about working with Stuart: ‘You see these people coming available and you shout, “Hold them, don’t lose them!”’
This performance will be Stuart’s first-ever Tristan – truly an epic milestone in the career of any singer. Stuart says this role ‘has always been the one that I wanted, no, needed to conquer. I feel at once excited, intimidated, elated and…scared.’ The prospect of making this significant role debut in his hometown no doubt offers great reassurance for this hero tenor.
If you enjoyed The Flying Dutchman (2013) and Elektra (2014), then Tristan und Isolde is a must! 2015 Season subscribers enjoy priority access to tickets
SSO Bravo! #7 2014 Insert.indd 2 10/09/14 8:12 AM
to those institutions that have been meaningful in his life. In remembering the SSO, Ray says he’s able ‘to deepen, in a very concrete way, my involvement with the orchestra. The Legacy Society initiative of arranging an annual lunch and other events for notified bequestors is establishing a body of likeminded people who can regularly get together, which in itself will be socially rewarding. And it’s a chance to get to know more people within the institution. Everyone goes away revitalized.’
Ray remembers former chief conductor Stuart Challender, for whom the Legacy Society has been named, as ‘a great physical presence on stage. I think his rapport with the musicians, because he was Australian, created a stronger bond. The orchestra certainly respected him, and he always brought the best out of them.’
If you’re considering supporting the SSO with a gift in your will, we encourage you to contact our Head of Philanthropy, Luke Andrew Gay. Your enquiry will be handled confidentially and with sensitivity. (02) 8215 4625 [email protected] sydneysymphony.com/plannedgiving
Ray Wilson was 23 years old when he first heard the Sydney Symphony Orchestra. ‘One of the perks of working at the ABC in the 70s was the staff discount tickets for concerts at Sydney Town Hall,’ recalls Ray. ‘James [Ray’s partner in business and in life] and I went to an electrifying performance of the Beethoven Emperor Concerto with Vladimir Ashkenazy at the piano. It was the first time in my life that I had experienced a whole audience giving a standing ovation. It was very, very moving.’ From that moment on, says Ray, ‘the SSO really became a part of my life.’
Ray is a founding member of the newly established Stuart Challender Legacy Society, a special group of people who’ve made notified bequests to the orchestra. Ray’s not shy when talking about drawing up his will. ‘I think we’re obligated to write a will from an early age. It’s the responsible thing to do. Coming from a poor background, I’ve been incredibly fortunate in life. I find [updating my will] a very stimulating exercise, in thinking through who I should support, who needs to be remembered, what my obligations to family are.’
As a part of Ray’s considerations, he’s also made sure to give something back
Philanthropy Focus
A FORTUNATE LIFE
Ray Wilson sees the new Stuart Challender Legacy Society as a way of deepening his involvement with the SSO.
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The ScoreConcerto for a Sewing Machine HeiressMost Sydney music-lovers agree that the Grand Organ of the Sydney Opera House doesn’t appear in concert programs nearly enough. But at the end of October our performances of Mahler Seven will be preceded by Poulenc’s Organ Concerto, featuring David Drury as soloist.
We’ll be hearing it played on the world’s largest mechanical tracker-action pipe organ in a hall that seats more than 2,500, but the concerto began life in more intimate – although still impressive – surroundings. Its first (private) performance in 1938 was given in the studio of the Princesse de Polignac with Maurice Duruflé playing her Cavaillé Coll organ.
And who was this princess who had a pipe organ in her Paris mansion and boasted Nadia Boulanger as her musical advisor? She’d grown up as Winnaretta Singer, heiress to the sewing machine fortune. The Princesse was an accomplished pianist and organist who had already commissioned a double piano concerto from Poulenc. Her generosity and vision as a patron gave the world music by composers such as Stravinsky, Falla, Milhaud, Weill and Satie.
Poulenc’s concerto will probably remind you of Bach but it also has the air of the French style – ‘pompous, gay and pungent’ – exploiting the thrilling sonorities of the modern organ.
Mahler 7: Night MusicAPT Master Series 29, 31 Oct, 1 Nov, 8pm
David Drury
SSO Bravo! #7 2014 Insert.indd 3 10/09/14 8:12 AM
EDITOR Genevieve Huppert sydneysymphony.com/bravo
CONGRATULATIONSWe’re mighty proud of Richard Gill oam and Kim Waldock who were both recognised for their contributions towards music in Australia at the recent APRA Music Awards. Richard was recognised for Distinguished Services to Australian Music and Kim received the NSW State Award for Excellence in Music Education. Bravi!
NEW CHAIR PATRONSWe’d like to welcome and acknowledge our new Chair Patrons: Iphy Kallinikos (Associate Principal Violin Chair, Kirsten Williams), Bob and Julie Clampett, in memory of their daughter Carolyn (Viola Chair, Jane Hazelwood), Garry and Shiva Rich and family (Principal Cello Chair, Umberto Clerici), Barbara Murphy (Associate Principal Oboe Chair, Shefali Pryor), and Simon Johnson (Assistant Concertmaster Chair, Lerida Delbridge).
DRAGON FLUTEOur Night Lounge audience at the end of August witnessed the Sydney Opera House debut of the ry–uteki, the Japanese dragon flute, played by Rosamund Plummer. If you’d like to know more about this haunting instrument and Rosamund’s journey of musical discovery, check out her blog: bit.ly/RyutekiRose
GIDDY ELEKTRAWe shared Christine Goerke’s recent delight at winning the Helpmann Award for Best Female Performer in an Opera for her performances in the title role of Elektra earlier this year. On learning the news, she tweeted with excitement: ‘I WON?! Holy Cow!! Thank you so much!! #giddy #nicewaytostarttheday’
CITY2SURFA record number of SSO musicians and staff combined forces to run this year’s City2Surf. Fourteen spirited souls joined Team Sydney Symphony Sprint to raise nearly $1,000 for the Starlight Children’s
Foundation. And special congratulations to Principal Trumpet David Elton and our Head of Philanthropy Luke Gay for finishing with the first 1750 runners with times just shy of 60 minutes!
GOLDBERG TAPESTRYFollowing the enthusiastic reception we received from a packed house at our recent Strauss chamber music concert in the Utzon Room, we’ve planned another chamber music event in the larger Verbrugghen Hall at the Sydney Conservatorium. On Wednesday 15 October we’re presenting A Goldberg Tapestry, with selections from Bach’s Goldberg Variations woven together with music of our own time, including Luciano Berio’s Sequenza V for solo trombone, Nguurra by SSO violinist Georges Lentz, and a lively Basque-inspired ‘Dialogue’ for two piccolos and drum by Spanish flautist Roberto Casado.
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Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler
Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & DarwinSydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am
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Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner
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SSO Bravo! #7 2014 Insert.indd 4 10/09/14 8:13 AM
Symphony Services InternationalSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net
Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com
All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.
Please address all correspondence to the Publications Editor: Email [email protected]
Sydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am
Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am
Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner
SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777 GPO Box 4274 Facsimile (02) 9250 7666 Sydney NSW 2001 Website sydneyoperahouse.com
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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17403 — 1/260914 — 28K S71/72
This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064
Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin
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