PEPE ROMERO

Guitar from the Heart

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Fri 1 Aug 8pm
Sat 2 Aug 8pm
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Jandamarra
HOLST A Fugal Overture
VAUGHAN WILLIAMS Oboe Concerto
STANHOPE & HAWKE^
Jandamarra Sing for the Country PREMIERE
Brett Weymark conductor
Diana Doherty oboe
Simon Lobelson baritone
Yilimbirri Ensemble singers and dancers
Members of Gondwana Choirs
Meet the Music
Wed 16 Jul 6.30pm
Thu 17 Jul 6.30pm
^Tea & Symphony
Fri 18 Jul 11am
complimentary morning tea from 10am
Major Partner Kimberley Diamond
Pre-concert talk
by Vincent Plush
(Wed, Thu only)
Harp Legends
LISZT Orpheus
RODRIGO Concierto serenata for harp
BRACEGIRDLE Legends of the Old Castle
Harp Concertino AUSTRALIAN PREMIERE
ZEMLINSKY The Mermaid
Simone Young conductor
Louise Johnson harp (Bracegirdle)
Sivan Magen harp (Rodrigo)
Harpists of the World Harp Congress
Thursday Afternoon Symphony
Thu 24 Jul 1.30pm
Emirates Metro Series
Fri 25 Jul 8pm
Mondays @ 7
Mon 28 Jul 7pm
Pre-concert talk
by Yvonne Frindle
Pepe Romero
ROSSINI The Barber of Seville: Overture
RODRIGO Concierto de Aranjuez
VIVALDI Concerto in D, RV 93
BEETHOVEN Symphony No.8
Tito Muoz conductor
Pepe Romero guitar
Special Event
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Fri 1 Aug 8pm
Sat 2 Aug 8pm
Pre-concert talk
45 minutes before
each performance
Four Last Songs
GLANERT Frenesia AUSTRALIAN PREMIERE
R STRAUSS Four Last Songs
BRAHMS Symphony No.2
David Robertson conductor
Christine Brewer soprano
APT Master Series
Wed 13 Aug 8pm
Fri 15 Aug 8pm
Sat 16 Aug 8pm
Pre-concert talk
by David Larkin
Hear it, Feel it
MOZART Symphony No.25: 1st movement
LIGETI Piano Concerto^
SCRIABIN The Poem of Ecstasy^
David Robertson conductor
Nicolas Hodges piano
Meet the Music
Wed 20 Aug 6:30pm
Thu 21 Aug 6:30pm
^Tea & Symphony
Fri 22 Aug 11am
complimentary morning tea from 10am
Pre-concert talk
by Scott Davie (Wed, Thu only)
CLASSICAL
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Sun 10am-6pm
WELCOME
Credit Suisse warmly welcomes you to this special event in the
Sydney Symphony Orchestras 2014 season.
In the world of music there are families who pass on living traditions
of composition and performance from one generation to the next.
Bach and Mozart are names that spring to mind from the past; in the
modern era, the Romero guitarists of Spain.
Tonight you will experience the music-making of Pepe Romero
a living legend, not just of the guitar world but of classical music.
He plays the best-loved and most beautiful of guitar concertos, the
Concierto de Aranjuez by his countryman Joaqun Rodrigo, and a
spirited Vivaldi concerto that you might recognise from the lm
Kramer vs. Kramer.
Its always a special occasion when a world-class artist performs
with a great symphony orchestra and were proud to play a part by
supporting this weeks concerts and giving Sydney audiences a
chance to hear rsthand the passion and inspiration that comes
with great music-making.
Weve been looking forward to the SSO debut of this revered artist.
Were delighted to see you here this evening and hope you enjoy the
performance.
Rob Stewart
Chief Executive Ofcer
Credit Suisse Australia
PREMIER PARTNER
2014 concert season
SPECIAL EVENT
PREMIER PARTNER CREDIT SUISSE
FRIDAY 1 AUGUST, 8PM
SATURDAY 2 AUGUST, 8PM
SYDNEY OPERA HOUSE CONCERT HALL
PEPE ROMERO:
GUITAR FROM THE HEART
Tito Muoz conductor
Pepe Romero guitar
GIOACHINO ROSSINI (17921868)
The Barber of Seville: Overture
JOAQUN RODRIGO (19011999)
Concierto de Aranjuez for guitar and orchestra
Allegro con spirito
Adagio
Allegro gentile
INTERVAL
ANTONIO VIVALDI (16781741)
Guitar Concerto in D
(adapted from the Concerto for mandolin and
two violins, RV 93)
Allegro giusto
Largo
Allegro
LUDWIG VAN BEETHOVEN (17701827)
Symphony No.8 in F, Op.93
Allegro vivace e con brio
Allegretto scherzando
Tempo di Menuetto
Allegro vivace
Saturdays performance will be
broadcast across Australia by
ABC Classic FM on Sunday 3 August
at 1pm.
Pre-concert talk by David Larkin
at 7.15pm in the Northern Foyer.
Estimated durations:
8 minutes, 22 minutes,
20-minute interval, 10 minutes,
26 minutes
The concert will conclude at
approximately 9.45pm.
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Pepe Romero:
Guitar from the Heart
Theres a story told by Victoria Kamhi de Rodrigo: In a nightclub,
a singer is singing Aranjuez, mon amour. A patron says to his
friend, See what a great song that is. Theyve written a whole
concerto from it! In another of her anecdotes, a stranger in
a bar pays for the composers coffee and asks just one thing:
Write us another Concierto de Aranjuez, but even better.
Rodrigo did write many more concertos, for guitar and for
other instruments; we played the harp concerto just last week.
But he never did surpass the Concierto de Aranjuez. That rst
guitar concerto is unparalleled in its colour, its energy, its
character and its sheer melodic beauty. Its no surprise that
the gorgeous, lamenting theme from the middle movement
has entered popular culture. Aranjuez, mon amour was just
the beginning.
Were delighted in these concerts to welcome the legendary
guitarist Pepe Romero. And its a special treat to hear not just
the Rodrigo concerto but a lively concerto by Vivaldi. Although
two centuries separate the works theres a feeling of common
spirit. Perhaps youll sense the connection, like the little boy on
Spanish television who declared that Rodrigo was a great
composer who lived in the 18th century.
Music from Spain and music from Italy. The Rossini overture
that begins the concert is both: written by an Italian for an
opera set in Spain. And Beethovens Eighth Symphony with its
cheerful character and witty gestures combined with a nale
that simply bursts with vitality makes for a tting conclusion
to an evening that comes from the heart.
INTRODUCTION
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8
Keynotes
ROSSINI
Born Pesaro, 1792
Died Passy, France 1868
During the first half of the 19th
century Rossini was the most
famous composer of his age,
enjoying prestige, wealth, and
popular and critical acclaim.
His delightful comic operas
are among the very finest
representatives of the style,
and The Barber of Seville is easily
the most popular of them all.
Rossini clearly knew the winning
formula! But to everyones
surprise, in 1829 at the age of
37 and with nearly 40 operas to
his nameRossini suddenly
retired from operatic composition
and wrote almost nothing for over
20 years. Soon, as The Record
Guide points out, he was enjoying
a second fame for his wit, his
epicurean tastes, and his
Saturday evening receptions.
ABOUT THE MUSIC
Gioachino Rossini
The Barber of Seville: Overture
In an opera overture recognition test, Rossinis William Tell
would be a clear winner, but only for its last two minutes, the
rousing march. His overture to The Barber of Seville has one
tune almost as instantly and universally known, and as a whole
remains probably the most famous overture ever composed.
A sure sign is its exploitation in popular entertainment. In the
1950s the French singing group Les quatre barbus (The Bearded
Foursome) had a big hit singing Jai de la barbe (I have a
beard) to the rst theme of the overtures fast section; Bugs
Bunny shaved Elmer Fudd, and Jerry Seinfeld eluded his own
barber to the same tune.
Yet the association with barbers and beards is almost an
accident. Rossini originally composed the overture in 1813 for
another opera, Aureliano in Palmira. Then he recycled it for
Elisabetta, regina dInghilterra (Elizabeth, Queen of England,
1814), before linking it (inseparably) with The Barber of Seville
(1816), where it makes so appropriate a curtain-raiser for
Rossinis operatic version of Beaumarchais comedy. This is
an opera of crackling wit, with age-old comic themes: the
attractive and nubile girl under the unwanted tutelage of an
9
old and unattractive guardian; the servant (Figaro, the barber)
who bids to outwit everybody, even his master; the introduction
of the lover into the household under various disguises
The portentous E major chords which begin the overture
immediately give way to music which could be chucklingly
conspiratorial, and the famous rst Allegro subject, when it
comes, is in E minor, implying seriousness. Here, it has an
ironic avour. Thats partly because we know the story.
Rossini probably didnt have appropriateness in mind he
aimed merely to provide the public with a piece of orchestral
music to put them in a good mood, excited and ready for
what was to follow. The purpose of Rossinis overtures, as
summarised by one of his biographers, was to electrify
listeners, predisposing them to the sheer physical enjoyment
of sound, and to declare from the start that the composer
was in charge of proceedings. Thus, as another biographer puts
it, the Rossini overture was a musical visiting-card.
Rossinis trademarks, in his overtures, are the reduction to
musical essentials rhythm, treated as enlivening musical
mechanism; a simple structure of slow introduction, rst and
second subject, recapitulation and coda. Then there is his love
of sheer noise, achieved by brilliantly skilful orchestral means.
This was essential if the attention of the public was to be
captured, as they went about the talkative business of attending
the opera house, which was meeting-place, casino, refreshment
bar and theatre all rolled into one. And nally, the famous
Rossini crescendo, the piling up of instruments and volume.
It is of mainly academic interest, then, that The Barber of
Sevilles overture, contrary to Rossinis usual practice, includes
a theme (the second subject, in sustained notes, repeated by
the horn) which comes from the opera to follow: not Barber,
but Aureliano in Palmira! More interesting is the information
that Rossini, for the Rome premiere, wrote an entirely new
overture, using Spanish popular themes, which is lost. But The
Barber is Spanish only by location. It is based on a French play,
and the music is so Italian that it epitomises and crowns that
nations genius for comic opera. The Barber of Seville overture
has become the most representative of Italian opera overtures,
and the most popular of Rossinis inventive variants on his
overture recipe.
DAVID GARRETT
The overture calls for pairs of utes, oboes, clarinets, bassoons, horns
and trumpets; timpani and percussion; and strings.
The rst SSO concert performance of this overture was in 1941,
conducted by Anderson Tyrer. Our most recent performances were in
2011, in a regional tour conducted by Nicholas Carter and a Parramatta
Park concert conducted by Hans Graf. The most recent performance in a
Sydney Opera House concert was in 2004, conducted by Gianluigi Gelmetti.
Figaros master, Count Almaviva,
woos his beloved with song
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CUTTING THROUGH CLASSICAL
Hear it, see it,
buy it, love it.
visit
GREAT
RECORDI NGS
PEPE ROMERO
Master of the Guitar
A handsome 11-CD box set honouring the unique
art of Pepe Romero, who celebrates his 70th
birthday in 2014. Music by Bach, Vivaldi,
Mozart, Torroba, Rodrigo, Villa-Lobos, Albniz,
Falla and Granados.
478 5669 (11CD)
NICOLA BENEDETTI
A Scottish Fantasy
Using Bruchs Scottish Fantasy as its centrepiece,
celebrated violinist Nicola Benedetti explores her
Scottish heritage with an album of its best-loved
music, featuring songs such as Loch Lomond,
My Love is Like a Red Red Rose and more.
478 6690
VALENTINA LISITSA
Chasing Pianos
Valentina Lisitsa enters into the spirit of The Piano
by re-creating the cinematic, kaleidoscopic world of
Michael Nyman. Includes music from The Piano,
The Diary of Anne Frank, A Zed and Two Noughts,
Carrington and others.
478 6421
PepeRomero_150x240_FP_Ad_Layout 1 23/07/2014 12:19 pm Page 1
11
Joaqun Rodrigo
Concierto de Aranjuez for guitar and orchestra
Allegro con spirito
Adagio
Allegro gentile
Pepe Romero guitar
The Concierto de Aranjuez for guitar and orchestra is
Rodrigos most famous creation, the piece that immediately
established his reputation as the leading Spanish post- war
composer. It remains not only the best-known guitar concerto
but one of the most popular of all concertos, its overwhelming
fame mirroring that of The Sorcerers Apprentice in the works
of Rodrigos teacher Paul Dukas.
In 1933 Rodrigo married the Turkish pianist Victoria Kamhi
who was to become the blind composers copyist and the
couple honeymooned in the exquisite surrounds of Aranjuez.
Rodrigo left Spain again with the outbreak of civil war in 1936,
and it was in Paris in the spring of 1939 that he composed the
Concierto de Aranjuez for the virtuoso guitarist Regino Sainz
de la Maza.
Its hardly surprising, then, that for all its Spanish ambience,
the Concierto is equally avoured by French neoclassicism.
Rodrigo captures perfectly the atmosphere of the palace at
Aranjuez summer home to the Bourbon kings in the 17th
and 18th centuries. His Spain is a rococo Spain, just as
Aranjuez is a Spanish Versailles. There is less of the deep spirit
of Andalusia associated with Manuel de Falla, and more of
an 18th-century manner, valuing all that is colourful, elegant
and pleasing.
The choice of solo instrument ensures a passion that is
never far from delicacy. It would be unjust to expect strong
sonorities from this Concierto, said Rodrigo, they would
falsify its essence and distort an instrument made for subtle
ambiguities. Its strength is to be found in its very lightness
and in the intensity of its contrasts. The Concierto de Aranjuez
is meant to sound like the hidden breeze that stirs the treetops
in the parks, and it should be only as strong as a buttery and
as dainty as a veronica. (A veronica is a particular type of pass
in bull-ghting, requiring the utmost elegance and precision
of execution.)
Rodrigo matches his orchestration to the strength of the
buttery, with a relatively small classical orchestra of strings
with pairs of woodwinds, and just two trumpets and two horns
in the brass section. The rst movement begins with the soloist
playing strummed chords called rasgueados over a long,
sustained note from the double basses; the rhythm comes
Keynotes
RODRIGO
Born Sagunto, 1901
Died Madrid, 1999
Joaqun Rodrigo was born on 22
November, St Cecilias Day, and so
was perhaps destined to a life in
music. A bout of diphtheria at the
age of three left him blind but
didnt prevent him from
developing his musical talents as
a pianist and composer. His
teachers in Paris included Paul
Dukas, and like Dukas he suffered
the dubious blessing of becoming
famous for just one piece, the
Concierto de Aranjuez, which
made his name when it was
premiered by Regino Sainz de la
Maza in 1940. He never played
guitar, but Pepe Romero once
described him as the great
guitarist.
CONCIERTO DE ARANJUEZ
The inspiration for this guitar
concerto came from the summer
palace of Aranjuez, a place with
happy associations for Rodrigo
(he spent his honeymoon there),
but also representing for him an
idealised Spain. The music is a
magical mix of rococo elegance
and the vigour of traditional
Spanish dance rhythms as
strong as a butterfly and as dainty
as a veronica said the composer.
The popularity of the complete
concerto is rivalled only by that of
the slow movement, which has
lent its beautiful melancholy to
cover versions ranging from Miles
Davis and Nana Mouskouri to the
Grimethorpe Colliery Band.
12
The royal palace of Aranjuez, whose musical associations gave Rodrigo the title and feeling of
his concerto, was the favoured residence of the Bourbon kings of Spain. It is an elegant cream
and terracotta coloured building, especially graced by its extensive landscaped gardens, whose
avenues are lined with tall trees, and dotted with fountains drawing on the river alongside.
Hidden in the gardens is the charming Casa del labrador (farmers house), a kind of Spanish
version of Versailles Petit Trianon. Here kings and queens liked to sport in a well-groomed but
natural setting.
Aranjuez is especially linked with the Spanish art and music of the Rococo. Here Domenico
Scarlatti lived and worked in the mid-18th century, presumably composing at Aranjuez many of
his harpsichord sonatas, and perhaps absorbing folksongs from the farmers of the surrounding
countryside. The artist Mengs, Goyas teacher,
was brought to Aranjuez from Italy as artist-in-
residence, adorning the palace with canvasses and
painting its ceilings. In the 20th century, the painter
Rusiol lived at Aranjuez and explored the colours
and patterns of its gardens. Now Rodrigo has made
its name even more famous than that of Philip IIs
massive, forbidding monastery-palace, the Escorial.
If that 16th-century palace could be said to stand
for Spains religious and imperial destiny, her tragic
sense of life, Aranjuez in the Spanish consciousness
could represent a lighter, playful enjoyment of
beauty, not without a wistful longing for past
simplicities.
DAVID GARRETT
13
from the fandango, with its intoxicating alternations of two
slow and three quick beats. After this tiny, spirited introduction,
the guitar and orchestra weave an intricate dance the
soloist rising above the orchestra as well as accompanying
it, colouring rather than competing with shimmering solos
from the bassoon, cor anglais, oboe, ute and clarinet.
But it is the Adagio rather than the dance-like outer
movements that has been responsible for the concertos
immediate and enduring popularity, not to mention taking on
a life of its own as a standalone hit. In what is probably the
most irresistibly mournful solo written for any instrument, the
cor anglais is given a theme based on an Andalusian lament
sung during Holy Week. But there is also a hint of the idyllic
and sensuous atmosphere of a Spanish summer evening
this romantic serenade is answered by equally ornate
passages from the guitar soloist before the full orchestra
takes up the theme.
As in the rst movement, the nale balances the graceful
precision of rococo dances with the compelling syncopated
and irregular rhythms typical of so much Spanish music, in
this case briskly alternating groups of two and three beats.
Rodrigo is the native Spaniard but, as did Boccherini before
him, he knows how to blend Spanish character with universal
galanterie.
SYMPHONY AUSTRALIA 1999/2010
The Concierto de Aranjuez calls for an orchestra of two utes (one
doubling piccolo), two oboes (one doubling cor anglais), two clarinets,
two bassoons, two horns, two trumpets, and strings.
The SSO rst performed the Concierto in 1972 with Willem van
Otterloo and guitarist John Williams and most recently in 2010 with
Slava Grigoryan as soloist and Miguel Harth-Bedoya conducting. In 1986
the Sydney Symphony Orchestra performed the harp version of the
concerto with soloist Marisa Robles and conductor Zdenk Mcal.
In his tribute to Joaqun
Rodrigo on his 90th
birthday, Pepe Romero
dubbed Spains most
famous composer the
great guitarist. I do not
know, he continued,
whether this is a result
of his not being a guitar
player or in spite of it
TCHAIKOVSKYS VIOLIN CONCERTO
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14
Keynotes
VIVALDI
Born Venice, 1678
Died Vienna, 1741
In his lifetime Antonio Vivaldi
went by the nickname il prete
rosso his hair was red and he
was a priest, although he ceased
saying Mass about a year after his
ordination. Instead he took a post
as director of music for the famed
Piet orphanage in Venice and
gained renown as a virtuoso
violinist and as a composer of
operas (neglected nowadays),
sacred choral works such as his
popular setting of the Gloria, and
the instrumental concertos that
have become his chief claim
to fame. In fact Vivaldi wrote
more concertos than just about
anybody (500 and counting), of
which the best-known are the
Four Seasons violin concertos.
Antonio Vivaldi
Guitar Concerto in D
(adapted from the Concerto for mandolin and two
violins, RV 93)
Allegro giusto
Largo
Allegro
Pepe Romero guitar
With the revival of his music in the 1950s, Antonio Vivaldi leapt
from almost complete obscurity to popular renown, even more
famous than he had been in his lifetime, when he was rmly
established as the most popular composer for the violin, as
well as player on that instrument. The Four Seasons alone
would have assured Vivaldi a place in the modern repertoire,
but there was more to be discovered, including hundreds upon
hundreds of brilliant instrumental concertos mostly for
violin that rival The Four Seasons in their virtuosity and
inventiveness.
Nearly all these concertos were composed for the
Conservatorio dell Ospedale della Piet, one of four renowned
music schools for girls in 18th-century Venice. At the Piet,
orphans and illegitimate daughters of the nobility were
given an education and trained to sing and play instruments,
preparing them for either a respectable marriage or a career
on the stage. As music master at the Piet (a post that he
held in one way or another for nearly 40 years), Vivaldi
established the orphanage-conservatory as something of
a tourist attraction for musical people everywhere.
One tourist, Charles de Brosses, reported: They sing like
angels, play the violin, ute, organ, oboe, cello, bassoon in
short no instrument is large enough to frighten themI swear
nothing is more charming than to see a young and pretty nun,
dressed in white, a sprig of pomegranate blossom behind
one ear, leading the orchestra and beating time with all the
grace and precision imaginable. Judging from the music
Vivaldi wrote for them, the young musicians of the Piet must
have been very ne players indeed. And they seem to have
inspired the rst known concertos for cello, bassoon,
mandolin and autino.
But despite having hundreds concertos to his name, Vivaldi
never wrote a guitar concerto. The guitar concerto you hear in
this concert was originally conceived as a chamber concerto
an intimate affair with just one musician per part. Those parts
were for mandolin (a gut-strung mandolino milanese, the
smallest member of the lute family), two violins and a
15
The Baroque Concerto
Vivaldi effectively invented the
solo concerto. In his hands it
took its familiar three-movement
form (fast slow fast), and the
distinctive ritornello structure for
individual movements reached its
full development. (The legacy of
both features was inherited by
Classical composers such as
Mozart.)
Ritornello form operates on a
similar principal to chorus-and-
verse. The ritornello theme (little
return) behaves like a chorus;
between each appearance is a
solo episode, providing
contrasting musical ideas and
an opportunity to explore foreign
keys. This strategy gives the
music its irresistible blend of
brilliance and invention.
Practising priest or musical madman?
There were two views on why Vivaldi, who had taken orders,
never said Mass. Its likely that Vivaldi suffered from a form
of asthma, based on an explanation he gave in a letter in
1737:
When I had been ordained a priest for a year or a bit more,
I discontinued saying Mass, having had to leave the altar
without completing it because of a chest ailment...that
has burdened me since birth. For this reason I nearly
always stay home, and I only go out in a gondola because
I can no longer walk.
But he didnt exactly stay home, often roving Europe as a
composer and virtuoso violinist, and one 18th-century
writer, P.L. de Boigelou, put forward this theory:
One day when Vivaldi was saying Mass, a musical theme
came into his mind. He at once left the altar where he
was ofciating and repaired to the sacristy to write out
his theme, then he came back to nish the Mass. He was
reported to the Inquisition, which luckily looked on him
as a musician, that is, as a madman, and merely forbade
him to say Mass from that time forward.
continuo group (basso continuo being the baroque answer to
the bass-and-chords function of a modern rhythm section).
As a chamber concerto it cleverly combines elements of
solo display and cooperation between plucked and bowed
strings a characteristic retained even when the music is
transcribed for guitar and the richer sound of a string
orchestra. The concerto is a favourite of guitarists, but
gained wider popularity in 1979 when it was adopted for the
soundtrack of Kramer vs. Kramer, starring Dustin Hoffman
and Meryl Streep.
The quickly owing rst movement loosely follows a
ritornello structure in which the full ensemble plays a
recurring theme interspersed by lightly accompanied solo
sections from the guitar. The Largo, by contrast, is an
extended soliloquy for the soloist above sustained, muted
chords in the strings. The nal movement is a cheerful,
tripping gigue, returning to the ritornello structure of the
opening movement.
ADAPTED FROM NOTES BY YVONNE FRINDLE 1998/2007
This arrangement of Vivaldis Concerto RV 93 calls for solo guitar, string
orchestra and keyboard continuo.
We believe this is our rst performance of the concerto.
16
Keynotes
BEETHOVEN
Born Bonn, 1770
Died Vienna, 1827
In orchestral repertoire at least,
Beethovens busiest years were
between 1800 and 1812, when
he completed eight of his nine
symphonies and the five piano
concertos. And until 1808 he was
also active as a piano soloist.
During these years, Beethoven
was stretching his audience,
who (on the whole) were gamely
following as he pushed the
boundaries of structure, style
and musical expression.
EIGHTH SYMPHONY
Beethoven may have been in
his 40s when he wrote it, but
the Eighth Symphony has a
youthful energy and a definite
humorous side. (Dont feel
alarmed if Beethovens
sometimes startling effects
prompt you to laugh out loud.)
Surprisingly, given that
his symphonies had been
growing longer, this is one of
Beethovens shortest the result
of a powerful concentration of
musical material. Its full of
unexpected gestures including
the abrupt ending he gives to
the cheerful second movement
and a rogue note that intrudes
on the opening of the fourth
movement. The third movement,
which by now his listeners
would have expected to be an
exuberant scherzo, is instead,
a broad and flowing minuet.
The finalebursting with
vitalityprovides the centre
of gravity for the symphony,
as if all the other movements
have been leading to just this
moment.
Ludwig van Beethoven
Symphony No.8 in F, Op.93
Allegro vivace e con brio
Allegretto scherzando
Tempo di Menuetto
Allegro vivace
Beethoven wastes no time in his Eighth Symphony: theres
no introduction, no suspenseful meandering of harmony
instead the conductors baton comes down on the rst notes
of the main theme. Its fast (Allegro), its lively (vivace) and
Beethoven asks that it be played with vigour (con brio). It sets
the tone for the symphony as a whole, which is concentrated,
as if Beethoven has taken the power and content of a longer
symphony and compressed it to a work of smaller proportions
but even greater intensity little, but vast was how Sir George
Grove described it.
The result is only slightly longer than his rst symphony,
completed 12 years before, and it gives the impression that
Beethoven had for once heeded the advice of his more
reactionary critics and returned to Classical principles of
balance in form and content, clarity of structure and wit and
invention. The Eighth Symphony glows with inner calm and
a classical perfection, but even so, this isnt the kind of
symphony that Mozart would have written, nor is it the
Beethoven of the First Symphony.
That beginning is a bold stroke, setting off uncharacteristically
with a straightforward tune. The tune suggests Haydn, but the
gesture does not Haydn would surely have preceded such
a self-contained melody with a slow introduction. The mood
verges on recklessness, and Beethoven keeps it up with a rich
variety of musical ideas all presented within a very short space
of time.
So much better!
Beethovens Seventh and Eighth symphonies were both
completed in 1812 and given public premieres in Vienna in
the winter of 181314. But, like the earlier pairing of the Fifth
and Pastoral Symphonies (from 1808), it is a marriage of
contrasts. The Seventh Symphony, long recognised for
its compelling treatment of rhythm, enjoyed almost instant
popularity and its second movement assumed the status of
a hit. It was a great symphony, the composer himself
thought so. The Eighth Symphony, however, was less of a
success than the Seventh. Thats because its so much
better, Beethoven is reported to have said.
17
Theres more that his audiences wouldnt have been
expecting. The symphony doesnt have a slow movement,
nor does it have a scherzo, the wildly playful movement
that Beethoven had made a standard element of his
symphonies.
The place of the slow movement is taken by the Allegretto
scherzando. This is supposedly a joking tribute to Maelzel,
inventor of the metronome the theme turns up in a canon,
which Beethoven supposedly improvised at a supper where
his friend Maelzel was present. Unfortunately the story (and
the canon) are the invention of Beethovens biographer
Schindler, but if you want to go along with the ction, you
can hear the ticking of Maelzels timekeeping device in the
wind sections spiky repeated chords, which underpin the
beginning of the movement and return whenever the sudden
changes in volume and whimsical melodies threaten to lead
the music from its main idea.
The scherzo is replaced by something positively old-
fashioned: a owing movement in the tempo of a minuet,
the dance form that Mozart or Haydn would have used at this
point in their symphonies. It comes across as courtly and
comfortable and cheerful in every way. In the middle of the
movement the horns, clarinet and a busy solo cello are given
the spotlight.
The nale returns to the impetuous character of the rst
movement. It sets off in a rush with a light-footed, dashing
theme, discreet enough until, barely 15 seconds in, Beethoven
throws in a rogue note, a very loud C sharp that simply doesnt
belong in the symphonys key of F major. Somehow he
manages to continue as if nothing untoward had happened
just as you do when recovering from a stumble and with
good reason: he has plenty of other musical surprises in store,
setting up expectations and then misleading his listeners.
He hints at and then denies us the repeated exposition of
themes expected of a movement in sonata form, misleadingly
beginning the development section in the home key. When
that C sharp intrudes again, its more insistent, a cue for the
music to drag us off on excursions to remote and unexplored
harmonies. So far does Beethoven wander, that it takes him
longer than usual to bring the music home to F major the
result is a grand, extended coda (tail) to bring this spirited
symphony to its jubilant end.
YVONNE FRINDLE 2011
Beethovens Eighth Symphony calls for pairs of utes, oboes, clarinets,
bassoons, horns and trumpets; timpani and strings.
The SSO rst performed the symphony in 1941, conducted by Percy
Code, and most recently in 2010, conducted by Oleg Caetani.
An engraved portrait of the
composer made in 1814 by
Blasius Hfel. Beethoven was 44
years old, with eight symphonies
and the five piano concertos to
his credit.
18
Recently appointed Music Director of the
Phoenix Symphony, Tito Muoz is increasingly
recognised as a gifted and versatile conductor.
He previously served as Music Director of the
Opra National de Lorraine and Orchestre
symphonique et lyrique de Nancy in France,
and has held assistant conductor posts with
the Cleveland Orchestra, Cincinnati Symphony
Orchestra, Cincinnati Chamber Orchestra and
Aspen Music Festival.
An accomplished violinist, Tito Muoz began
his musical training at the Juilliard School,
Manhattan School of Music and Fiorello H
LaGuardia High School of Music & Art and
Performing Arts, before studying at Queens
College (CUNY) as a violin student of Daniel
Phillips. From 2004 to 2006 he attended the
American Academy of Conducting at Aspen,
where he studied with David Zinman and Murry
Sidlin and participated in masterclasses with
Asher Fisch, Leon Fleisher, George Manahan,
David Robertson and Leonard Slatkin. He won
the Aspen Music Festivals 2005 Robert J Harth
Conductor Prize and the 2006 Aspen Conducting
Prize, returning as the festivals Assistant
Conductor in 2007 and later as a guest
conductor.
Tito Muoz made his professional conducting
debut in 2006 with the National Symphony
Orchestra at the Kennedy Center, invited by
Leonard Slatkin as a participant of the National
Conducting Institute. That same year, at the
invitation of David Zinman, he made his Cleveland
Orchestra debut at the Blossom Music Festival.
Since then he has conducted orchestras
throughout the United States, as well as summer
festival engagements including the Chautauqua
Symphony, Grant Park Orchestra and Chicago
Philharmonic at the Ravinia Festival, and he
returns annually to conduct the Cleveland
Orchestra. Joint performances with the Joffrey
Ballet and the Cleveland Orchestra in 2009 led
to further collaborations, including a complete
Nutcracker and the orchestras rst staged Rite
of Spring, as well as an invitation to tour with the
Joffrey Ballet in the 201011 season.
Following debuts in Europe with the Lausanne
Chamber Orchestra and the Opra de Rennes,
he conducted the Danish Radio Sinfonietta,
Deutsche Radio Philharmonie Saarbrcken,
Luxembourg Philharmonic, and the Orchestre
National de Lorraine. Earlier this year he made
his Auckland Philharmonia Orchestra debut.
Tito Muoz
conductor
THE ARTISTS
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One of the most celebrated and versatile
musicians of his generation, Spanish-born
guitarist Pepe Romero has enjoyed a varied and
illustrious career since he rst set foot on the
concert stage aged seven. Together with his
father, the legendary Celedonio Romero, and his
brothers Celin and Angelthe Royal Family of
the Guitar he established Los Romeros as the
worlds leading guitar quartet. (Los Romeros gave
the premiere of Rodrigos Concierto andaluz.)
Known for his compelling and virtuosic classical
performances, Pepe Romero is also a passionate
advocate of the traditional amenco of his native
Andalusia.
He has appeared as soloistwith the worlds
greatest orchestras and ensembles, collaborating
with the most celebrated conductors and
composers. He has made more than 50 recordings,
including more than 20 concertos with the
Academy of St Martin-in-the-Fields. Among his
recent recordings are Concierto festivo, written
for him by Ernesto Cordero, the song cycle Mi
jardn solitario by Lorenzo Palomo, and a Spanish
solo collection, Spanish Nights (which includes
the premiere recording of Suite Madrilea No.1
by Celedonio Romero). In 2012, he received a
Latin Grammy nomination for Best Classical
Album for his recording of Concierto festivo.
Last year he played many concerts worldwide
honouring the 100th anniversary of the birth of
his father. This year he is touring the world
celebrating his own 70th birthday, a journey
which began with an all-Bach recital in New York
City, and will include birthday recitals in Hong
Kong, Zurich, Philadelphia, Baltimore, Dallas,
Munich, Berlin, Tokyo, Hamburg, Istanbul and
Adelaide.
In 2004, he was named Distinguished Artist
in Residence at the University of Southern
Californias Thornton School of Music; he also
teaches master classes at USC, in the Salzburg
Summer Academy, the Schleswig-Holstein
Festival and the Crdoba Guitar Festival. Other
honours include the Order of Isabel la Catlica,
honorary doctorates from the San Francisco
Conservatory of Music and the University of
Victoria, and the Premio Andalucia de Msica,
Spains highest recognition for contribution to
the arts. He was featured in the award-winning
lm documentary Shadows and Light: Joaqun
Rodrigo at 90.
Pepe Romero
guitar
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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 worlds nest
orchestras as Sydney has become one of the
worlds 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 orchestras rst Chief Conductor was
Sir Eugene Goossens, appointed in 1947; he was
followed by Nicolai Malko, Dean Dixon, Moshe
Atzmon, Willem van Otterloo, Louis Frmaux,
Sir Charles Mackerras, Zdenk Mcal, Stuart
Challender, Edo de Waart and Gianluigi Gelmetti.
Vladimir Ashkenazy was Principal Conductor
from 2009 to 2013. The orchestras history also
boasts collaborations with legendary gures
such as George Szell, Sir Thomas Beecham,
Otto Klemperer and Igor Stravinsky.
The SSOs 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 orchestras 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 201011 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 rst year of David Robertsons
tenure as Chief Conductor and Artistic Director.
DAVID ROBERTSON
Chief Conductor and Artistic Director
PATRON
Her Excellency, Prof. The Hon. Dame Marie Bashir AD CVO
21
FIRST VIOLINS
Sun Yi
ASSOCIATE CONCERTMASTER
Kirsten Williams
ASSOCIATE CONCERTMASTER
Lerida Delbridge
ASSISTANT CONCERTMASTER
Jenny Booth
Brielle Clapson
Claire Herrick
Georges Lentz
Nicola Lewis
Emily Long
Alexandra Mitchell
Alexander Norton
Elizabeth Jones*
Andrew Haveron
CONCERTMASTER
Dene Olding
CONCERTMASTER
Fiona Ziegler
ASSISTANT CONCERTMASTER
Sophie Cole
Amber Davis
Lone Ziegler
SECOND VIOLINS
Marianne Broadfoot
Emma Jezek
ASSISTANT PRINCIPAL
Emma Hayes
Shuti Huang
Stan W Kornel
Benjamin Li
Nicole Masters
Maja Verunica
Vivien Jeffery
Kirsty Hilton
Marina Marsden
Maria Durek
Philippa Paige
Biyana Rozenblit
VIOLAS
Roger Benedict
Tobias Breider
Sandro Costantino
Rosemary Curtin
Graham Hennings
Felicity Tsai
Amanda Verner
Leonid Volovelsky
Anne-Louise Comerford
Justin Williams
ASSISTANT PRINCIPAL
Jane Hazelwood
Stuart Johnson
Justine Marsden
CELLOS
Catherine Hewgill
Henry David Varema
Fenella Gill
Elizabeth Neville
Adrian Wallis
David Wickham
Umberto Clerici
Leah Lynn
ASSISTANT PRINCIPAL
Kristy Conrau
Timothy Nankervis
Christopher Pidcock
DOUBLE BASSES
Alex Henery
David Campbell
Steven Larson
Benjamin Ward
Kees Boersma
Neil Brawley
PRINCIPAL EMERITUS
Richard Lynn
David Murray
FLUTES
Janet Webb
Carolyn Harris
Emma Sholl
Rosamund Plummer
PRINCIPAL PICCOLO
OBOES
Shefali Pryor
Alexandre Oguey
PRINCIPAL COR ANGLAIS
Diana Doherty
David Papp
CLARINETS
Francesco Celata
Craig Wernicke
PRINCIPAL BASS CLARINET
Lawrence Dobell
Christopher Tingay
BASSOONS
Matthew Wilkie
Fiona McNamara
Noriko Shimada
PRINCIPAL CONTRABASSOON
HORNS
Robert Johnson
Rachel Silver
Ben Jacks
Geoffrey OReilly
PRINCIPAL 3RD
Marnie Sebire
Euan Harvey
TRUMPETS
David Elton
Anthony Heinrichs
Paul Goodchild
TROMBONES
Ronald Prussing
Scott Kinmont
Nick Byrne
Christopher Harris
PRINCIPAL BASS TROMBONE
TUBA
Steve Ross
TIMPANI
Mark Robinson
ASSISTANT PRINCIPAL
Richard Miller
PERCUSSION
Rebecca Lagos
Timothy Constable

HARP
Louise Johnson
HARPSICHORD
Stewart Smith*
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 outtted by
Van Heusen.
To see photographs of the full roster of permanent musicians
and nd out more about the orchestra, visit our website:
www.sydneysymphony.com/SSO_musicians
If you dont have access to the internet, ask one of our customer
service representatives for a copy of our Musicians yer.
MUSICIANS
David Robertson
CHIEF CONDUCTOR
AND ARTISTIC DIRECTOR
SUPPORTED BY
EMIRATES
Dene Olding
CONCERTMASTER
Jessica Cottis
ASSISTANT CONDUCTOR
SUPPORTED BY PREMIER
PARTNER CREDIT SUISSE
Andrew Haveron
CONCERTMASTER
22
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
Library
Anna Cernik
Victoria Grant
Mary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Mark Lawrenson
EDUCATION MANAGER
Rachel McLarin
EDUCATION OFFICER
Amy Walsh
ORCHESTRA MANAGEMENT
DIRECTOR 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 Dayman
Dave Stabback
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J Elliott
SENIOR SALES & MARKETING MANAGER
Penny Evans
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
MARKETING MANAGER, CLASSICAL SALES
Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA
Eve Le Gall
MARKETING MANAGER, CRM & DATABASE
Matthew Hodge
DATABASE ANALYST
David Patrick
SENIOR GRAPHIC DESIGNER
Christie Brewster
GRAPHIC DESIGNER
Tessa Conn
MARKETING COORDINATOR
Jonathon Symonds
SENIOR ONLINE MARKETING COORDINATOR
Jenny Sargant
ONLINE MARKETING COORDINATOR
Jonathan Davidoff
Box Office
MANAGER 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 Dowling
Katarzyna Ostafijczuk
Tim Walsh
Publications
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
Philanthropy
HEAD OF PHILANTHROPY
Luke Andrew Gay
DEVELOPMENT MANAGER
Amelia Morgan-Hunn
PHILANTHROPY COORDINATOR
Sarah Morrisby
Corporate Relations
BUSINESS DEVELOPMENT MANAGER
Belinda Besson
CORPORATE RELATIONS MANAGER
Janine Harris
Communications
PUBLIC RELATIONS MANAGER
Katherine Stevenson
COMMUNICATIONS & MEDIA MANAGER
Bridget Cormack
DIGITAL CONTENT PRODUCER
Kai Raisbeck
SOCIAL MEDIA AND PUBLICITY OFFICER
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
SYDNEY SYMPHONY ORCHESTRA STAFF
John C Conde AO Chairman
Terrey Arcus AM
Ewen Crouch AM
Ross Grant
Catherine Hewgill
Jennifer Hoy
Rory Jeffes
Andrew Kaldor AM
David Livingstone
The Hon. Justice AJ Meagher
Goetz Richter
SYDNEY SYMPHONY
ORCHESTRA BOARD
SYDNEY SYMPHONY
ORCHESTRA COUNCIL
Geoff Ainsworth AM
Andrew Andersons AO
Michael Baume AO
Christine Bishop
Ita Buttrose AO OBE
Peter Cudlipp
John Curtis AM
Greg Daniel AM
John Della Bosca
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Donald Hazelwood AO OBE
Dr Michael Joel AM
Simon Johnson
Yvonne Kenny AM
Gary Linnane
Amanda Love
Helen Lynch AM
David Maloney AM
David Malouf AO
Deborah Marr
The Hon. Justice Jane Mathews AO
Danny May
Wendy McCarthy AO
Jane Morschel
Dr Timothy Pascoe AM
Prof. Ron Penny AO
Jerome Rowley
Paul Salteri AM
Sandra Salteri
Juliana Schaeffer
Leo Schofield AM
Fred Stein OAM
Gabrielle Trainor
John van Ogtrop
Peter Weiss AO HonDLitt
Mary Whelan
Rosemary White
23
SYDNEY SYMPHONY ORCHESTRA PATRONS
MAESTROS CIRCLE
SUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
Peter Weiss AO Founding President & Doris Weiss
John C Conde AO Chairman
Brian Abel
Geoff Ainsworth AM
Tom Breen & Rachael Kohn
The Berg Family Foundation
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson
Penelope Seidler AM
Mr Fred Street AM & Mrs Dorothy Street
Mr Frank Lowy AC & Mrs Shirley Lowy OAM
Brian & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
Through their inspired financial support,
Patrons ensure the SSOs continued success,
resilience and growth. Join the SSO Patrons
Program today and make a difference.
sydneysymphony.com/patrons
(02) 8215 4674 philanthropy@sydneysymphony.com
MAKE A DIFFERENCE
FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,
CALL (02) 8215 4619.
n n n n n n n n n n
CHAIR PATRONS
01 Roger Benedict
Principal Viola
Kim Williams AM &
Catherine Dovey Chair
02 Umberto Clerici
Principal Cello
Garry & Shiva Rich Chair
03 Lawrence Dobell
Principal Clarinet
Anne & Terrey Arcus AM
Chair
04 Diana Doherty
Principal Oboe
Andrew Kaldor AM &
Renata Kaldor AO Chair
05 Richard Gill OAM
Artistic Director, Education
Paul Salteri AM &
Sandra Salteri Chair
06 Jane Hazelwood, Viola
Bob & Julie Clampett Chair
in memory of
Carolyn Clampett
07 Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
08 Kirsty Hilton
Principal Second Violin
Corrs Chambers Westgarth
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
10 12 11 09
05 07 08 06
13 14
01 03 04 02
24
PLAYING YOUR PART
The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the
orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence
and helping to sustain important education and regional touring programs. Donations of $50 and
above are acknowledged on our website at www.sydneysymphony.com/patrons
DIAMOND PATRONS:
$30,000+
Geoff Ainsworth AM
Anne & Terrey Arcus AM
Doug & Alison Battersby
The Berg Family Foundation
Tom Breen & Rachael Kohn
Mr John C Conde AO
Robert & Janet Constable
The Estate of Dr Lynn Joseph
Mr Andrew Kaldor AM &
Mrs Renata Kaldor AO
In Memory of Matthew Krel
Mrs Roslyn Packer AO
Ian Potter Foundation
Paul Salteri AM & Sandra Salteri
Scully Foundation
Mrs W Stening
Mr Fred Street AM &
Mrs Dorothy Street
Peter Weiss AO & Doris Weiss
Mr Brian & Mrs Rosemary White
Kim Williams AM & Catherine
Dovey
PLATINUM PATRONS:
$20,000$29,999
Brian Abel
Robert Albert AO & Elizabeth
Albert
Sandra & Neil Burns
James & Leonie Furber
I Kallinikos
Helen Lynch AM & Helen Bauer
Mrs T Merewether OAM
Mrs Barbara Murphy
Mr B G OConor
Vicki Olsson
Andy & Deirdre Plummer
David Robertson
Mrs Penelope Seidler AM
G & C Solomon in memory of
Joan MacKenzie
Geoff Stearn
Ray Wilson oam in memory of
James Agapitos OAM
Anonymous (1)
GOLD PATRONS:
$10,000$19,999
Bailey Family Foundation
Alan & Christine Bishop
Audrey Blunden
Mr Robert Brakspear
Ian & Jennifer Burton
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Michael Crouch AO & Shanny
Crouch
The Hon. Mrs Ashley
Dawson-Damer AM
Paul Espie
Edward & Diane Federman
Nora Goodridge
Mr Ross Grant
Mr Ervin Katz
James N Kirby Foundation
Ruth & Bob Magid
The Hon. Justice AJ Meagher &
Mrs Fran Meagher
Mr John Morschel
Drs Keith & Eileen Ong
Garry & Shiva Rich
Caroline Wilkinson
Anonymous (2)
SILVER PATRONS:
$5000$9,999
Dr Francis Augustus
Stephen J Bell
Dr Hannes & Mrs Barbara
Boshoff
Mr Alexander & Mrs Vera
Boyarsky
Peter Braithwaite & Gary
Linnane
Mr David & Mrs Halina Brett
Ewen Crouch AM & Catherine
Crouch
Ian Dickson & Reg Holloway
In memory of Dr Lee
MacCormick Edwards
Dr Stephen Freiberg & Donald
Campbell
Dr Colin Goldschmidt
The Greatorex Foundation
Rory & Jane Jeffes
The late Mrs Isabelle Joseph
Frank Lowy AM & Shirley
Lowy OAM
J A McKernan
David Maloney AM & Erin
Flaherty
R & S Maple-Brown
Justice Jane Mathews AO
Mora Maxwell
William McIlrath Charitable
Foundation
John & Akky van Ogtrop
Seamus Robert Quick
Rodney Rosenblum AM &
Sylvia Rosenblum
Dr Evelyn Royal
The late Greta C Ryan
Manfred & Linda Salamon
Mrs Joyce Sproat &
Mrs Janet Cooke
Mr John Symond AM
David Tudehope & Liz Dibbs
Mr Robert & Mrs Rosemary
Walsh
Westpac Group
Michael & Mary Whelan Trust
In memory of Geoff White
June & Alan Woods Family
Bequest
Anonymous (2)
BRONZE PATRONS:
PRESTO $2,500$4,999
Mr Henri W Aram OAM
Ian Brady
Mr Mark Bryant
Dr Rebecca Chin
Dr Diana Choquette &
Mr Robert Milliner
Mr B & Mrs M Coles
Mr Howard Connors
Greta Davis
Firehold Pty Ltd
Warren Green
Anthony Gregg
Ann Hoban
Irwin Imhof in memory of
Herta Imhof
Mr John Lam-Po-Tang
James & Elsie Moore
Mr Darrol Norman
Ms Jackie OBrien
Dr Agnes E Sinclair
Tony Strachan
Yim Family Foundation
BRONZE PATRONS:
VIVACE $1,000$2,499
Mrs Lenore Adamson
Mrs Antoinette Albert
Rae & David Allen
Andrew Andersons AO
Mr Matthew Andrews
The Hon Justice Michael Ball
David Barnes
Mr Garry Besson
Allan & Julie Bligh
Jan Bowen
Lenore P Buckle
Margaret Bulmer
In memory of RW Burley
Mrs Rhonda Caddy
Mrs Stella Chen
Ms Suzanne Collins
Joan Connery OAM &
Maxwell Connery OAM
Debby Cramer & Bill Caukill
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Lisa & Miro Davis
Elizabeth Donati
Colin Draper & Mary Jane
Brodribb
Prof. & Mrs John Edmonds
Malcolm Ellis & Erin ONeill
Mrs Margaret Epps
Professor Michael Field AM
Mr Tom Francis
Mr Matt Garrett
Vivienne Goldschmidt &
Owen Jones
Mrs Fay Grear
In Memory of Angelica Green
Akiko Gregory
Mr & Mrs Harold & Althea
Halliday
Janette Hamilton
Angus Holden
Dr & Mrs Michael Hunter
Michael & Anna Joel
Mrs W G Keighley
Dr Andrew Kennedy
Aron Kleinlehrer
Mr Andrew Korda & Ms Susan
Pearson
Mr Justin Lam
Mr Peter Lazar AM
Professor Winston Liauw
Airdrie Lloyd
Peter Lowry OAM & Dr Carolyn
Lowry OAM
Kevin & Deirdre McCann
Ian & Pam McGaw
Macquarie Group Foundation
Barbara Maidment
John Mar
Renee Markovic
Henry & Ursula Mooser
Milja & David Morris
Mrs J Mulveney
Dr Mike OConnor AM
Mr & Mrs Ortis
Mr Andrew C Patterson
Dr Natalie E Pelham
Almut Piatti
In memory of Sandra Paul
Pottinger
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Salute 2014_FOUR-2A_23Jul.indd 1 23/07/14 9:03 AM

Tuning, tuning,
tuning

With the harp being a solo

instrument in the orchestra, I
tend to prepare everything as
though its going to be a solo.
Its certainly true that composers
often use the harp as a special
colour within the orchestra,
rather than treating it as part of
a larger section. And cadenzas
and other soloistic passages are
not uncommon in the music
of Ravel, Tchaikovsky and
Stravinsky.
Performing as soloist out the
front of the orchestra does allow
certain refreshing freedoms,
however. I have the freedom
to decide my own dynamics,
the shape of phrases and other
musical elements, rather
than having to realise just the
conductors intentions. Legends
of the Old Castle, then, will offer
Louise the chance to exercise her
own self-expression. Im free to
have my own ideas about this
work, she says with relish.
Theres a lovely synergy
in the fact that Simone
Young is conducting this
harpstravaganza her own
daughter is a gifted young
harpist. Ive no doubt were
going to get along famously,
smiles Louise.
Louise Johnson is a soloist in Harp
Legends on 24, 25 and 28 July.
Simone Young conducts.
Its a rare sight to see a harpist
and their instrument out the
front of the orchestra for a
concerto performance. When
Principal Harp, Louise Johnson
appears as soloist with us in July,
performing Lee Bracegirdles
Legends of the Old Castle, it
will be as part of the World
Harp Congress a weeklong
celebration of this most ancient
and beguiling instrument. The
program features not one, but
two concertos for harp (the other
being Rodrigos Concierto serenata
performed by Sivan Magen), and
two orchestral works featuring
multiple harps within the
orchestra.
Whats the collective noun
for a bunch of harpists then?
An arpeggio? A cloud? A
haggle, replies Louise, without
a moments hesitation and with
a cheeky twinkle in her eye.
And what are the challenges
of having so many harpists
in the one program? Tuning,
tuning, tuning, she says. Each
instrument needs to be tuned
before every rehearsal and every
performance. With 47 strings on
each instrument you can imagine
the tuning schedule we have to
create!
Preparing for a concerto is
not necessarily so different to
preparing an orchestral part.
MAGICAL COLOUR
Principal harpist Louise Johnson celebrates
her instrument in all its guises and with all
its challenges.
ORCHESTRA NEWS | JULY 2014
SSO Bravo! #5 2014 Insert.indd 1 1/07/14 1:17 PM
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Warming up in the grand
Shanghai Oriental Art Center,
Principal Tuba Steve Ross and
Principal Double Bass Alex
Henery prepare for a program
that opened with Sound Lur
and Serpent, Andrew Schultzs
new fanfare for brass and
percussion, and Beethovens
Emperor Piano Concerto with
Shanghai-based prodigy
Haochen Zhang. Steve later
told us: My favourite moment
in our rst concert was in
Strausss Heldenleben when we
hit that E at chord which is
the heros motif. Its like being
invincible.
Sponsor Highlight
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Live at the Cortile with the SSO
From left: Kirsten Williams, Lerida Delbridge, Lawrence Dobell,
Rosemary Curtin and Elizabeth Neville
Winter is denitely here but plenty of musical
food lovers still ventured out into the cold for the
second event in our intimate concert series in the
Cortile bar and lounge at the InterContinental
Sydney. Executive chef Tamas Palmer treated guests
to a winter-time canap menu, including mulled-
wine martinis, chestnut velouts and tartes Tatin,
designed to match the music, which included
movements from the Brahms and Mozart clarinet
quintets, Elgars Salut dAmour and Gershwins
Embraceable You played by members of the SSO.
The event sold out, so book now for the next SSO
Live at the Cortile event on Thursday 7 August,
when a quartet featuring oboist Shelfali Pryor will
take you on an operatic journey of opulence and
drama. Visit bit.ly/SSOLiveattheCortile
I am wondering what a
musician does in a live
concert when he or she
suddenly feels the need to
sneeze, not to mention what
a soloist might do. Maybe it
doesnt happen because of
the intense concentration.
I havent ever noticed it, but
I do wonder!
Anne Irish
What a good question! I
sometimes marvel that I dont
sneeze in a concert! I think you
are right the concentration
required in performance
overrides any desire to sneeze.
I also nd that if I have a cold
and my sinuses are blocked
up, just before I have to play
especially if its an important
solo suddenly my head clears
and I can forget that Im unwell
for a few minutes. That must
be the adrenaline of performance
at work.
Unfortunately coughing
seems to be a different matter.
I have had many coughing ts
in various slow movements (it
always seems to happen in the
slow movement!), as have most
of my colleagues. Its awful,
and theres no escape. Very
occasionally a coughing t will
necessitate leaving the stage
so as not to be too distracting,
either to colleagues onstage or
for the audience listening.
If the concert is being broadcast
live on radio, or recorded for
later broadcast, then that adds
another level of awareness.
Professionalism means
overcoming these challenges,
so Im glad if youve never
noticed these moments. Were
all in the service of the music.
Rosamund Plummer,
Principal Piccolo
Have a question about music,
instruments or the inner
workings of an orchestra?
Ask a Musician at yoursay
@sydneysymphony.com
or by writing to Bravo!
Reply Paid 4338, Sydney
NSW 2001.
Ask a Musician
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SSO Bravo! #5 2014 Insert.indd 2 1/07/14 1:18 PM
I never experienced the sound
of an orchestra, Sebastian said.
Its what I want to do for the rest
of my life, but I never played in
an orchestra until I started my
undergraduate degree.
This tour, 2000 children did
have a chance to experience the
sound of an orchestra and a wide
variety of music the big hit
was LiteSPEED by Australian
composer Matthew Hindson.
The music was obviously very
stimulating for our groovy
little bodies, praised a teacher
from Morgan St Public School,
Broken Hill. Kim Waldock,
SSO Director of Learning and
Engagement, says we met
students with some experience
of orchestral music but the
majority especially in Cobar
and Broken Hill had absolutely
no idea of what to expect. Staff
and children of Cobar Public
School created an event,
arriving in tinfoil bow ties and
tiaras, even the principal wore a
dinner suit!
In Broken Hill, the citys
Community Orchestra and Brass
Band had great fun rehearsing
with the SSO players. And ve
SSO players gave a lesson for
the School of the Air in Broken
Hill, which was later broadcast
by ABC Regional Radio to other
children in remote areas.
We might have returned from
our third visit to China but
weve only just made it to Cobar!
Every year approximately 60
SSO players (including Fellows
and Sinfonia musicians) tour
to regional centres throughout
NSW. Some of those towns and
cities are old friends Dubbo,
Broken Hill others are new
acquaintances, like Cobar. It was
a rst visit that we wont forget
in a hurry: Cobar takes its footy
seriously, so having our concert
start during the State of Origin
game presented a challenge.
Cobars mayor Lillian Brady
was thrilled the orchestra was
in town but was keeping an eye
on the score, dont you worry.
Conductor Daniel Carter is also
a footy tragic: Its such a great
cultural mix. To come somewhere
like Cobar and in one night
to experience great romantic
Russian masterworks that are
over 150 years old and a game
of NRL. Everyone was still able
to get to the pub in time to see
the Blues triumph.
Our return to Dubbo allowed
Sebastian Dunn, a horn player in
our Sinfonia training orchestra,
to perform in his home town,
not just in the public concert
but also playing for his younger
brother and friends at his old
school. Coming from Dubbo,
Regional Tour
TIARAS AND TOUCHDOWN
In Cobar, the children dressed up for the orchestra, wearing tiaras and tinfoil crowns.
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The Score
Symphonies to Spare
Orchestral concerts tend to have
a standard menu: an overture
or short concert opener, a
concerto with a soloist, then the
symphony the big work.
Sometimes the concerto is so
symphonic we put it last (the
Brahms piano concertos, for
example), but most of the time
thats the pattern we follow.
But at the end of August, David
Robertson has taken a slightly
different approach, with a program
that looks at rst glance as if
it has nothing but symphonies!
Brahmss Third Symphony
is serious music, sometimes
melancholy, sometimes blissful,
with a shimmering, oating
pianissimo ending. We hope that,
by playing it rst rather than at
the end, youll be able to hear it
with fresh ears.
Our concerto with soloist
Vadim Repin is Lalos Symphonie
espagnole, a Spanish symphony
composed for Sarasate. Lalo
imagined the violin soaring
above the rigid form of an old
symphony and the result is
colourful and vibrant.
And from Janc ek theres a
sinfonietta. Technically, thats a
little symphony although this
one is little only in duration
the orchestra is huge, with 12
trumpets! Weve placed it last
because its so striking and
spectacular that really nothing
could possibly follow it.
Symphonic Inspiration
Emirates Metro Series
29 August, 8pm
Great Classics
30 August, 2pm
Mondays @ 7
1 September, 7pm
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SSO Bravo! #5 2014 Insert.indd 3 1/07/14 1:18 PM
GUEST EDITOR Jacqui Smith | MUSICIAN PROFILE Genevieve Huppert sydneysymphony.com/bravo
SSO CHINA TOUR BLOG
Catch up on all the highlights of our
third tour to China, which took in
Shanghai, Guangzhou, Shenzhen,
Jinan, Hangzhou, Zian and Beijing,
where we performed in the famous
National Centre for the Performing
Arts in Beijing (more commonly
referred to as The Egg!).
Sharing in the tour spirit, the staff
back in Sydney invited chef Gary
Au to visit our ofce in the Rocks
and demonstrate the ancient art
of making Dragon Beard Candy.
Check out the blog for the photo
evidence, including some very
sticky beards.
blog.ssoontour.com
SSO CHAMBER MUSIC
Fancy a more intimate setting for
your next concert? Our musicians
are busy performing chamber music
alongside the big concerts
WED 23 JUL, 1.15pm
St James, King St
Our Fellows perform the Elgar
String Quartet and a new piece by
James Wade. Entry by donation.
SUN 3 AUG, 1.30pm
Turramurra Uniting Church
The Chanterelle Quartet plays
string quartets by Haydn, Lalor and
Mozart.
WED 6 AUG, 1.15pm
St James, King St
Janet Webb leads a program of
wind chamber music treats. Entry
by donation.
WED 6 AUG, 7pm, Verbrugghen Hall
The SSO Brass Ensemble performs
music by Barber, Terracini,
Rautavaara and Copland at the
Sydney Conservatorium.
SUMMER STOPOVERS IN
DUBAI
Emirates has announced a free
24-hour stopover package for
passengers travelling from Australia
on eligible ights to destinations
beyond Dubai. With transfers,
a 36-hour UAE entry visa and
a 24-hour hotel stay, including
breakfast, this is your chance
to explore the vibrant city that
Emirates calls home. As Principal
Partner of the SSO, Emirates offers
our patrons an exclusive 10% online
discount on all Emirates ights.
Make sure youve signed up to our
Stay Tuned e-newsletter to receive
the special booking code.
bit.ly/EmiratesDubaiStopoverSSO
STUDENT RUSH
Did you know we offer student rush
tickets to many of our concerts?
Follow our Facebook page to nd
out when. Tickets are always strictly
limited but youll often spend no
more than $15. Bargain!
NEW ARRIVALS
Our Bravo! editor (and regular
guest harpist) Genevieve Huppert
is taking a few issues off to enjoy
the company of newborn Felix
Islay. And Associate Principal
Cello Henry Varema has been in
Estonia for the birth of his daughter.
Congratulations!
THANK YOU
We are extremely grateful to the
many donors who responded to
our recent end-of-nancial-year
appeal. Your support will enable us
to achieve our growing educational
and artistic goals and provide you
in our audience and many students
throughout NSW with exciting and
fullling musical experiences.
CODA
Symphony Services International
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The Rocks NSW 2000
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Box Ofce (02) 8215 4600
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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 reect 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:
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Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin
Sydney Opera House Trust
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Executive Management
Chief Executive Ofcer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron AM
Chief Operating Ofcer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire Spencer
Director, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan Bielski
Director, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David Claringbold
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SYDNEY OPERA HOUSE Administration (02) 9250 7111
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SSO Bravo! #5 2014 Insert.indd 4 17/07/14 12:51 PM
Symphony Services International
Suite 2, Level 5,
1 Oxford Street, Darlinghurst NSW 2010
PO Box 1145, Darlinghurst NSW 1300
Telephone (02) 8622 9400 Facsimile (02) 8622 9422
www.symphonyinternational.net
Clocktower Square,
Argyle Street,
The Rocks NSW 2000
GPO Box 4972,
Sydney NSW 2001
Telephone (02) 8215 4644
Box Ofce (02) 8215 4600
Facsimile (02) 8215 4646
www.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 reect 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 program.editor@sydneysymphony.com
PAPER PARTNER
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
publishers 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 specied on the title page
of this publication 17363 1/010814 23S S55/56
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 2021
Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053
E-mail: admin@playbill.com.au Website: www.playbill.com.au
Chairman Brian Nebenzahl OAM RFD
Managing Director Michael Nebenzahl
Editorial Director Jocelyn Nebenzahl
ManagerProductionClassical Music Alan Ziegler
Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin
Sydney Opera House Trust
Mr 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 Management
Chief Executive Ofcer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron AM
Chief Operating Ofcer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire Spencer
Director, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan Bielski
Director, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David Claringbold
Director, Building Development & Maintenance . . . . . . . . . . .Greg McTaggart
Director, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna Reid
Director, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner
SYDNEY OPERA HOUSE Administration (02) 9250 7111
Bennelong Point Box Ofce (02) 9250 7777
GPO Box 4274 Facsimile (02) 9250 7666
Sydney NSW 2001 Website sydneyoperahouse.com