MOZART & SCHUMANN 17-20 March Sydney Town Hall - Sydney Symphony Orchestra
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17–20 March Sydney Town Hall MOZART & SCHUMANN Presenting Partner Principal Partner
SYDNEY SYMPHONY ORCHESTRA 2021 CONCERT SEASON
ABERCROMBIE & KENT MASTERS SERIES
Wednesday 17 March, 8pm
Thursday 18 March, 1.30pm
THURSDAY AFTERNOON SYMPHONY Friday 19 March, 8pm
Saturday 20 March, 8pm
PATRON Her Excellency The Honourable Margaret Beazley ac qc Sydney Town Hall
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,
the Sydney Symphony Orchestra also performs in venues throughout Sydney and
regional New South Wales, and international tours to Europe, Asia and the USA 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, Zdenêk Mácal, Stuart Challender, Edo de
MOZART AND
Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from
2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019.
Australia-born Simone Young has been the Orchestra’s Chief Conductor Designate
SCHUMANN
since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra
returns to the renewed Concert Hall of the Sydney Opera House.
The Sydney Symphony Orchestra's concerts encompass masterpieces from the
classical repertoire, music by some of the finest living composers, and collaborations
ASHER FISCH conductor ESTIMATED DURATIONS
with guest artists from all genres, reflecting the Orchestra's versatility and diverse 8 minutes, 6 minutes,
appeal. Its award-winning education program is central to its commitment to the
FRANCESCO CELATA clarinet
25 minutes, interval 20
future of live symphonic music, and the Orchestra promotes the work of Australian minutes, 38 minutes.
composers through performances, recordings and its commissioning program.
LACHLAN SKIPWORTH (Born 1982)
Fanfara
Simone Young SECOND VIOLINS CELLOS CLARINETS TUBA
Chief Conductor Marina Marsden Catherine Hewgill Christopher Tingay Steve Rossé
WOLFGANG AMADEUS MOZART (1756–1791)
Designate Principal Principal Alexander Morris Principal The Abduction from the Seraglio: Overture
Donald Runnicles Marianne Edwards Leah Lynn Principal Bass Clarinet
Principal Guest Acting Associate TIMPANI
Associate Principal James Burke
Conductor
Alice Bartsch Principal Principal Mark Robinson Clarinet Concerto in A, K.622
Vladimir Ashkenazy
Conductor Laureate
Victoria Bihun Kristy Conrau Francesco Celata Acting Principal Allegro
Rebecca Gill Fenella Gill
Emma Hayes Elizabeth Neville
Associate Principal PERCUSSION Adagio
Andrew Haveron
Concertmaster
Shuti Huang Christopher Pidcock BASSOONS Rebecca Lagos Rondo (Allegro)
Monique Irik Adrian Wallis Todd Gibson-Cornish Principal
Chair supported by
Wendy Kong David Wickham Principal Timothy Constable
Vicki Olsson
Benjamin Li Brian Nixon*
DOUBLE BASSES Fiona McNamara
Nicole Masters
FIRST VIOLINS Jordy Meulenbroeks†
Maja Verunica Kees Boersma
Matthew Wilkie
HARP ROBERT SCHUMANN (1810–1856)
Andrew Haveron Kirsty Hilton Principal Genevieve Lang*
Concertmaster Principal Alex Henery
Principal Emeritus
Guest Principal Symphony No.2 in C, Op.61
Sun Yi Noriko Shimada
Associate
Emma Jezek Principal
Principal * = Guest Musician
Sostenuto assai – Allegro, ma non troppo
Assistant Principal Steven Larson
Concertmaster
Richard Lynn
Contrabassoon ° = Contract Musician Scherzo (Allegro vivace)
Lerida Delbridge VIOLAS Jaan Pallandi † = Sydney Symphony
Assistant Tobias Breider Benjamin Ward
HORNS
Fellow
Adagio espressivo
Concertmaster Ben Jacks
Principal David Campbell
Principal
Grey = Permanent Allegro molto vivace
Fiona Ziegler Justin Williams Member of the Sydney
Assistant FLUTES Geoffrey O’Reilly Symphony Orchestra
Acting Associate
Concertmaster Joshua Batty Principal 3rd Horn not appearing in
Principal
Kirsten Williams Principal Euan Harvey this concert
Sandro Costantino
Associate Carolyn Harris Rachel Silver
Rosemary Curtin
Concertmaster Marnie Sebire
Jane Hazelwood Emma Sholl Lachlan Skipworth’s Fanfara was made possible through the
Emeritus Graham Hennings Associate Principal TRUMPETS
Jenny Booth Stuart Johnson Sydney Symphony Orchestra’s 50 Fanfares Project and was
Claire Herrick Justine Marsden OBOES David Elton commissioned by the Sydney Symphony Orchestra.
Georges Lentz Felicity Tsai Principal
Shefali Pryor
Nicola Lewis Leonid Volovelsky Anthony Heinrichs
Associate Principal
Emily Long Anne-Louise
Alexandra Mitchell Callum Hogan† TROMBONES
Comerford
Alexander Norton Diana Doherty Scott Kinmont
Associate Principal
Anna Skálová Principal Associate Principal
Amanda Verner
Léone Ziegler Alexandre Oguey Nick Byrne
Harry Bennetts Principal Cor Anglais PRESENTING PARTNER PRINCIPAL PARTNER
Christopher Harris
Associate
Principal Bass
Concertmaster
Trombone
Brielle Clapson
Ronald Prussing
Principal
WELCOME ABOUT THE ARTISTS
PRESENTING PARTNER ASHER FISCH conductor
A renowned conductor in both the operatic and
symphonic worlds, Asher Fisch is especially celebrated
for his interpretative command of core German and
Italian repertoire of the Romantic and post-Romantic
era. He conducts a wide variety of repertoire from Gluck
to contemporary works by living composers. Since
2014, Asher Fisch has been the Principal Conductor
Welcome to the Abercrombie & Kent Masters Series. and Artistic Advisor of the West Australian Symphony
Returning to the concert hall and live music is wonderfully exciting. We’re Orchestra (WASO). His former posts include Principal
delighted to be able to support this concert, presented as part of the 2021 Guest Conductor of the Seattle Opera (2007-2013),
Abercrombie & Kent Masters Series. Music Director of the New Israeli Opera (1998-2008),
Many of you will recall Asher Fisch’s performances with the Sydney Symphony and Music Director of the Wiener Volksoper (1995- Asher Fisch
in 2019. They were a celebration that combined his extraordinary musical 2000). In 2019, Fisch won Helpmann Awards for Best Photo: Chris Gonz
imagination with the works of great masters. Individual Classical Performance and Best Symphony
Orchestra Concert for WASO’s production of Wagner’s
Tonight is a chance to experience Mozart’s overture to The Abduction from the Tristan und Isolde.
Seraglio. While a romantic and fanciful vision, it still inspires imagery of an exotic
faraway landscape and an Ottoman culture which still fascinates the world. After returning to conduct the Boston Symphony
Orchestra at Tanglewood and the Cleveland Orchestra
Equally celebrated and no less lyrical and romantic is Mozart’s Clarinet at the Blossom Festival in August, highlights of Asher
Concerto to be performed by Francesco Celata, the Sydney Symphony’s Fisch’s 2019-20 season include concerts with the New
Associate Principal Clarinet. This time, the landscape of the imagination is Zealand Symphony Orchestra and the orchestra of the
yours to explore and traverse as this beautiful music unfolds. Your adventure Teatro Comunale di Bologne.
continues with Schumann’s second symphony which sets out with brilliant
clarity and moves through a vast expressive journey to its radiant final Highlights of Asher Fisch’s 2018-19 season included
movement, bursting with energy. guest engagements with the Düsseldorf Philharmonic,
Sydney Symphony Orchestra, Teatro Massimo Orchestra
Even if the allures of Europe, Asia and beyond seem a long way off right now, in Palermo.
we can keep our dreams of travel and adventure alive and start planning for
future explorations. While we wait and plan until we can explore further, A&K Born in Israel, Fisch began his conducting career as
are making people’s dreams of exploring Australia a reality. There is so much to Daniel Barenboim’s assistant and kappellmeister at the
be discovered in our own country and so many opportunities for idyllic escapes Berlin Staatsoper. He has built his versatile repertoire
to places of astonishing beauty. at the major opera houses such as the Metropolitan
Opera, Lyric Opera of Chicago, San Francisco Opera,
Enjoy tonight’s beautiful escape! Teatro alla Scala, Royal Opera House at Covent Garden,
and Semperoper Dresden. Fisch is also a regular guest
conductor at leading American symphony orchestras
including those of Boston, Chicago, Cleveland, New
York, and Philadelphia. In Europe he has appeared at
the Berlin Philharmonic, Munich Philharmonic, London
Symphony Orchestra, Leipzig Gewandhaus Orchestra,
and the Orchestre National de France, among others.
Sujata Raman Asher Fisch’s recent recordings include Wagner’s Tristan
Regional Managing Director und Isolde, recorded live with WASO and featuring
Australia & Asia Pacific Stuart Skelton and Gun-Brit Barkmin. Widely acclaimed,
Abercrombie & Kent it won Limelight Magazine’s Opera Recording of the Year
in 2019. Fisch’s recording of Ravel’s L’heure espagnole
with the Munich Radio Orchestra also won Limelight
Magazine’s Opera Recording of the Year in 2017. In 2018
Fisch and WASO recorded Bruckner’s Symphony No.8 for
WASOLive! and Stuart Skelton’s first solo album for ABC
Classics. Fisch is also an accomplished pianist and has
recorded a solo disc of Wagner piano transcriptions for
the Melba label.
ABOUT THE ARTISTS ABOUT THE MUSIC
FRANCESCO CELATA clarinet LACHLAN SKIPWORTH (Born 1982)
Sydney Symphony Associate Principal Clarinet Fanfara
Francesco Celata joined the Sydney Symphony Orchestra The composer writes…
in 1993 as Associate Principal Clarinet. There wasn’t a lot to celebrate when writing Fanfara amidst
He has appeared as soloist with the Sydney Symphony a global pandemic. But now we’re here, I think the mere fact
Orchestra on several occasions, including previous we're playing and listening to music together in person is
performances of Mozart's Clarinet Concerto, Bernstein's enough. And I hope the immediacy of this music, in particular
Prelude, Fugue and Riffs, Krommer's Double Clarinet its bright textures and predominantly fast tempi, serves the
Concerto, a concerto written for him by Gordon Kerry. purpose well. Naturally, trumpets peal an opening figure over
He appeared as soloist with the Sydney Symphony galloping strings at the outset. The main melody then enters
Orchestra, under David Robertson at The National Centre in the violins, its long lines forming a recognisable refrain
for Performing Arts in Beijing performing the virtuoso throughout the opening section. Winds and brass offer their
concerto for Clarinet and Chamber Orchestra, ‘Gnarly Francesco Celata own answering phrases over staccato interjections from
Buttons’ by American composer John Adams. He has Photo: Keith Saunders pizzicato strings, snare drum and low brass.
also appeared as soloist with the Tasmanian Symphony The sudden appearance of a second trumpet fanfare heralds
Orchestra, The Queensland Philharmonic and the the arrival of a new section in compound time. Strings then
Auckland Philharmonia Orchestra. burst forth, playing a lively theme with dotted rhythms and
He has appeared as guest Principal Clarinet on numerous winding inner parts. The section cadences with lively brass,
occasions with the London Symphony Orchestra and more soon receding to reveal a harp solo from which a more delicate
recently with the Philharmonia Orchestra in London, also interlude grows. Muted colours and delicate accompaniments
touring internationally and recording with both orchestras. pervade, allowing broad gestures to sweep across the
Francesco has performed under many of the world’s orchestral surface. A lone timpani beats quietly, before
leading conductors including Lorin Maazel, Sir Colin clarinets and horns join to present a familiar fragment of the
Davis, Ricardo Muti, Sir Simon Rattle, Zubin Mehta, opening theme. Before long we’re hurtling in full tutti towards
Vladimir Ashkenazy, Charles Dutoit and Myun-whun the triumphant climax of the work.
Chung, performing in the major concert halls of the world. This work was made possible through the Sydney Symphony Orchestra’s 50
Fanfares Project and was commissioned by the Sydney Symphony Orchestra.
He is a dedicated pedagogue, and since 1994 has taught
clarinet at the Sydney Conservatorium, where he is a
Lecturer in Clarinet. He has taught many students who In 1782, Mozart produced his first major opera for Vienna, a
have gone on to leading orchestral positions in Australia work in German with spoken dialogue, but set in a fashionably
and around the world. He has given masterclasses at the exotic Turkish locale – Die Entführung aus dem Serail.
Shanghai Conservatorium, Trinity College in London, the Konstanze and her maid have been kidnapped and confined
Australian National Academy of Music and was for several in the harem of Pasha Selim. Their lovers, Belmonte, son of a
years, the Artistic Director of the Australian International Spanish colonial governor, and his servant Pedrillo attempt to
Symphony Orchestra Institute (AISOI). In 2013 he joined rescue them but are caught. Selim shows great magnanimity
the staff of the Conservatorium of Music in Hobart for in refusing to settle an old score with Belmonte’s family, and
three years as Lecturer in Orchestral and Chamber Music releases the lovers. The overture bustles and marches, evoking Mozart in 1782
heading the woodwind department. ‘Turkish’ military music through the use of colourful percussion.
Francesco is an experienced chamber musician and
founded the Sydney Soloists. The group has performed at One day in October 1791 Mozart played two games of
the Sydney Festival, tours for Musica Viva, numerous ABC billiards, sold his horse, drank some strong black coffee,
national broadcasts, recorded for the ABC and had their smoked a pipe and orchestrated the last movement of his
own chamber series at Government House in Sydney. Clarinet Concerto. After a tough year he was busy again;
the clarinet concerto needed to be finished so that his friend
Anton Stadler could premiere it in Prague, where people
whistled Mozart’s tunes in the street.
The clarinet was a novelty in Mozart’s time. (The instrument
on which Stadler first performed Mozart’s concerto – a
‘basset’ clarinet with an extended bass range – soon became
obsolete.) An admirer of Stadler’s wrote: ‘Never should I
have thought that a clarinet could be capable of imitating a
human voice so deceptively as it was imitated by you. Indeed,
your instrument has so soft and so lovely a tone that nobody Caroline Fischer-Achten
can resist it who has a heart’. In the piano concertos, Mozart as Konstanze in Die
exploited the inevitable contrast between the essentially Entführung, by A Barthel
ABOUT THE MUSIC THANK YOU
percussive piano and an orchestra of winds and strings. Every gift makes a difference. We gratefully acknowledge the generosity
With the clarinet concerto, however, he was writing for an of our community, including those who wish to remain anonymous.
instrument which blends into the orchestral texture, and
indeed, by omitting the penetrating tone of the oboes, VISIONARIES Bob & Julie Clampett
Mozart ensures a smooth, even surface to the music. Brian Abel Darin Cooper Foundation
Part of the work’s appeal is in its formal elegance and the Geoff Ainsworth am & Johanna Featherstone Emma Dunch
apparent effortlessness of its composition. The instrument’s Antoinette Albert Simon Johnson
resemblance to the human voice is more than a passing Terrey Arcus am & Anne Arcus Dr John Lam-Po-Tang
likeness. In the concerto’s slow movement (an Adagio, rare The Berg Family Foundation The late Dr Barry Landa
in Mozart) the central section undermines the serenity of Robert & Janet Constable Warren & Marianne Lesnie
its opening, so that we understand the provisional nature of Crown Resorts Foundation Sylvia & the late Sol Levi
that serenity when it returns. It evokes nothing so much as Gillian Eldershaw Helen Lynch am & Helen Bauer
the vocal writing in Mozart’s sacred or ceremonial music. Dr Gary Holmes & Dr Anne Reeckmann Susan Maple-Brown am
But the way in which Mozart uses the voice (particularly Bassett clarinet, Dr Rachael Kohn ao & Tom Breen The Hon. Justice AJ Meagher & Fran Meagher
the solo soprano) in his sacred works is indivisible from the Martin Suter, Zürich Sir Frank Lowy ac & the late Lady Shirley Lowy oam John & Jane Morschel
erotically charged music of his operas. Bob Magid oam & Ruth Magid Janet & Michael Neustein
Anthony & Suzanne Maple-Brown Kenneth R Reed am
According to Schumann himself, the Second Symphony Neilson Foundation Geoffrey Robertson ao
records his experience of movement from despair through Roslyn Packer ac (President, Maestro’s Circle) Graeme Robertson
healing to redemption and full recovery from a bout of Packer Family Foundation Tim Robertson sc
mental illness. Drs Keith & Eileen Ong In memory of Joyce Sproat
Patricia H Reid Endowment Pty Ltd James Stening
It was drafted in piano score in December 1845, but
Doris Weiss & the late Peter Weiss ao June & Alan Woods Family Bequest
Schumann had to put the orchestration aside when he had
(President Emeritus, Maestro’s Circle) $10,000+
an attack of ringing and clicking in the ears. Mendelssohn
conducted the premiere on 5 November 1846, but Schumann Judy & Sam Weiss Rob Baulderstone & Mary Whelan
made many changes, including adding the trombones, MAESTRO’S CIRCLE Roxane Clayton
before the second performance 11 days later. Robert Albert ao & Elizabeth Albert Richard Cobden sc
Schumann’s use of a catchy ‘motto’ to begin the work may be Christine Bishop Janet Cooke
a reference to Haydn (whose Symphony No.104 opens with Dr Rebecca Chin Ewen Crouch am & Catherine Crouch
a similar gambit) and its return in three of four movements John C Conde ao The Greatorex Fund
recalls Beethoven’s Fifth. Mendelssohn had done much to Robert and Clara Edward & Diane Federman Carolyn Githens
create this awareness of past music in his contemporaries, Schumann in 1850 Ian Dickson & Reg Holloway Dr Bruno & Rhonda Giuffre
and this symphony also pays tribute to him. Nora Goodridge oam Dr Margot Harris
Ingrid Kaiser The Hilmer Family Endowment
As the motto is being stated with ‘mysteriously muted I Kallinikos Jim & Kim Jobson
solemnity’ at the start, another ominous theme is outlined Sharon & Anthony Lee Foundation Roland Lee
by the strings, beginning a movement Schumann described Ian & Ann Levi Dr Lee MacCormick Edwards Charitable
as of a ‘very moody and unruly character’. The struggle of Catriona Morgan-Hunn Foundation
the first movement is a real one. The victory is not yet won, in Karen Moses Russell & Mary McMurray
spite of the return of the motto. Nelson Meers Foundation Sue Milliken ao
The restless Scherzo is the most explicit tribute to Mendelssohn. Rachel & Geoffrey O'Conor Dr Dominic Pak & Cecilia Tsai
But this is no ‘fairy scherzo’ and as Michael Steinberg notices ‘a Vicki Olsson Nigel & Carol Price
layer of melancholy underlies the jocularity.’ The Ross Trust Garry & Shiva Rich
Schumann’s dialogue with Mendelssohn continues in the slow Paul Salteri am & Sandra Salteri Sylvia Rosenblum
movement; but here Schumann seems to be saying, ‘I am not In memory of Mrs W Stening Dougall Squair
Mendelssohn.’ The movement is full of felicitous scoring. Kathy White Rod Sims & Alison Pert
In memory of Dr Bill Webb & Helen Webb Penelope Seidler am
Especially after Beethoven’s Ninth, the finale had become
Caroline Wilkinson oam Tony Strachan
a challenge to composers. This movement, an expression
Ray Wilson oam, in memory of James Agapitos oam Judge Robyn Tupman
of victory over dark, disturbing forces, falls into two parts,
the second so substantial it has struck some as a ‘finale PATRONS PROGRAM Russell Tagg & Pat Woolley
in the finale’. After a series of pauses Schumann quotes $15,000+ Yim Family Foundation
Beethoven’s To the Distant Beloved, here a reference to his Ainsworth Foundation
For a full listing of our Sydney Symphony family
much-loved wife Clara; it leads to an exultant conclusion, in Doug & Alison Battersby
of donors, please visit sydneysymphony.com/our-
which the opening motto is gradually reintroduced, shedding Dugald Black supporters.
mystery and affirming the light. Audrey Blunden
To discuss your giving or learn which areas most need
Notes by Lachlan Skipworth, Gordon Kerry, David Garrett Sandra & Neil Burns your support, please contact our Philanthropy team on
(Schumann) © 2021 Robert & L Alison Carr 02 8215 4674 or philanthropy@sydneysymphony.com.
BOARD OF DIRECTORS THANK YOU
Terrey Arcus am Chairman The Hon. Justice AJ Meagher
Geoff Ainsworth am Sam Meers ao
Andrew Baxter Karen Moses Deputy Chair
Kees Boersma Dr John Vallance
Emma Dunch CEO Geoff Wilson
Catherine Hewgill
ORCHESTRA CHAIR PATRONS
PRINCIPAL PARTNER GOVERNMENT PARTNERS
Emma Dunch Claire Herrick
Chief Executive Officer Violin
I Kallinikos Chair Russell & Mary McMurray Chair
Andrew Haveron Catherine Hewgill
Concertmaster Principal Cello The Sydney Symphony Orchestra is assisted by The Sydney Symphony Orchestra
Vicki Olsson Chair The Hon. Justice AJ & the Commonwealth Government through the Australia
Council, its arts funding and advisory body.
is supported by the NSW Government
through Create NSW.
Joshua Batty Mrs Fran Meagher Chair
Principal Flute Kirsty Hilton
Karen Moses Chair Principal Second Violin
Harry Bennetts Drs Keith & Eileen Ong Chair
Associate Concertmaster Scott Kinmont
Judy & Sam Weiss Chair Associate Principal Trombone
Victoria Bihun Audrey Blunden Chair
Violin Emily Long PREMIER PARTNER
Sylvia & the late Sol Levi Chair Violin
Kees Boersma Dr Margot Harris Chair
Principal Double Bass Leah Lynn
Council Chair Assistant Principal Cello
Tobias Breider Sydney Symphony Orchestra
Principal Viola Vanguard Chair (lead MAJOR PARTNER FOUNDATIONS
Roslyn Packer ac & support from Seamus R Quick)
Gretel Packer am Chair Nicole Masters
James Burke Violin
Principal Clarinet Nora Goodridge oam Chair
Oranges & Sardines Foundation Chair Fiona McNamara
Nick Byrne Bassoon BRAND AGENCY PARTNER GOLD PARTNERS
Trombone Nelson Meers Foundation Chair
Robertson Family Chair Timothy Nankervis
Anne-Louise Comerford Cello
Associate Principal Viola Dr Rebecca Chin & Family Chair
White Family Chair Elizabeth Neville
Timothy Constable Cello
Percussion Bob Magid oam & Ruth Magid Chair SILVER PARTNERS
Christine Bishop Chair Alexandre Oguey
Rosemary Curtin Principal Cor Anglais
Viola Mackenzie’s Friend Chair
E V E N T H I R E
John & Jane Morschel Chair Mark Robinson
Lerida Delbridge Acting Principal Timpani
Assistant Concertmaster Sylvia Rosenblum Chair
Simon Johnson Chair in memory of Rodney Rosenblum
Diana Doherty Rachel Silver
Principal Oboe Horn
John C Conde ao Chair Sue Milliken ao Chair
Todd Gibson-Cornish Emma Sholl COMMUNITY AND INDUSTRY PARTNERS
Principal Bassoon Associate Principal Flute
Nelson Meers Foundation Chair Robert & Janet Constable Chair
Rebecca Gill Matthew Wilke
Violin Principal Emeritus Bassoon
In memory of Reg & Jeannette Nelson Meers Foundation Chair
Lam-Po-Tang Chair Justin Williams
Carolyn Harris Assistant Principal Viola
Flute Robert & L Alison Carr Chair VANGUARD PARTNER HOTEL PARTNER REGIONAL TOUR PARTNER
The late Dr Barry Landa Chair
Jane Hazelwood
Viola
Bob & Julie Clampett Chair
in memory of Carolyn ClampettWhen the time is right.
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