27 March Sydney Town Hall HAYDN & GABRIELI
27 MarchSydney Town HallHAYDN &GABRIELIPrincipal Partner
SYDNEY SYMPHONY ORCHESTRA2021 CONCERT SEASONGREAT CLASSICSSaturday 27 March, 2pmSydney Town HallPATRON Her Excellency The Honourable Margaret Beazley ac qcFounded in 1932 by the Australian Broadcasting Commission, the Sydney SymphonyOrchestra has evolved into one of the world’s finest orchestras as Sydney hasbecome one of the world’s great cities. Resident at the iconic Sydney Opera House,the Sydney Symphony Orchestra also performs in venues throughout Sydney andregional New South Wales, and international tours to Europe, Asia and the USA haveearned 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 deWaart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019.Australia-born Simone Young has been the Orchestra’s Chief Conductor Designatesince 2020. She commences her role as Chief Conductor in 2022 as the Orchestrareturns to the renewed Concert Hall of the Sydney Opera House.The Sydney Symphony Orchestra's concerts encompass masterpieces from theclassical repertoire, music by some of the finest living composers, and collaborationswith guest artists from all genres, reflecting the Orchestra's versatility and diverseappeal. Its award-winning education program is central to its commitment to thefuture of live symphonic music, and the Orchestra promotes the work of Australiancomposers through performances, recordings and its commissioning program.Simone YoungChief ConductorDesignateDonald RunniclesPrincipal GuestConductorVladimir AshkenazyConductor LaureateAndrew HaveronConcertmasterChair supported byVicki OlssonFIRST VIOLINSAndrew HaveronConcertmasterHarry BennettsAssociateConcertmasterLerida DelbridgeAssistantConcertmasterJenny BoothClaire HerrickGeorges LentzEmily LongAlexandra MitchellAnna SkálováLéone ZieglerSun YiAssociateConcertmasterFiona ZieglerAssistantConcertmasterKirsten WilliamsAssociateConcertmasterEmeritusBrielle ClapsonSophie ColeNicola LewisAlexander NortonSECOND VIOLINSCELLOSCLARINETSTROMBONESMarina MarsdenPrincipalMarianne EdwardsAssociate PrincipalEmma JezekAssistant PrincipalAlice BartschVictoria BihunEmma HayesWendy KongMaja VerunicaKirsty HiltonPrincipalRebecca GillShuti HuangBenjamin LiNicole MastersCatherine HewgillPrincipalLeah LynnActing AssociatePrincipalTimothy NankervisAdrian WallisKristy ConrauFenella GillChristopher PidcockDavid WickhamJames BurkePrincipalFrancesco CelataAssociate PrincipalChristopher TingayAlexander MorrisPrincipal Bass ClarinetScott KinmontAssociate PrincipalNick ByrneChristopher HarrisPrincipal Bass TromboneDale Vail†Ronald PrussingPrincipalVIOLASTobias BreiderPrincipalJustin WilliamsActing AssociatePrincipalGraham HenningsStuart JohnsonAmanda VernerLeonid VolovelskyAnne-LouiseComerfordAssociate PrincipalSandro CostantinoRosemary CurtinJane HazelwoodJustine MarsdenFelicity TsaiDOUBLE BASSESKees BoersmaPrincipalSteven LarsonBenjamin WardAlex HeneryPrincipalDavid CampbellRichard LynnJaan PallandiFLUTESEmma ShollAssociate PrincipalCarolyn HarrisJoshua BattyPrincipalOBOESDiana DohertyPrincipalAlexandre OgueyPrincipal Cor AnglaisShefali PryorAssociate PrincipalBASSOONSTodd Gibson-CornishPrincipalMatthew WilkiePrincipal EmeritusFiona McNamaraNoriko ShimadaPrincipalContrabassoonTUBASteve RosséPrincipalHORNSRebecca LagosPrincipalTimothy ConstableBen JacksPrincipalGeoffrey O’ReillyPrincipal 3rd HornEuan HarveyMarnie SebireRachel SilverNick Mooney*TRUMPETSDavid EltonPrincipalAnthony HeinrichsPaul Goodchild*Daniel Henderson*TIMPANIHAYDN ANDGABRIELIANDREW HAVERON director and violinRONALD PRUSSING speaker and brassensemble conductorGIOVANNI GABRIELI (c.1556–1612)Sacrae symphoniae (1597):Canzon per sonar primi toniESTIMATED DURATIONS6 minutes, 3 minutes,6 minutes, 4 minutes,interval 20 minutes,67 minutes.COVER IMAGEAndrew Haveron, SydneySymphony ConcertmasterPhoto: Nick BowersSAMUEL BARBER (1910–1981)Mutations from BachMORTEN LAURIDSEN (born 1943)O magnum mysteriumGABRIELICanzon per sonar in eco duodecimi toniMark RobinsonActing PrincipalPERCUSSION* Guest Musician Contract Musician† Sydney SymphonyFellowGrey PermanentMember of the SydneySymphony Orchestranot appearing inthis concertJOSEPH HAYDN (1732–1809)Seven Last Words of our Redeemer from the Cross Hob.XX/1Introduzione: AdagioSonata 1: LargoSonata 2: Grave e cantabileSonata 3: GraveSonata 4: LargoSonata 5: AdagioSonata 6: LentoSonata 7: Largo –Il Terremoto: Presto e con tutta la forzaPRINCIPAL PARTNER
ABOUT THE ARTISTSABOUT THE MUSICANDREW HAVERON director and violinSydney Symphony Concertmaster,Vicki Olsson ChairBaroque music was frequently tailored to the physicalenvironment in which it was to be performed. In Venice,for instance, composers like Andrea and GiovanniGabrieli, and Monteverdi at one time, were employedat the basilica of San Marco. They were inspired bythe building’s space and shape to develop a distinctivepolychoral style, where groups of voices and orinstruments placed in different parts of the church,such as the choir lofts that face each other, to createantiphonal, or stereophonic effects. Often, as in theworks we hear today, the composer creates the effectof echoes in a vast space. Giovanni Gabrieli was madeprincipal organist at San Marco in 1584, and on thedeath of his uncle Andrea became principal composerthere, a post he held for the next two decades.Andrew Haveron has established himself as one of themost sought-after violinists of his generation.A laureate of some of the most prestigious internationalviolin competitions, Andrew studied in London at thePurcell School and the Royal College of Music. With hisunrivalled versatility, he is a highly respected soloist,chamber musician and concertmaster.As a soloist, Andrew has collaborated with conductorssuch as Sir Colin Davis, Sir Roger Norrington, JiříBělohlávek, Stanislaw Skrowachewski, David Robertsonand John Wilson, performing a broad range of the wellknown and less familiar concertos with many of the UK’sfinest orchestras. His performance of Walton’s violinconcerto with the Sydney Symphony Orchestra in 2015was nominated for a Helpmann Award. Andrew’s playinghas also been featured on many film and video-gamesoundtracks, including Disney’s ‘Fantasia’ game, whichincludes his performance of Vivaldi’s Four Seasons withthe Academy of St Martin in the Fields.In 1999 Andrew was appointed first violinist of theinternationally acclaimed Brodsky Quartet. A busyschedule saw the quartet perform and broadcast in theirunique style all over the world. Amassing a repertoire ofalmost 300 works, they collaborated with outstandingartists and commissioned many new works from today’scomposers. Also famed for their iconic ‘cross-genre’projects, the quartet enjoyed barrier-breaking work withElvis Costello, Björk, Paul McCartney and Sting. Andrewhas also appeared with numerous other chamber groupssuch as the Nash and Hebrides ensembles, the LogosChamber Group, Kathy Selby and Ensemble Q.Andrew is also in great demand as a concertmaster anddirector and has worked with all the major symphonyorchestras in the UK and many further afield. In 2007 hebecame concertmaster of the BBC Symphony Orchestra,broadcasting frequently on BBC Radio and enjoyingmany appearances at the BBC Proms including thefamous “Last Night”. Joining the Philharmonia Orchestrain 2012 Andrew also led the 'World Orchestra for Peace’at the request of its conductor Valery Gergiev, and againin 2018 at the request of Donald Runnicles. He has alsobeen the leader of ‘The John Wilson Orchestra’ since itsinception. In 2013, Andrew started in his current positionof concertmaster of the Sydney Symphony Orchestra.In 2019 Andrew appeared with the London SymphonyOrchestra under Sir Simon Rattle, and in recitals aroundAustralia with pianists Anna Goldsworthy, Piers Lane andSimon Tedeschi.Andrew Haveron plays a 1757 Guadagnini violin, generously loaned to theSydney Symphony Orchestra by Vicki Olsson.Andrew HaveronPhoto: Nick BowersGabrieli’s canzone don’t always specify instrumentationso much as the number of players (these versions areby US composer Tim Higgins), and are usually based on‘recitation tones’ – melodic fragments to which certainparts of the Mass were routinely chanted.The Basilica of San Marco,VeniceThe Canzon per sonar primi toni juxtaposes two musicalideas – one in common time based on a contrapuntalelaboration of the theme with its distinctive long-shortshort ‘canzone’ rhythm, and a more dance-like section intriple time.The Canzon per sonar in echo duodecimi toni is formallysimpler, beginning with both groups in rhythmic unisonbut diverging to create the piece’s distinctive echo effects.Samuel Barber’s short work for brass and timpaniwas composed in 1967. It is based on a chorale melodypublished in 1525 set to the words ‘O Christ, Lamb ofGod, you take away the sins of the world, have mercy onus grant us your peace’, the last ‘fixed’ section of thetraditional text of the Mass. Barber includes the words inthe printed score where the melody appears.Joachim Decker was one of the early Lutherancomposers to arrange liturgical melodies as ‘chorales’for congregational singing, supporting the tune withsimple harmony and regular metre. Barber begins withDecker’s 1604 version, given here to the horns andtuba. The addition of the brighter trumpets signals thebeginning of Bach’s harmonisation of the melody fromover a century later. His Cantata BWV 23, ‘You true Godand son of David’ was composed in 1723 and formeda part of Bach’s job application to the city of Leipzigwhere he would spend much of his professional life. Itconcludes with a harmonically more elaborate version ofthe chorale.Barber then derives an accompanying texture ofoverlapping descending scales from Bach’s choraleprelude, BWV 619, based on this tune, from theOrgelbüchlein (Little Organ Book) composed some yearsearlier. The music returns to the mood of the Cantata,specifically its second-movement recitative where theGiovanni GabrieliSamuel Barber, 1951
ABOUT THE MUSICABOUT THE MUSICthen in the same way pronounced the second word,then the third, and so on, the orchestra following onthe conclusion of each discourse.tenor imagines himself one of the blind people healedby Jesus, singing against a slow-movement version ofthe chorale. Barber has the chorale played by trumpetwith the horn having the more expressive melody, beforequietly restating Decker’s harmony at the close.Christ as Lamb of God is associated with his sacrificeat Easter, where O magnum mysterium is, of course,associated with Christmas, with the charming (if nonBiblical) image of the animals in the stable gazing atthe new-born Saviour. US composer Morten Lauridsen’ssetting is characteristically serene and slow moving butbuilds to a beautiful ecstatic response to the mystery ofthe Incarnation. Lauridsen, much of whose work is highlymystical if not explicitly religious, composed it in 1993for the Los Angeles Master Chorale. It was inspired, inpart by Francisco de Zurbarán's painting Still Life WithLemons, Oranges and a Rose, a work which, like much17th century painting is freighted with iconographicalsymbolism that, as the composer puts it ‘projects anaura of mystery, powerful in its unadorned simplicity,its mystical quality creating an atmosphere of deepcontemplation ’ In response, Lauridsen composed apiece that, in his words ‘seems to float, to hover in the air,due to a predominant use of inverted chords, recallingthe Renaissance practice of fauxbourdon. Inclusion of theAlleluia descant over sustained pedal tones referencesyet another characteristic of the era.’Haydn duly composed a set of orchestral ‘sonatas’, hispublisher released a string quartet version soon after,most likely with Haydn’s approval if not in his actualarrangement. That formed the basis of a keyboardreduction and some years later Haydn reworked thepiece as an oratorio.From the mid-1770s Haydn’s duties as music directorto Prince Nikolas Eszterházy at his palace, Eszterháza,in rural Hungary involved overseeing a full-time operacompany (the Empress Maria Theresa once quipped thatshe had to go the country to see a decent production).Haydn conducted numerous works and contributedsome six operas to the repertoire. The Seven Last Words,unsurprisingly, shows his finely-honed ability to depictemotion and a dramatic scenario.Morten LauridsenThe seven sentences that follow presented Haydn withthe challenge of sustaining the sombre mood, largelythough slow tempos, while not boring the audience. Hemet the challenge in several ways – by transformingmaterial from movement to movement, sometimesunusual orchestration, and contrasting key and metre.Each of the sentences begins with a motto, or theme that‘fits’ the Latin text from the Gospel.This version for brass was commissioned by the BayBrass of San Francisco.Haydn’s Stabat mater, a 13-movement work for soloists,choir and orchestra describes the anguish of the VirginMary at seeing her son dying on the cross, and asks,on behalf of Christian souls, to share in the agony ofChrist and subsequent bliss in heaven. First performedin Vienna in 1768 it became immensely popular, nowheremore so than in Spain. Haydn’s celebrity there eventuallyled to a commission from ‘a canon of Cádiz Cathedral’for an orchestral work to accompany the liturgicalpresentation of the seven last utterances of Christ, asrecorded in the Gospels. In the season of Lent in 1787, theceremony took place in the Oratory of the Holy Cave, anunderground church in the city. Presumably on the basisof an eye-witness account, Haydn’s friend and biographerGeorg August Griesinger described the occasion:On the appointed day, the walls, windows, and pillarsof the church were hung with black cloth, and only onelarge lamp hanging from the centre of the roof brokethe solemn darkness. At an appointed hour the doorswere all locked, and the music began. After a shortprelude the bishop ascended the pulpit, pronouncedthe first of the seven words (or sentences) anddelivered a meditation upon it. As soon as this wasended, he left the pulpit, and prostrated himself beforethe altar. The interval was filled by music. The bishopHaydn prefaces the set with an introduction (maestosoed adagio), which establishes the solemnity of theoccasion through a stately pace and the distinctivedotted rhythms that feature frequently in ceremonialmusic of the period. This nevertheless gains impetus froma pervasive pattern of three repeated quavers and offbeat accents.The first, ‘Father forgive them for they know not whatthey do’, presents the theme on oboe and violin, takingup the dotted rhythms and repeated quavers of theintroduction. The harmony is often chromatic, withexpressive semitonal dissonances, like sighs, on strongbeats. At the end, the repeated notes, as if exhausted arequietly stated and separated by rests.Joseph Haydn‘Today you will be with me in Paradise’, the secondsonata, likewise states the theme in the first violin, withthe repeated note pattern, now half speed, forming theaccompaniment. Here Christ is addressing one of thethieves crucified with him, assuring him of the comfortof salvation, which Haydn represents in lyrical music thattransforms from minor- to major-key harmony.Addressing his mother and his favourite disciple (StJohn) in the third piece, Jesus says ‘Woman, beholdyour son’. Delicately scored, the music is much morefragmented – the repeated-note figure appears atvarious speeds in isolation, and the theme comes in shortmotifs in the violins, and is passed to solo flute.The interior of the Oratoryof the Holy Cave, photoJim Walton
ABOUT THE MUSICTHANK YOUJesus’ impassioned cry ‘My God, my God, why have youforsaken me?’ forms the fourth sonata, a dark minor-keypiece redolent of similar moments in opera, punctuated bysolo sobbing motifs. Suffused by dotted rhythms and thethree-note pattern, it too ends in a gesture of exhaustion.Every gift makes a difference. We gratefully acknowledge the generosityof our community, including those who wish to remain anonymous.‘I thirst’, the fifth sonata, begins with a unison cry followedby the dry texture of pizzicato strings over which the twonote ‘theme’ migrates from one instrumental group toanother. Jesus’ increasing distress is depicted in more andmore insistent music, bringing in the sobbing motif fromearlier in the work.The theme of ‘It is finished’, the sixth sonata, is givena fully-scored chorale treatment before breaking intocanon, and then offering a contrasting – and an oddlycheerful seeming second theme. Jesus has, after allconquered the world.The final sentence ‘Father, into your hands I commendmy spirit’ is again operatic at first, and in E flat, a keywhich composers of the time associated with heroism.Now-familiar motifs return – the repeated-note idea,the etiolated sobbing figure, the dramatic use of suddendynamic changes. And as Jesus gives up his spirit themusic dissolves into fragmentary pizzicato, leadingstraight into a fast, forceful (and operatic) evocationof the earthquake that, according to Matthew 27:51,signalled Jesus’ death.Gordon Kerry 2021VISIONARIESBrian AbelGeoff Ainsworth am & Johanna FeatherstoneAntoinette AlbertTerrey Arcus am & Anne ArcusThe Berg Family FoundationRobert & Janet ConstableCrown Resorts FoundationGillian EldershawDr Gary Holmes & Dr Anne ReeckmannDr Rachael Kohn ao & Tom BreenSir Frank Lowy ac & the late Lady Shirley Lowy oamBob Magid oam & Ruth MagidAnthony & Suzanne Maple-BrownNeilson FoundationRoslyn Packer ac (President, Maestro’s Circle)Packer Family FoundationDrs Keith & Eileen OngPatricia H Reid Endowment Pty LtdDoris Weiss & the late Peter Weiss ao(President Emeritus, Maestro’s Circle)Judy & Sam WeissMAESTRO’S CIRCLERobert Albert ao & Elizabeth AlbertChristine BishopDr Rebecca ChinJohn C Conde aoEdward & Diane FedermanIan Dickson & Reg HollowayNora Goodridge oamIngrid KaiserI KallinikosSharon & Anthony Lee FoundationIan & Ann LeviCatriona Morgan-HunnKaren MosesNelson Meers FoundationRachel & Geoffrey O'ConorVicki OlssonThe Ross TrustPaul Salteri am & Sandra SalteriIn memory of Mrs W SteningKathy WhiteIn memory of Dr Bill Webb & Helen WebbCaroline Wilkinson oamRay Wilson oam, in memory of James Agapitos oamPATRONS PROGRAM 15,000 Ainsworth FoundationDoug & Alison BattersbyDugald BlackAudrey BlundenSandra & Neil BurnsRobert & L Alison CarrBob & Julie ClampettDarin Cooper FoundationSimon JohnsonDr John Lam-Po-TangThe late Dr Barry LandaWarren & Marianne LesnieSylvia & the late Sol LeviHelen Lynch am & Helen BauerSusan Maple-Brown amThe Hon. Justice AJ Meagher & Fran MeagherJohn & Jane MorschelJanet & Michael NeusteinKenneth R Reed amGeoffrey Robertson aoGraeme RobertsonTim Robertson scIn memory of Joyce SproatJames SteningJune & Alan Woods Family Bequest 10,000 Rob Baulderstone & Mary WhelanRoxane ClaytonRichard Cobden scJanet CookeThe Greatorex FundCarolyn GithensDr Bruno & Rhonda GiuffreDr Margot HarrisThe Hilmer Family EndowmentRoland LeeDr Lee MacCormick Edwards CharitableFoundationRussell & Mary McMurraySue Milliken aoDr Dominic Pak & Cecilia TsaiNigel & Carol PriceGarry & Shiva RichSylvia RosenblumDougall SquairRod Sims & Alison PertPenelope Seidler amGeoff StearnTony StrachanHoward Tanner am & Mary TannerJudge Robyn TupmanRussell Tagg & Pat WoolleyYim Family FoundationFor a full listing of our Sydney Symphony familyof donors, please visit sydneysymphony.com/oursupporters.To discuss your giving or learn which areas most needyour support, please contact our Philanthropy team on02 8215 4674 or philanthropy@sydneysymphony.com.
BOARD OF DIRECTORSTerrey Arcus am ChairmanGeoff Ainsworth amAndrew BaxterKees BoersmaEmma Dunch CEOCatherine HewgillThe Hon. Justice AJ MeagherSam Meers aoKaren Moses Deputy ChairDr John VallanceGeoff WilsonTHANK YOUORCHESTRA CHAIR PATRONSEmma DunchChief Executive OfficerI Kallinikos ChairAndrew HaveronConcertmasterVicki Olsson ChairJoshua BattyPrincipal FluteKaren Moses ChairHarry BennettsAssociate ConcertmasterJudy & Sam Weiss ChairVictoria BihunViolinSylvia & the late Sol Levi ChairKees BoersmaPrincipal Double BassCouncil ChairTobias BreiderPrincipal ViolaRoslyn Packer ac &Gretel Packer am ChairJames BurkePrincipal ClarinetOranges & Sardines Foundation ChairNick ByrneTromboneRobertson Family ChairAnne-Louise ComerfordAssociate Principal ViolaWhite Family ChairTimothy ConstablePercussionChristine Bishop ChairRosemary CurtinViolaJohn & Jane Morschel ChairLerida DelbridgeAssistant ConcertmasterSimon Johnson ChairDiana DohertyPrincipal OboeJohn C Conde ao ChairTodd Gibson-CornishPrincipal BassoonNelson Meers Foundation ChairRebecca GillViolinIn memory of Reg & JeannetteLam-Po-Tang ChairCarolyn HarrisFluteThe late Dr Barry Landa ChairJane HazelwoodViolaBob & Julie Clampett Chairin memory of Carolyn ClampettClaire HerrickViolinRussell & Mary McMurray ChairCatherine HewgillPrincipal CelloThe Hon. Justice AJ &Mrs Fran Meagher ChairKirsty HiltonPrincipal Second ViolinDrs Keith & Eileen Ong ChairScott KinmontAssociate Principal TromboneAudrey Blunden ChairEmily LongViolinDr Margot Harris ChairLeah LynnAssistant Principal CelloSydney Symphony OrchestraVanguard Chair (leadsupport from Seamus R Quick)Nicole MastersViolinNora Goodridge oam ChairFiona McNamaraBassoonNelson Meers Foundation ChairTimothy NankervisCelloDr Rebecca Chin & Family ChairElizabeth NevilleCelloBob Magid oam & Ruth Magid ChairAlexandre OgueyPrincipal Cor AnglaisMackenzie’s Friend ChairMark RobinsonActing Principal TimpaniSylvia Rosenblum Chairin memory of Rodney RosenblumRachel SilverHornSue Milliken ao ChairEmma ShollAssociate Principal FluteRobert & Janet Constable ChairMatthew WilkePrincipal Emeritus BassoonNelson Meers Foundation ChairJustin WilliamsAssistant Principal ViolaRobert & L Alison Carr ChairPRINCIPAL PARTNERGOVERNMENT PARTNERSThe Sydney Symphony Orchestra is assisted bythe Commonwealth Government through the AustraliaCouncil, its arts funding and advisory body.The Sydney Symphony Orchestrais supported by the NSW Governmentthrough Create NSW.PREMIER PARTNERMAJOR PARTNERFOUNDATIONSBRAND AGENCY PARTNERGOLD PARTNERSSILVER PARTNERSE V E N TH I R ECOMMUNITY AND INDUSTRY PARTNERSVANGUARD PARTNERHOTEL PARTNERREGIONAL TOUR PARTNER
at Easter, where O magnum mysterium is, of course, associated with Christmas, with the charming (if non-Biblical) image of the animals in the stable gazing at the new-born Saviour. US composer Morten Lauridsen’s setting is characteristically serene and slow moving but builds to a beautiful ecstatic response to the mystery of the Incarnation.
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