2 0 1 8

PRESENTED BY PREMIER PARTNER CREDIT SUISSE

THU 14 JUN, 8PM • FRI 15 JUN, 8PM • SAT 16 JUN, 8PM

Anne-Sophie Mutter plays TchaikovskyDavid Robertson Conducts

CONCERT DIARY

SSO Percussion StarsWESTLAKE Kalabash KOPETZKI Le Chant du Serpent NISHIMURA Padma in Meditation GRAINGER Arrival Platform Humlet GRAINGER Random Round MIKI Marimba Spiritual MÁRTA A Doll’s House Story

SSO Percussionists

Tea & Symphony

Fri 15 Jun, 11amSydney Opera House

Verdi’s RequiemVERDI Requiem

Oleg Caetani conductor Angel Blue soprano Catherine Carby mezzo-soprano Diego Torre tenor Jérôme Varnier bass Sydney Philharmonia Choirs

Meet the Music

Thu 21 Jun, 6.30pmGreat Classics

Sat 23 Jun, 2pmMondays @ 7

Mon 25 Jun, 7pmSydney Opera House

A Night at the SpeakeasyRhapsody in BlueFeaturing… GERSHWIN Rhapsody in Blue with the overture to Girl Crazy, Swanee and riotous hits from the 1920s as well as guest cabaret acts!

Guy Noble conductor and host George Gershwin piano roll and special guests Ali McGregor and Imogen Kelly

Fri 29 Jun, 8pm Sat 30 Jun, 8pmSydney Opera House

Simon Trpčeski in RecitalGRIEG From Holberg’s Time (Holberg Suite) MENDELSSOHN Songs without Words: Selection RIMSKY-KORSAKOV trans. Gilson ScheherazadeSimon Trpčeski piano

International Pianists in Recital

Presented by Theme & Variations Piano Services

Mon 2 Jul, 7pmCity Recital Hall

Spirit Realms – Sacred and ProfaneHough plays Rachmaninoff

EDWARDS Earth Spirit Songs – Symphony No.2 RACHMANINOFF Rhapsody on a Theme of Paganini MENDELSSOHN Symphony No.5, ReformationJulian Kuerti conductor Celeste Lazarenko soprano Stephen Hough piano

Meet the Music

Wed 4 Jul, 6.30pmThursday Afternoon Symphony

Thu 5 Jul, 1.30pmTea & Symphony

Fri 6 Jul, 11am*

Sydney Opera House

Mozart’s Horn Concerto No.3 & Linz SymphonySCHUBERT Overture in B flat MOZART Horn Concerto No.3, K447 MOZART Symphony No.36 (Linz)Andrew Haveron violin-director Ben Jacks horn

Thu 12 Jul, 7pmCity Recital Hall

CLASSICAL

sydneysymphony.com8215 4600 Mon–Fri 9am–5pm

sydneyoperahouse.com 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pm

cityrecitalhall.com 8256 2222 Mon–Fri 9am–5pm

*

*

WELCOME

Credit Suisse warmly welcomes you to this special musical event as Anne-Sophie Mutter returns to Sydney to perform one of the great violin concertos.

As Premier Partner, we were proud to support Anne-Sophie

Mutter’s Australian debut in 2012 as well as her return to

Sydney in 2014. It now gives us great pleasure to support her

third visit to Australia to perform with the Sydney Symphony

Orchestra.

Over the years we have supported the Sydney appearances

of some of the great names in classical music: in addition

to Anne-Sophie Mutter, these have included artists such as

pianists Lang Lang and Evgeny Kissin. These are celebrity

performers – very much in the spotlight of the musical world –

but we are also very proud to support projects ‘behind the

scenes’ that nurture musicians and music-lovers of the

future.

One of these initiatives is the Credit Suisse SSO Schools

Music Education Program, a three-year pilot program that

aims to provide primary school students access to a world-

class music education. This partnership with the SSO –

reaching more than a thousand students in its initial pilot –

will showcase the demonstrable link between music

education and academic performance, offering immediate

and long-term benefits for the students and their

communities.

Through our partnerships with the Sydney Symphony

Orchestra, we are equally proud to be supporting those at

the start, and at the pinnacle, of their musical journeys.

John Knox

Chief Executive Officer

Credit Suisse Australia

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

THURSDAY 14 JUNE, 8PM FRIDAY 15 JUNE, 8PM SATURDAY 16 JUNE, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

86TH SEASON | 2018

Anne-Sophie Mutter plays TchaikovskyDavid Robertson conductor Anne-Sophie Mutter violin

VASILY SERGEYEVICH KALINNIKOV (1866–1901) Symphony No.1 in G minor

Allegro moderato

Andante commodamente

Scherzo (Allegro non troppo – Moderato assai)

Finale (Allegro moderato)

INTERVAL

JOHN WILLIAMS (born 1932) Markings, for violin, strings and harp

australian premiere

PYOTR ILYICH TCHAIKOVSKY (1840–1893) Violin Concerto in D major, Op.35

Allegro moderato – Moderato assai

Canzonetta (Andante) –

Finale (Allegro vivacissimo)

Saturday’s performance will be broadcast live on ABC Classic FM, and again on Sunday 17 June at noon

Pre-concert talk by Scott Davie at 7.15pm in the Northern Foyer.

Estimated durations: 39 minutes, 20-minute interval, 10 minutes, 33 minutes The concert will conclude at approximately 10pm.

COVER IMAGE: Photo by Bastian Achard

6

MO

NIK

A H

OFL

ER

7

ABOUT THE MUSIC

KeynotesKALINNIKOVBorn Oryol District, Russia, 1866 Died Yalta, 1901

Vasily Kalinnikov grew up in poverty: even as his tremendous musical talent was recognised, his constitution was weakened and he died of tuberculosis two days short of his 35th birthday. Even so, he left a legacy of songs, choral works, piano pieces, an unfinished opera and more than a dozen orchestral works, including two symphonies. It was the First Symphony, completed when he was 29, that established his reputation, with performances throughout Europe, and it remains in the repertoire in Russia today.

SYMPHONY NO.1

A grand symphony in the Russian Romantic tradition, this work is full of memorable and lyrical melodies. The best of them are likely to become earworms tonight, not least because Kalinnikov adopts a cyclical structure in which principal themes are repeated in subsequent movements and then returned in the thrilling finale. The second movement establishes its atmosphere with glimmering bell-like effects and a melancholy song-like idea presented in gorgeous instrumental combinations: cor anglais with violas, then clarinet and cello. This is followed by a brilliant and boisterous Scherzo movement that suggests traditional dancing, even when the pace slows in the middle.

Vasily Sergeyevich Kalinnikov Symphony No.1 in G minorAllegro moderato

Andante commodamente

Scherzo (Allegro non troppo – Moderato assai)

Finale (Allegro moderato)

Puccini’s La Bohème romanticised the myth of the starving artist, but the all-too-brief life and career of the Russian composer Vasily Kalinnikov demonstrates the horrid reality of what can happen when artistic talent is not matched by financial security. The son of a minor police official, Kalinnikov grew up in a family so poor that the child prodigy suffered from cold and hunger, growing into adulthood with a blazing musical talent and a weakened physical constitution.

Everyone acknowledged the young multi-instrumentalist’s talent, whether as bassoonist, percussionist, violinist or composer, and ways were found to get him a seminary education and then entry to the Moscow Philharmonic School, but poverty and ill-health dogged him wherever he went. During the 1880s he was accepted without hesitation into the famed Moscow Conservatory but couldn’t afford the fees and had to abandon his studies, Tchaikovsky finding him a position in 1892 as the Musical Director of Moscow’s Malïy Theatre. He then took on a similar, additional role at the Italian Theatre but only months into the job had to abandon it, as tuberculosis began to exert its deathly grip.

Still aged in his 20s, the ailing Kalinnikov moved to the warmer climate of Yalta in the Crimea, where he composed two symphonies, incidental music for Alexey Tolstoy’s play Tsar Boris, a string quartet and a couple of minor tone poems, but his life was hellish and doomed. When Rachmaninoff visited him, Kalinnikov was living in such deprivation that the famous composer arranged publication of several of his works to help him out financially, but it all came too late. Kalinnikov died two days short of his 35th birthday, his new publisher noting that the premature death had increased the value of his small output tenfold, and duly paying Kalinnikov’s widow a handsome sum for the music left behind.

Kalinnikov had a rare gift for melody – the theme for his orchestral overture Bylina bears a striking similarity to that of the current Russian national anthem, composed many years later by Alexander Alexandrov, while much of Kalinnikov’s other orchestral writing has been compared with the sumptuous textures of his supporter Tchaikovsky. In terms of one melody after another, however, nothing compares with his First Symphony.

8

For the listener it’s like looking at an endless vista of rolling musical hills. While it earned him very little, the First Symphony was a much-admired work during the final years of Kalinnikov’s life. Composed in 1894–95, it was premiered in Kiev at a Russian Music Society concert in 1897 and subsequently performed in Moscow, Vienna and Berlin.

An immediately engaging work, this symphony is built on a cyclical form: its main themes return again and again, imprinting themselves on the memory even on a first hearing. And none does so more than the very ‘Russian-sounding’ opening theme of the first movement, stated first on unison strings and contrasted with more bustling secondary material initially introduced on the horns.

With soaring melodies and colourful orchestration, the spirit of Tchaikovsky is never far away, but in this first, and by far the most extensive movement of the symphony, keen-eared listeners may also find in one of its insistent march-like rhythms a precursor of a section from the finale of Elgar’s First Symphony, composed more than a decade later. Increasingly celebratory as it proceeds, with horns and grunting and lower strings punctuating the orchestral texture and driving it on through

9

…there are few easier works to appreciate on a first hearing…

tremendous climaxes, it reaches a dramatic conclusion, the  main theme now firmly established – and destined to recur.

The slow movement is marked Andante commodamente – literally a comfortable, easy tempo. It opens hypnotically, the harp and violin providing a kind of ostinato over which oboe weaves a sublime melody, taken over by richly scored strings and other wind instruments. This is Russian sentimentalism at its finest – both shamelessly melodic yet painfully sad.

The Scherzo on the other hand is a jolly folk-dance, with chirruping winds and tripping strings, contrasted by an elegiac trio that provides moments of respite. After repeated alternations of mood, the bustling scherzo theme proper reasserts itself, with its scurrying strings, brass punctuations and swirling wind figurations ushering in a triumphant conclusion.

The Finale opens immediately with a restatement of the first movement’s main theme, but then that instantly recognisable tune disappears as the vibrant and energetic actual finale theme emerges. One by one, though, the finale works its way back through the themes from the previous three movements, buoyant in mood and rushing from one climax to another, with massive tunes in the brass, and orchestral tuttis filled with sound and fury. By the blazing conclusion, you feel like you know the symphony so well – there are few easier works to appreciate on a first hearing, and it prompts the question of just what its unfortunate composer might have achieved had he lived longer.

MARTIN BUZACOTT © 2006

Kalinnikov’s Symphony No.1 calls for two flutes, piccolo, two oboes,

cor anglais, two clarinets and two bassoons; four horns, two trumpets,

three trombones and tuba; timpani and percussion; harp and strings.

The SSO first performed the symphony in 1941, conducted by Percy

Code, and most recently in 1946, conducted by Clive Douglas.

10

John Williams Markings for solo violin, strings and harpAnne-Sophie Mutter violinaustralian premiere

It may seem strange to begin a program note by pointing out that John Williams is the most Oscar-nominated person in history (his score to Star Wars: Episode VIII – The Last Jedi being the most recent nomination). But Williams is also, probably unarguably, the world’s most famous composer for orchestra – reaching all age groups. Last September I saw the Hollywood Bowl (capacity 17,500) packed with young people waiting with their lightsabers to hear the music of an 85-year-old man. As a film composer, he ranges from banjo-harmonica music for Arthur Penn’s movie The Missouri Breaks to the ‘bebop’ of Catch Me If You Can, directed by Steven Spielberg. But Williams has also, during his career, created concert works, including, in 1976, a violin concerto recorded by Gil Shaham. (Incidentally, there are many musicians who enjoy Williams’ film music as music, without reference to the films.)

Anne-Sophie Mutter has commissioned leading composers such as Sofia Gubaidulina, Wolfgang Rihm and André Previn

KeynotesWILLIAMSBorn New York, 1932

John Williams is one of the most popular and successful American orchestral composers of the modern age. He is best-known for his film scores and is credited with restoring symphonic sound to the movies in the 1970s – putting the orchestra back into the cinema with his scores for The Poseidon Adventure, Jaws and Star Wars, the film that really made his name. But he is also a noted composer of concert works, which include many pieces for soloist and orchestra, among them concertos for flute, violin, clarinet, bassoon (The Five Sacred Trees), tuba and trumpet, as well as a cello concerto (premiered by Yo-Yo Ma).

When he was in his teens, John Williams moved to Los Angeles, where he studied composition privately with Castelnuovo-Tedesco. Later he attended the Juilliard School, studying piano with Rosina Lhevinne, and began his career working as a jazz pianist before returning to Los Angeles and the film industry, working with composers such as Bernard Herrmann, Alfred Newman and Franz Waxman. He has since become one of the most renowned composers for screen, in particular writing scores for all but three of Steven Spielberg’s feature films.

11

(who, according to New Music USA, remembers Williams from their days playing for a ballroom dance school ‘on La Brea Avenue’). Mutter wanted Williams to write a piece for her because, as she said in a 2017 Boston Globe interview: ‘He just understands how to write for instruments…how to put instruments into the best possible position to soar…’

Markings was premiered on 16 July 2017 at Tanglewood, Massachusetts, summer home of the Boston Symphony Orchestra, whose Pops orchestra Williams has conducted for more than 30 years. Mutter was the soloist, the conductor Andris Nelsons.

Williams has written many tuneful violin solos in his films, but Markings is atonal. Tonight’s conductor, David Robertson, remarks on the way Williams ‘puts an atmosphere in place…we begin wondering about what kind of story will be told.’ He adds, ‘What really impresses me in the piece is the way that small intervals, notes that are very close together, evoke a kind of intimacy that is then constantly being pulled apart. It almost feels like something very personal comes under wide public scrutiny…’

Markings begins ‘hushed but warmly’. The violin sound is sonorous (but ‘reflective’), emphasising the low-sounding G-string, before ranging more widely. The soloist expounds song-like music over a slow tread before the music enters a dance-like phase (harp now joining), which is then pulled back for a cadenza before a short coda (the lyrical song again ascending into the violin’s highest range). What is this music about? Does Markings refer to the detailed attention to attack and declamation? Never mind, the music speaks to us directly and leaves us wishing for more.

GORDON KALTON WILLIAMS © 2018

Together we have created the Credit Suisse SSO Music Education Program to provide children with access to world-class music education.credit-suisse.com/au

Credit Suisse AG ABN 17 061 700 712. AFSL 226896 Copyright © 2018 Credit Suisse Group AG and/or its affiliates. All rights reserved.

Creating meaningful change through music.

110.8S.023.02 CS Anzeige Sydney Symphony Orchestra 150x240.indd 1 31.05.18 11:34

13

Pyotr Ilyich Tchaikovsky Violin Concerto in D major, Op.35Allegro moderato – Moderato assai

Canzonetta (Andante) –

Finale (Allegro vivacissimo)

Anne-Sophie Mutter violin

It was the winter of 1877, and Tchaikovsky was in love. He wrote to his brother Modest about the ‘unimaginable force’ of the passion that had developed; its object was a young violinist and student at the Moscow Conservatorium, Iosif Kotek. Tchaikovsky had known ‘this wonderful youth’ for about six years. In 1876 Kotek had also acted as a go-between for Tchaikovsky and his new patron, Nadezhda von Meck, who eschewed any face to face contact with the composer. Kotek was a devoted and affectionate but platonic friend to Tchaikovsky, but predictably enough, soon became besotted with a fellow (female) student.

The composer’s ardour cooled quickly, and within three weeks of discovering Kotek’s new relationship, Tchaikovsky had made his fateful proposal to Antonina Milyukova, a former Conservatorium student who had fallen in love with him. They married two months later, and as the depth of their cultural and

KeynotesTCHAIKOVSKYBorn Kamsko-Votkinsk, 1840 Died St Petersburg, 1893

Tchaikovsky represented a new direction for Russian music in the late 19th century: fully professional and cosmopolitan in outlook. He embraced the genres and forms of Western European tradition – symphonies, concertos and overtures – bringing to them an unrivalled gift for melody. His two most famous works for solo instrument and orchestra (the First Piano Concerto and the Violin Concerto) have become staples of the repertoire for their respective instruments.

VIOLIN CONCERTO

Tchaikovsky’s concerto is considered to be one of the most difficult in the repertoire, although the faults that early critics perceived in the work are now generally accepted as challenges, rather than flaws: this is a concerto that pushes both instrument and performer to technical extremes. The  first movement in particular contains some highly virtuosic passagework, and its triumphant character means there is never a dull moment. The second movement begins with a melancholy theme, offset by a joyous central section. The pyrotechnics of the first movement return in the third (a lively Russian dance) and both soloist and orchestra are put through their paces.

Tchaikovsky (right) and the violinist Kotek

14

Tchaikovsky

personal differences quickly became clear, Tchaikovsky left his wife two months after that. Milyukova, incidentally, was not the deranged harpy that histories (or myth) have made of her. Her mental health degenerated only many years after Tchaikovsky’s death (and a subsequent happy relationship which produced children) and she never spoke ill of Tchaikovsky during his life or after his death. He for his part realised that he had treated her abominably, and saw to it that she was financially secure for the rest of her life.

Kotek and Tchaikovsky remained friends, however, and the Violin Concerto seems to have grown out of a promise that the composer made to write a piece for one of Kotek’s upcoming concerts. ‘We spoke,’ Tchaikovsky told his brother, ‘of the piece he ordered me to write...He repeated over and over that he would get angry if I didn’t write this piece.’ While Kotek was not, ultimately, the dedicatee or first performer of the work, he was of enormous help to Tchaikovsky in playing through sections of the piece as the composer finished them.

After leaving his wife, Tchaikovsky, accompanied by one or other of his brothers (and at one point Kotek himself), travelled extensively in western Europe. Tchaikovsky worked on the Violin Concerto in Switzerland in early 1878, not long after completing the Fourth Symphony and the opera Eugene Onegin. Commentators are generally agreed that both of those works reflect Tchaikovsky’s emotional reactions to the traumatic events of his marriage, though the composer himself was careful, in a letter to Mme von Meck, to point out that one could only depict such states in retrospect. In any event, it seems likely that, apart from honouring a promise to Kotek, Tchaikovsky found the conventions of the violin concerto offered a way of writing a large-scale work without the personal investment of the opera and symphony.

Like the great concertos of Beethoven, Brahms, Mendelssohn and Sibelius, Tchaikovsky’s is in D major and in three substantial movements. The first develops two characteristic themes within a tracery of brilliant virtuoso writing for the violin, and like Mendelssohn, Tchaikovsky places the solo cadenza before the recapitulation of the opening material. As in the slow movement of the Fourth Symphony, the central Canzonetta works its magic by the deceptively simple repetition of its material. The work concludes with a bravura, ‘Slavic’ Finale which is interrupted only by a motif for solo oboe which for one writer recalls, nostalgically, a moment in the ‘Letter Scene’ from Onegin (which itself parallels the relationship between Tchaikovsky and Antonina).

The work was initially dedicated to the virtuoso Leopold Auer, who thought it far too difficult and refused to play it. (Auer eventually overcame his opposition to the concerto, playing it to

You have indeed crammed too many difficulties into it, [but] one can play it again and again and never be bored; and this is a most important circumstance for the conquering of its difficulties.

Violinist Adolf Brodsky, soloist in the first performance, to Tchaikovsky

15

For a while the concerto has proportion, is musical, and is not without genius, but soon savagery gains the upper hand…The violin is no longer played: it is yanked about, it is torn asunder, it is beaten black and blue. [Of the Finale:] We see savage vulgar faces, we hear curses, we smell vodka…There are [lascivious] pictures which ‘stink in the eye’. Tchaikovsky’s Violin Concerto gives us for the first time the notion that there can be music that ‘stinks to the ear’.

From Hanslick’s notorious review of the premiere

great acclaim and introducing it to many of his pupils.) In 1881 Adolf Brodsky gave the premiere in Vienna, where that city’s most feared critic, Eduard Hanslick, tore the piece to shreds:

The violin is no longer played; it is pulled, torn, drubbed…We see plainly the savage vulgar faces, we hear curses, we smell vodka… Tchaikovsky’s Violin Concerto gives us for the first time the notion that there can be music that stinks to the ear.

Hanslick, like many a music critic, made a bad call; Tchaikovsky had written one of the best loved works of the concerto repertoire.

GORDON KERRY © 2003

Listening Guide

The concerto opens with the kind of scene-setting introduction that also opens the first piano concerto, after which the soloist enters with a brief flourish, then announces the main theme of the first movement. Soon the second subject appears, a melody of great tenderness that is presented in a setting not dissimilar to those of Tchaikovsky’s famous violin solos in Swan Lake. From this point the temperature of the first movement rises considerably, with the solo part becoming much more virtuosic and the orchestral writing increasingly colourful, as the two themes undergo numerous brilliant transformations. There is a magnificently varied cadenza for the soloist.

Kotek felt Tchaikovsky’s original slow movement was too insubstantial and sentimental, and the composer agreed, replacing it with the Canzonetta. After a simple chordal introduction for the woodwinds, the soloist takes up a hushed, appropriately song-like theme. The accompaniment to the violin’s later decorations of this melody are scored with the utmost delicacy. This is one of Tchaikovsky’s most purely beautiful creations. (He eventually published the original slow movement as the Méditation in Souvenir d’un lieu cher, Op.42.)

The Finale follows on without a break, and immediately the soloist has a dazzling, short cadenza, which leads straight into the movement’s vigorous main theme, a short, folk-like dance tune. The second theme, introduced over a bagpipe-like drone on the strings, is a temporary lyrical resting-place in the movement’s wild infectiousness.

FROM A NOTE BY PHILLIP SAMETZ © 1996

The orchestra for Tchaikovsky’s Violin Concerto comprises pairs of flutes,

oboes, clarinets and bassoons; four horns, two trumpets, timpani and

strings.

The SSO first performed the concerto in 1938 under Percy Code with

Guila Bustabo as soloist, and most recently in 2016 with soloist Vadim

Gluzman and conductor Shiyeon Sung.

CONCERTGOERS COULD ENJOY THE MUSIC MADE BY OUR 100 MUSICANS

277,000

EMERGING YOUNG MUSICIANS COULD BE MENTORED250

PRIMARY STUDENTS ACROSS THE COUNTRY COULD WATCH THE BUSH CONCERT LIVESTREAM

650,000

OF NEW AUSTRALIAN WORKS COULD BE COMMISSIONED BY THE SSO

4 world premieres

STUDENTS COULD ATTEND CONCERTS

23,600

Play your partIN 2018

In 2017 your support ensured:

“ All of us in the Sydney Symphony Orchestra deeply appreciate your generous philanthropic support that enables our music-making around the globe.” David Robertson, Lowy Chair of Chief Conductor and Artistic Director

Please join our 2018 Annual Appeal! Did you know that ticket sales cover only half our expenses? Please play your part and consider making a tax-deductible donation to support the music you love.

Your gift makes a real difference and any new or increased gifts by 30 June will be matched by a generous supporter – dollar for dollar!*

Your gift of $25 will become $50… and $250 becomes $500!

So please, donate today and double your impact.

Or call (02) 8215 4600 to donate today.

*New and increased gifts up to a total of $50,000 will be matched 1:1.

sydneysymphony.com/appeal

CONCERTGOERS COULD ENJOY THE MUSIC MADE BY OUR 100 MUSICANS

277,000

EMERGING YOUNG MUSICIANS COULD BE MENTORED250

PRIMARY STUDENTS ACROSS THE COUNTRY COULD WATCH THE BUSH CONCERT LIVESTREAM

650,000

OF NEW AUSTRALIAN WORKS COULD BE COMMISSIONED BY THE SSO

4 world premieres

STUDENTS COULD ATTEND CONCERTS

23,600

Play your partIN 2018

In 2017 your support ensured:

“ All of us in the Sydney Symphony Orchestra deeply appreciate your generous philanthropic support that enables our music-making around the globe.” David Robertson, Lowy Chair of Chief Conductor and Artistic Director

Please join our 2018 Annual Appeal! Did you know that ticket sales cover only half our expenses? Please play your part and consider making a tax-deductible donation to support the music you love.

Your gift makes a real difference and any new or increased gifts by 30 June will be matched by a generous supporter – dollar for dollar!*

Your gift of $25 will become $50… and $250 becomes $500!

So please, donate today and double your impact.

Or call (02) 8215 4600 to donate today.

*New and increased gifts up to a total of $50,000 will be matched 1:1.

sydneysymphony.com/appeal

18

*Prices correct at time of publication and subject to change. Booking fees of $3–$8.95 may apply depending on method of booking.

18, 20 & 21 JUL SYDNEY OPERA HOUSE

TICKETS FROM $39*

sydneysymphony.comO R CA L L 8 2 1 5 4 6 0 0 M O N – F R I 9A M – 5 P M

T I C K E T S A L S O AVA I L A B L E AT :

sydneyoperahouse.com 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pm

Pictures at an Exhibition

H I G D O N V I O L I N C O N C E R T O W I T H B E N JA M I N B E I L M A N

Giancarlo Guerrero conductor Benjamin Beilman violin

APT MASTER SERIES

The brilliant Benjamin Beilman makes his SSO debut with a new showpiece

violin concerto. Then enjoy the vivid and exhilarating Pictures at an Exhibition.

SYMPHONY SERVICES INTERNATIONALClocktower Square, Shops 6–9 35 Harrington Street, The Rocks 2000 Telephone (02) 8215 4666 Facsimile (02) 8215 4669www.symphonyinternational.net

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.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 18356 — 1/140618 — 21 S42/44

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 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 Email: admin@playbill.com.au Website: www.playbill.com.au

Chairman & Advertising Director Brian Nebenzahl OAM RFDManaging Director Michael Nebenzahl | Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music David Cooper

Operating in Australia, New Zealand, Singapore, Hong Kong, Taiwan, Korea, South Africa, UK and in USA as Platypus Productions LLC

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions. 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

SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777GPO Box 4274 Facsimile (02) 9250 7666 Sydney NSW 2001 Website sydneyoperahouse.com

Executive ManagementLouise Herron am Chief Executive OfficerJon Blackburn Chief Financial OfficerIan Cashen Director, BuildingKate Dundas Director, Performing ArtsJade McKellar Director, Visitor Experience

Sydney Opera House Trust

Mr Nicholas Moore ChairMs Anne DunnMr Michael Ebeid am

Mr Matt FullerMs Kathryn Greiner ao

Mr Chris Knoblanche am

Ms Deborah Mailman am

Ms Kylie RampaMs Jillian Segal am

Mr Phillip Wolanski am

PAPER PARTNER

19

MORE MUSIC

ANNE-SOPHIE MUTTER

Anne-Sophie Mutter has released two recordings of the Tchaikovsky Violin Concerto. Her 1988 recording was made with Herbert von Karajan and the Vienna Philharmonic Orchestra in Salzburg. Her more recent recording, from 2003, with André Previn and the Vienna Philharmonic, was also recorded in concert, in the Vienna Musikverein. It’s paired with the Korngold Violin Concerto (with Previn and the London Symphony Orchestra).DEUTSCHE GRAMMOPHON 419 2412 (KARAJAN)

DEUTSCHE GRAMMOPHON 474 5152 (PREVIN)

Among her most recent releases is Mutterissimo: The Art of Anne-Sophie Mutter – a 2-CD collection that includes the gorgeous slow movement from the Tchaikovsky concerto, together with highlights from the Korngold, Dvořák, Beethoven, Brahms and Stravinsky concertos; many of the best-loved shorter concert works for violin, and the violin transcription of Prokofiev’s Flute Sonata (Violin Sonata No.2).DEUTSCHE GRAMMOPHON 479 6834

Also released since her most recent visit to Sydney: The Club Album: Anne-Sophie Mutter Live from the Yellow Lounge. Mutter is joined by harpsichordist Mahan Esfahani, pianist Lambert Orkis, violinist Noa Wildschut and Mutter’s Virtuosi in a program of classical and contemporary pops that range from Bach’s Double Concerto in D  minor to Gershwin Preludes and John Williams’ Schindler’s List. There’s even an Australian touch in the form of Arthur Benjamin’s Jamaican Rumba. The deluxe edition of the album includes interviews in English and German and a DVD, while LP and digital formats cater to the whole spectrum of technological preference.DEUTSCHE GRAMMOPHON 479 5021 (CD+DVD)

KALINNIKOV SYMPHONIES

There are few recordings to choose from if you want to discover more of Kalinnikov’s music, but if you’re impatient to listen to tonight’s symphony again search YouTube for the 2014 concert recording with Osmo Vänskä and the London Philharmonic Orchestra. Among commercial releases it’s worth seeking out the USSR Symphony Orchestra and Yevgeny Svetlanov recording, which pairs Kalinnikov’s First Symphony with Borodin’s First. MUSICAL CONCEPTS (ALTO) 1316

Or for both Kalinnikov symphonies, look for Theodore Kuchar and the Ukrainian National Symphony Orchestra on Naxos.NAXOS 8.553417

JOHN WILLIAMS’ WORLDTo experience the breadth of John Williams’ music, look for The Music of America: John Williams, a 3-CD album in which the first two discs focus on his music for the concert hall, including Memoirs of a Geisha (a suite for cello and orchestra) and the bassoon concerto Five Sacred Trees. The third disc is an exhilarating collection of themes from such films as Star Wars, Jaws, Schindler’s List, Jurassic Park and E.T. SONY 770636

Broadcast DiaryMay–June

abc.net.au/classic

Saturday 16 June, 8pm Sunday 17 June, noon (repeat)ANNE-SOPHIE MUTTER PLAYS TCHAIKOVSKYSee this program for details.

Thursday 21 June, 6.30pm Sunday 24 June, 2pm (repeat)VERDI’S REQUIEMOleg Caetani conductor Angel Blue, Catherine Carby, Diego Torre, Jérôme Varnier soloists Sydney Philharmonia Choirs

Friday 22 June, 1pmYULIANNA AVDEEVA IN RECITALYulianna Avdeeva pianoChopin, Liszt

Saturday 30 June, 8pm ROYAL FIREWORKS MUSICRobert Johnson conductor SSO Brass EnsembleBritten, Barber, Gabrieli, Hartley, Debussy, Elgar, Handel

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 10 July, 6pmMusicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

20

David Robertson – conductor, artist, thinker and American musical visionary – is a highly sought-after figure in the worlds of opera, orchestral music and new music. A consummate and deeply collaborative musician, he is hailed for his intensely committed music-making and celebrated worldwide as a champion of contemporary composers, an ingenious and adventurous programmer, and a masterful communicator and advocate for his art form.

He made his Australian debut with the SSO in 2003 and soon became a regular visitor to Sydney, with highlights including the Australian premiere of John Adams’ Doctor Atomic Symphony and concert performances of The Flying Dutchman. In 2014, his inaugural season as Chief Conductor and Artistic Director, he led the SSO on a tour of China. More recent highlights have included presentations of Elektra, Tristan und Isolde, Beethoven’s Missa Solemnis, and Porgy and Bess; the Australian premiere of Adams’ Scheherazade.2 violin concerto, Messiaen’s From the Canyons to the Stars and Stravinsky ballet scores (also recorded for CD release), as well as the SSO at Carriageworks series (2016–17).

Currently in his farewell season as Music Director of the St Louis Symphony, David Robertson has served as artistic leader to many musical institutions, including the BBC Symphony Orchestra, Orchestre National de Lyon, and – as a protégé of Pierre Boulez – Ensemble Intercontemporain. With frequent projects at the world’s leading opera houses, including the

Metropolitan Opera, La Scala, Bavarian State Opera, Théâtre du Châtelet and San Francisco Opera, he is also a frequent guest with major orchestras worldwide, conducting the New York Philharmonic, Los Angeles Philharmonic, Boston and Chicago symphony orchestras, Philadelphia and Cleveland orchestras, Berlin Philharmonic, Staatskapelle Dresden, BBC Symphony Orchestra and Hong Kong Philharmonic Orchestra.

David Robertson is devoted to supporting young musicians and has worked with students at the Aspen, Tanglewood and Lucerne festivals; as well as the Paris Conservatoire, Juilliard School, Music Academy of the West, National Orchestral Institute (University of Maryland) and the National Youth Orchestra of Carnegie Hall.

His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and the 2005–06 ASCAP Morton Gould Award for Innovative Programming. In 2010, he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l’Ordre des Arts et des Lettres.

David Robertson was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham.

The position of Chief Conductor and Artistic Director is also supported by Principal Partner Emirates.

David Robertson conductorTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

THE ARTISTS

JAY

FRA

M

21

Anne-Sophie Mutter is a musical phenomenon: for more than 40 years she has been a fixture in all the world’s major concert halls, making her mark on the classical music scene as a soloist, mentor and visionary.

As well as performing traditional repertoire, the four-time Grammy Award winner is equally committed to the future of music: she has premiered 26 works, and Sebastian Currier, Henri Dutilleux, Sofia Gubaidulina, Witold Lutosławski, Norbert Moret, Krzysztof Penderecki, André Previn, Wolfgang Rihm and John Williams are among the composers who have written for her. Furthermore, she dedicates herself to numerous benefit projects and to supporting tomorrow’s musical elite. She founded the Association of Friends of the Anne-Sophie Mutter Foundation (1997) and the Anne-Sophie Mutter Foundation (2008) – charitable institutions providing tailored support for scholarship recipients – and since 2011 she has regularly shared the spotlight on stage with her ensemble of fellows, Mutter’s Virtuosi.

Her 2018 calendar features performances in Asia, Australia, Europe and North America. In March she premiered André Previn’s Fifth Season for violin and piano at Carnegie Hall, and in November she will premiere a work for two violins by South Korean composer Chin Un-suk. The music of Penderecki provides a thematic focus for the year – commemorating the Polish composer’s 85th birthday and many years of friendship – and she will perform works he has dedicated to her:

Violin Concerto No.2 (Metamorphosen), Violin Sonata No.2, Duo concertante for violin and double bass, and La Follia for solo violin. Later this year she will add to her acclaimed discography with the release of an album of the music Penderecki has dedicated to her, including the first recording of Violin Sonata No.2.

Earlier this year, she was named an Honorary Member of the Accademia Nazionale di Santa Cecilia and Poland awarded her the Gold Medal for Merit to Culture – Gloria Artis. Other recent additions to her many honours and accolades include the Romanian Order of Cultural Merit (Grand Officer), the French Order of the Arts and Literature (Commander) and Spain’s Gold Medal for Merit in the Fine Arts. She is also an Honorary Fellow of Keble College (Oxford University), a Foreign Honorary Member of the American Academy of Arts and Sciences, and in 2013 she was awarded the medal of the Lutosławski Society (Warsaw). She has also received the Grand Cross of the Order of Merit of the Federal Republic of Germany, the French Order of the Legion of Honour, the Bavarian Order of Honour, the Grand Austrian State Decoration of Honour and numerous other awards.

Anne-Sophie Mutter’s previous appearances with the Sydney Symphony Orchestra were in 2012, performing the Beethoven concerto with Vladimir Ashkenazy, and 2014, when she directed a program of Mozart concertos from the violin.

www.anne-sophie-mutter.de/en

Anne-Sophie Mutter violin

STE

FAN

HO

DE

RAT

H

22

SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the SSO 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.

Well on its way to becoming the premier orchestra of the Asia Pacific region, the SSO has toured China on five occasions, and in 2014 won the arts category in the Australian Government’s inaugural Australia-China Achievement Awards, recognising ground-breaking work in nurturing the cultural and artistic relationship between the two nations.

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, Zdeněk Mácal, Stuart

Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’s award-winning Learning and Engagement 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 commissions. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake, Paul Stanhope and Georges Lentz, and 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 conducted by Alexander Lazarev, Sir Charles Mackerras and David Robertson, as well as the complete Mahler symphonies conducted by Vladimir Ashkenazy.

2018 is David Robertson’s fifth season as Chief Conductor and Artistic Director.

DAVID ROBERTSONTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

PH

OTO

: KE

ITH

SA

UN

DE

RS

23

www.sydneysymphony.com/SSO_musicians

Andrew HaveronCONCERTMASTER SUPPORTED BY VICKI OLSSON

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Brett DeanARTIST IN RESIDENCE SUPPORTED BY GEOFF AINSWORTH am & JOHANNA FEATHERSTONE

THE ORCHESTRA

FIRST VIOLINS

Andrew Haveron CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeGeorges LentzNicola LewisEmily LongAlexandra MitchellAlexander NortonAnna SkálováLéone ZieglerTobias Aan†

Sercan Danis°Emily Qin°Rollin Zhao†

Kirsten Williams ASSOCIATE CONCERTMASTER

Brielle ClapsonClaire Herrick

SECOND VIOLINS

Marina Marsden PRINCIPAL

Marianne Edwards ASSOCIATE PRINCIPAL

Emma Jezek ASSISTANT PRINCIPAL

Alice BartschVictoria BihunRebecca GillEmma HayesShuti HuangMonique IrikWendy KongStan W KornelBenjamin LiNicole MastersMaja VerunicaKirsty Hilton PRINCIPAL

VIOLAS

Roger Benedict PRINCIPAL

Tobias Breider PRINCIPAL

Anne-Louise Comerford ASSOCIATE PRINCIPAL

Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsJustine MarsdenFelicity TsaiLeonid VolovelskyJacqueline Cronin* Stuart JohnsonAmanda Verner

CELLOS

Umberto Clerici PRINCIPAL

Catherine Hewgill PRINCIPAL

Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillTimothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid Wickham

DOUBLE BASSES

Kees Boersma PRINCIPAL

Alex Henery PRINCIPAL

David CampbellSteven LarsonRichard LynnJaan PallandiAndrew Meisel°Josef Bisits°Benjamin Ward

FLUTES

Lisa Osmialowski°ASSOCIATE PRINCIPAL

Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Emma Sholl A/ PRINCIPAL

OBOES

Shefali Pryor A/ PRINCIPAL

Alexandre Oguey PRINCIPAL COR ANGLAIS

Eve Osborn†

Diana Doherty PRINCIPAL

David Papp

CLARINETS

Francesco Celata A/ PRINCIPAL

Christopher TingayOliver Shermacher*

BASSOONS

Todd Gibson-Cornish PRINCIPAL

Fiona McNamaraMatthew Wilkie PRINCIPAL EMERITUS

Noriko Shimada PRINCIPAL CONTRABASSOON

HORNS

Greg Curyla* PRINCIPAL

Geoffrey O’Reilly PRINCIPAL

Euan HarveyAidan Gabriels†

Ben Jacks PRINCIPAL

Marnie SebireRachel Silver

TRUMPETS

Paul Goodchild A/ PRINCIPAL

Daniel Henderson°David Elton PRINCIPAL

Anthony Heinrichs

TROMBONES

Ronald Prussing PRINCIPAL

Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont ASSOCIATE PRINCIPAL

TUBA

Perry Hoogendijk°Steve Rossé PRINCIPAL

TIMPANI

Brian Nixon°Mark Robinson A/ PRINCIPAL

PERCUSSION

Philip South*Rebecca Lagos PRINCIPAL

Timothy Constable

HARP

Louise Johnson PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN

† = SSO FELLOW

Grey = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

Perry Hoogendijk (tuba) is on exchange from the Royal Concertgebouw Orchestra

The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons.

24

Sydney Symphony Orchestra StaffCHIEF EXECUTIVE OFFICEREmma DunchEXECUTIVE OFFICERLisa Franey

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNINGRaff WilsonARTISTIC PLANNING MANAGERSam TorrensARTIST LIAISON MANAGERIlmar LeetbergLIBRARY MANAGERAlastair McKeanLIBRARIANS Victoria GrantMary-Ann Mead

SYDNEY SYMPHONY PRESENTS

DIRECTOR OF SYDNEY SYMPHONY PRESENTSMark SutcliffeOPERATIONS & COMMERCIAL COORDINATOR Alexander Norden

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT Aernout KerbertORCHESTRA MANAGERRachel WhealyORCHESTRA COORDINATOR Rosie Marks-Smith OPERATIONS MANAGER Kerry-Anne Cook HEAD OF PRODUCTION Jack WoodsSTAGE MANAGERSuzanne Large PRODUCTION COORDINATORSElissa SeedBrendon Taylor

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING & ENGAGEMENT Linda LorenzaEMERGING ARTISTS PROGRAM MANAGER Rachel McLarin EDUCATION MANAGER Amy WalshTim Walsh

SALES AND MARKETING

INTERIM DIRECTOR OF MARKETINGLuke NestorowiczSENIOR MARKETING MANAGERMatthew RiveMARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALESDouglas EmeryMARKETING MANAGER, CRMLynn McLaughlin DESIGN LEADTessa ConnGRAPHIC DESIGNERAmy ZhouMARKETING MANAGER, DIGITAL & ONLINE Meera Gooley

ONLINE MARKETING COORDINATORAndrea Reitano

Box OfficeHEAD OF TICKETINGEmma BurgessSENIOR CUSTOMER SERVICE MANAGER Pim den DekkerCUSTOMER SERVICE REPRESENTATIVES Michael DowlingShareeka HelaluddinMel Piu

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

PHILANTHROPY

DIRECTOR OF PHILANTHROPYLindsay RobinsonPHILANTHROPY MANAGERKate ParsonsPHILANTHROPY MANAGERJennifer DrysdalePHILANTHROPY COORDINATORGeorgia Lowe

EXTERNAL AFFAIRS

DIRECTOR OF EXTERNAL AFFAIRSLizzi NicollCHIEF CORPORATE RELATIONS OFFICERTom CarrigA/ HEAD OF CORPORATE RELATIONS Benjamin MohCORPORATE RELATIONS COORDINATORMihka CheeEVENTS OFFICERClaire WhittlePUBLICISTAlyssa LimMULTIMEDIA CONTENT MANAGERDaniela Testa

BUSINESS SERVICES

DIRECTOR OF FINANCESarah FalzaranoINTERIM DIRECTOR OF FINANCESam WardlowFINANCE MANAGER Ruth Tolentino ACCOUNTANT Minerva Prescott ACCOUNTS ASSISTANT Emma Ferrer PAYROLL OFFICER Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL Michel Maree HryceBUSINESS OFFICE & EMPLOYEE SERVICES EXECUTIVE

Lisa Davies-Galli

TRANSFORMATION PROJECTS

DIRECTOR OF TRANSFORMATION PROJECTSRichard Hemsworth

BEHIND THE SCENES

Terrey Arcus AM Chairman

Andrew Baxter

Kees Boersma

Ewen Crouch AM

Catherine Hewgill

David Livingstone

The Hon. Justice AJ Meagher

Karen Moses

John Vallance

Sydney Symphony Orchestra Board

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug Battersby

Christine Bishop

The Hon. John Della Bosca

John C Conde AO

Alan Fang

Erin Flaherty

Dr Stephen Freiberg

Robert Joannides

Simon Johnson

Gary Linnane

Helen Lynch AM

David Maloney AM

Justice Jane Mathews AO

Danny May

Jane Morschel

Dr Eileen Ong

Andy Plummer

Deirdre Plummer

Seamus Robert Quick

Paul Salteri AM

Sandra Salteri

Juliana Schaeffer

Fred Stein OAM

Mary Whelan

Brian White AO

Rosemary White

HONORARY COUNCIL MEMBERS

Ita Buttrose AO OBE

Donald Hazelwood AO OBE

Yvonne Kenny AM

Wendy McCarthy AO

Dene Olding AM

Leo Schofield AM

Peter Weiss AO

Concertmasters EmeritusDonald Hazelwood AO OBE

Dene Olding AM

25

SSO PATRONS

Maestro’s Circle

Roslyn Packer AC PresidentPeter Weiss AO President Emeritus Terrey Arcus AM Chairman & Anne ArcusBrian AbelTom Breen & Rachel KohnThe Berg Family FoundationJohn C Conde AO

The late Michael Crouch AO & Shanny CrouchVicki OlssonDrs Keith & Eileen OngRuth & Bob MagidKenneth R Reed AM

David Robertson & Orli ShahamPenelope Seidler AM

Mr Fred Street AM & Dorothy StreetPeter Weiss AO & Doris WeissBrian White AO & Rosemary WhiteRay Wilson OAM in memory of the late James Agapitos OAM

Anonymous (1)

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

David Robertson

PH

OTO

: JAY

FR

AM

Emma ShollActing Principal FluteRobert & Janet Constable Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Carolyn HarrisFluteDr Barry Landa Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Claire HerrickViolinMary & Russell McMurray Chair

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Scott KinmontAssociate Principal TromboneAudrey Blunden Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair with lead support from Taine Moufarrige and Seamus R Quick

Nicole MastersSecond ViolinNora Goodridge Chair

Timothy NankervisCelloDr Rebecca Chin & Family Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Andrew HaveronConcertmasterVicki Olsson Chair

Brett DeanArtist in ResidenceGeoff Ainsworth AM & Johanna Featherstone Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Francesco CelataActing Principal ClarinetKaren Moses Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Anne-Louise ComerfordAssociate Principal ViolaWhite Family Chair

Kristy ConrauCelloJames Graham AM & Helen Graham Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Alexandre OgueyPrincipal Cor AnglaisGC Eldershaw Chair

Shefali PryorActing Principal OboeEmma & David Livingstone Chair

Mark RobinsonActing Principal TimpaniSylvia Rosenblum Chair in memory of Rodney Rosenblum

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM

CALL (02) 8215 4625

n n n n n n n n n n

PH

OTO

: KE

ITH

SA

UN

DE

RS

Associate Principal Trombone Scott Kinmont with Chair Patron Audrey Blunden

26

PH

OTO

: KE

ITH

SA

UN

DE

RS

Learning & Engagement

SSO PATRONS

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairDr Gary Holmes & Dr Anne Reeckmann Horn ChairIn Memory of Matthew Krel Violin ChairWarren & Marianne Lesnie Trumpet ChairPaul Salteri AM & Sandra Salteri Violin, Double Bass and Trombone

ChairsIn Memory of Joyce Sproat Viola ChairMrs W Stening Cello ChairsJune & Alan Woods Family Bequest Bassoon ChairAnonymous Oboe Chair

fellowship supporting patronsBronze Patrons & aboveMr Stephen J BellRobin Crawford AM & Judy Crawford The Greatorex FoundationDr Barry LandaGabriel LopataThe Dr Lee MacCormick Edwards Charitable FoundationDrs Eileen & Keith OngDominic Pak & Cecilia TsaiDr John Yu AC

Anonymous (2)

tuned-up!Bronze Patrons & aboveAntoinette Albert Ian & Jennifer Burton Ian Dickson & Reg HollowayDr Gary Holmes & Dr Anne ReeckmannDrs Keith & Eileen OngTony StrachanSusan & Isaac Wakil

major education donorsBronze Patrons & aboveBeverley & Phil BirnbaumThe late Mrs PM Bridges OBE

Bob & Julie ClampettHoward & Maureen ConnorsKimberley HoldenMrs WG KeighleyRoland LeeMr & Mrs Nigel PriceMr Dougall SquairMr Robert & Mrs Rosemary WalshAnonymous (1)

Sydney Symphony Orchestra 2018 Fellows The Fellowship program receives generous support from the Estate of the late Helen MacDonnell Morgan.

Geoff Ainsworth AM & Johanna FeatherstoneDr Raji AmbikairajahChristine BishopDr John EdmondsAlvaro Rodas FernandezDr Stephen Freiberg & Donald CampbellPeter HowardAndrew Kaldor AM & Renata Kaldor AO

Gary Linnane & Peter BraithwaiteGabriel LopataDr Peter LouwJustice Jane Mathews AO

Vicki OlssonCaroline & Tim RogersGeoff StearnRosemary SwiftIan TaylorDr Richard T WhiteKim Williams AM & Catherine DoveyAnonymous

SSO CommissionsEach year – both alone and in collaboration with other orchestras worldwide – the SSO commissions new works for the mainstage concert season. These commissions represent Australian and international composers, established and new voices, and reflect our commitment to the nurturing of orchestral music.

Forthcoming premieres…

JULIAN ANDERSON The Imaginary Museum – Piano Concerto with soloist Steven Osborne 2, 3, 4 August (Australian premiere)

BRETT DEAN Cello Concerto with soloist Alban Gerhardt 22, 24, 25 August (Premiere)

Commissioning CircleSupporting the creation of new works.

Play your partShare your passion for music across the generations.

sydneysymphony.com/appeal Call (02) 8215 4600

DONATE TODAY

27

DIAMOND PATRONS $50,000 and aboveGeoff Ainsworth am & Johanna FeatherstoneAnne Arcus & Terrey Arcus am

The Berg Family FoundationMr Frank Lowy ac & Mrs Shirley Lowy oam

Vicki OlssonRoslyn Packer ac

Paul Salteri am & Sandra SalteriIn memory of Joyce SproatPeter Weiss ao & Doris WeissMr Brian White ao & Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Brian AbelMr John C Conde ao

Robert & Janet ConstableThe late Michael Crouch ao & Shanny CrouchRuth & Bob MagidJustice Jane Mathews ao

Mrs W Stening

GOLD PATRONS $20,000–$29,999Antoinette AlbertRobert Albert ao & Elizabeth AlbertChristine BishopTom Breen & Rachael KohnSandra & Neil BurnsGC EldershawDr Gary Holmes & Dr Anne ReeckmannMr Andrew Kaldor am & Mrs Renata Kaldor ao

I KallinikosDr Barry LandaRussell & Mary McMurrayThe late Mrs T Merewether oam

Karen MosesRachel & Geoffrey O’ConorDrs Keith & Eileen OngKenneth R Reed am

David Robertson & Orli ShahamMrs Penelope Seidler am

Geoff StearnMr Fred Street am & Mrs Dorothy StreetRay Wilson oam in memory of James Agapitos oam

June & Alan Woods Family BequestAnonymous (1)

SILVER PATRONS $10,000–$19,999Ainsworth FoundationDoug & Alison BattersbyRob Baulderstone & Mary WhelanAudrey Blunden

Dr Hannes & Mrs Barbara BoshoffMr Robert & Mrs L Alison CarrDr Rebecca ChinBob & Julie ClampettRichard Cobden sc

Ian Dickson & Reg HollowayEdward & Diane FedermanDr Stephen Freiberg & Donald CampbellNora GoodridgeMr James Graham am & Mrs Helen GrahamSimon JohnsonMarianne LesnieEmma & David LivingstoneGabriel LopataHelen Lynch am & Helen BauerSusan Maple-Brown am

The Hon. Justice A J Meagher & Mrs Fran MeagherMr John MorschelDominic Pak & Cecilia TsaiSeamus Robert QuickGarry & Shiva RichSylvia RosenblumTony StrachanSusan Wakil ao & Isaac Wakil ao

Judy & Sam WeissIn memory of Anthony Whelan mbe

In memory of Geoff WhiteCaroline WilkinsonAnonymous (6)

BRONZE PATRONS $5,000–$9,999Dr Raji AmbikairajahStephen J BellBeverley & Phil BirnbaumThe late Mrs P M Bridges obe

Daniel & Drina BrezniakIan & Jennifer BurtonHon. J C Campbell qc & Mrs CampbellMr Lionel ChanDr Diana ChoquetteHoward ConnorsEwen Crouch am & Catherine CrouchPaul & Roslyn EspieIn memory of Lyn FergussonMr Richard FlanaganJames & Leonie FurberDr Colin GoldschmidtMr Ross GrantMr David Greatorex ao & Mrs Deirdre GreatorexWarren GreenThe Hilmer Family EndowmentJames & Yvonne HochrothAngus & Kimberley HoldenJim & Kim JobsonMr Ervin Katz

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.

Playing Your Part

n n n n n n n n n n

IF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT OUR PHILANTHROPY TEAM ON 8215 4625.

Warwick K AndersonMr Henri W Aram OAM &

Mrs Robin AramTimothy BallStephen J BellChristine BishopMrs Judith BloxhamMr David & Mrs Halina BrettR BurnsDavid Churches & Helen RoseHoward ConnorsGreta DavisGlenys FitzpatrickDr Stephen Freiberg Jennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Dr Barry LandaPeter Lazar AM

Daniel LemesleArdelle LohanLinda LorenzaMary McCarterLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsDr Richard SpurwayRosemary SwiftMary Vallentine AO

Ray Wilson OAM

Anonymous (41)

Honouring the legacy of Stuart Challender.

SSO Bequest Society

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO

The late Mr Ross AdamsonEstate of Douglas Vincent AgnewEstate of Carolyn ClampettEstate of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephEstate of Matthew KrelEstate of Helen MacDonnell MorganThe late Greta C RyanEstate of Rex Foster SmartEstate of Joyce SproatJune & Alan Woods Family Bequest

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

28

SSO PATRONS

Playing Your Part Mrs W G KeighleyRoland LeeRobert McDougallJudith A McKernanMora MaxwellMrs Elizabeth NewtonMs Jackie O’BrienMr & Mrs Nigel PriceMark & Lindsay RobinsonManfred & Linda SalamonRod Sims & Alison PertMr Dougall SquairJohn & Jo StruttMs Rosemary SwiftDr Alla WaldmanMr Robert & Mrs Rosemary WalshDr John Yu ac

PRESTO PATRONS $2,500–$4,999Rae & David AllenDavid BarnesIn memory of Rosemary Boyle, Music TeacherMrs Ros Bracher am

In memory of RW BurleyCheung FamilyMr B & Mrs M ColesDr Paul CollettAndrew & Barbara DoweSuellen & Ron EnestromAnthony GreggDr Jan Grose oam

Roger Hudson & Claudia Rossi-HudsonDr Michael & Mrs Penny HunterFran & Dave KallawayProfessor Andrew Korda am & Ms Susan PearsonA/Prof. Winston Liauw & Mrs Ellen LiauwMrs Juliet LockhartIan & Pam McGawBarbara MaidmentRenee MarkovicMrs Alexandra Martin & the late Mr Lloyd Martin am

Helen & Phil MeddingsJames & Elsie MooreAndrew Patterson & Steven BardyPatricia H Reid Endowment Pty LtdLesley & Andrew RosenbergShah RusitiIn memory of H St P ScarlettHelen & Sam ShefferMr David FC Thomas & Mrs Katerina ThomasPeter & Jane ThorntonKevin TroyJudge Robyn TupmanRussell van Howe & Simon BeetsJohn & Akky van OgtropMr Robert VeelThe Hon. Justice A G WhealyProf. Neville Wills & Ian FenwickeMs Josette WunderYim Family FoundationAnonymous (3)

VIVACE PATRONS $1,000–$2,499Colin & Richard AdamsMrs Lenore AdamsonAndrew Andersons ao

Mr Matthew AndrewsMr Henri W Aram oam

In memory of Toby AventMargaret & James BeattieDr Richard & Mrs Margaret BellAllan & Julie BlighPeter Braithwaite & Gary LinnaneMrs H BreekveldtMrs Heather M BreezeMr David & Mrs Halina BrettEric & Rosemary CampbellMichel-Henri CarriolDebby Cramer & Bill CaukillM D Chapman am & Mrs J M ChapmanNorman & Suellen ChapmanMrs Stella ChenMrs Margot ChinneckDavid Churches & Helen RoseMr Donald ClarkJoan Connery oam & Max Connery oam

Constable Estate VineyardsDr Peter CraswellChristie & Don DavisonGreta DavisLisa & Miro DavisKate DixonStuart & Alex DonaldsonProfessor Jenny EdwardsDr Rupert C EdwardsMrs Margaret EppsMr John B Fairfax ao

Mr & Mrs Alexander FischlVic & Katie FrenchMrs Lynne FrolichVernon Flay & Linda GilbertJulie FlynnVictoria Furrer-BrownMichele Gannon-MillerMrs Linda GerkeMr Stephen Gillies & Ms Jo MetzkeMs Lara GoodridgeClive & Jenny GoodwinMichael & Rochelle GootMr David GordonIn Memory of Angelica GreenAkiko GregoryRichard Griffin am & Jay GriffinHarry & Althea HallidayMrs Jennifer HershonSue HewittJill Hickson am

Dr Lybus HillmanDorothy Hoddinott ao

Mr Peter HowardAidan & Elizabeth HughesDavid JeremyMrs Margaret JohnstonDr Owen Jones & Ms Vivienne GoldschmidtAnna-Lisa KlettenbergDr Michael Kluger & Jane England

Mr Justin LamL M B LampratiBeatrice LangMr Peter Lazar am

Anthony & Sharon Lee FoundationRobert LeeMr David LemonAirdrie LloydMrs A LohanLinda LorenzaPeter Lowry oam & Carolyn Lowry oam

Dr Michael LunzerKevin & Susan McCabeKevin & Deidre McCannMatthew McInnesDr V Jean McPhersonMrs Suzanne Maple-BrownJohn & Sophia MarAnna & Danny MarcusDanny MayGuido & Rita MayerMrs Evelyn MeaneyKim Harding & Irene MillerHenry & Ursula MooserMilja & David MorrisJudith & Roderick MortonP MullerJudith MulveneyMs Yvonne Newhouse & Mr Henry BrenderPaul & Janet NewmanDarrol Norman & Sandra HortonProf. Mike O’Connor am

Judith OlsenMr & Mrs OrtisMrs Elizabeth OstorMrs Faye ParkerIn memory of Sandra PaulGreg PeirceMr Stephen PerkinsAlmut PiattiPeter & Susan PicklesErika & Denis PidcockDr John I PittMs Ann PritchardMrs Greeba PritchardThe Hon. Dr Rodney Purvis am qc & Mrs Marian PurvisDr Raffi Qasabian & Dr John WynterMr Patrick Quinn-GrahamMr Graham QuintonErnest & Judith RapeeAnna RoIn memory of Katherine RobertsonMrs Judy RoughMs Christine Rowell-MillerJorie Ryan for Meredith RyanMr Kenneth RyanMs Donna St ClairMrs Solange SchulzGeorge & Mary ShadMs Kathleen ShawMarlene & Spencer SimmonsMrs Victoria SmythMrs Yvonne SontagJudith SouthamCatherine StephenAshley & Aveen Stephenson

The Hon. Brian Sully am qc

Mildred TeitlerHeng & Cilla TeyDr Jenepher ThomasMrs Helen TwibillMr Ken UnsworthIn memory of Denis WallisMichael WatsonHenry & Ruth WeinbergJerry WhitcombBetty WilkenfeldA L Willmers & R PalDr Edward J WillsAnn & Brooks C Wilson am

Margaret WilsonDr Richard WingMr Evan Wong & Ms Maura CordialDr Peter Wong & Mrs Emmy K WongLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (26)

ALLEGRO PATRONS $500–$999Mr Nick AndrewsMr Luke ArnullMr Garry & Mrs Tricia AshMiss Lauren AtmoreLyn BakerMr Ariel BalagueJoy BalkindMr Paul BalkusSimon BathgateMs Jan BellMr Chris BennettIn memory of Lance BennettSusan BergerMs Baiba BerzinsMinnie BiggsJane BlackmoreMrs Judith BloxhamKees BoersmaMr Stephen BoothR D & L M BroadfootWilliam Brooks & Alasdair BeckCommander W J Brash obe

Dr Tracy BryanProfessor David Bryant oam

Mr Darren BuczmaChristine Burke & Edward NuffieldMrs Anne CahillHugh & Hilary CairnsP C ChanJonathan ChissickSimone ChuahIn memory of L & R CollinsJan & Frank ConroySuzanne CooreyDom Cottam & Kanako ImamuraMs Fiona CottrellMs Mary Anne CroninMr David CrossRobin & Wendy CummingD F DalyMs Anthoula DanilatosGeoff & Christine DavidsonMark Dempsey & Jodi SteeleDr David Dixon

29

Correct at time of publication

Grant & Kate DixonSusan DoenauE DonatiMr George DowlingJP & Jen DrysdaleMs Margaret DunstanDana DupereCameron Dyer & Richard MasonMiss Lili DuMr Malcolm Ellis & Ms Erin O’NeillJohn FavaloroDr Roger FelthamMs Carole FergusonMrs Lesley FinnMs Lee GallowayMs Lyn GearingMr & Mrs Peter GoldingMs Carole A GraceMr Robert GreenDr Sally GreenawayMr Geoffrey GreenwellPeter & Yvonne HalasIn memory of Beth HarpleySandra HaslamRobert HavardRoger HenningMrs Mary HillIn memory of my father, Emil Hilton, who introduced me to musicLynette HiltonA & J HimmelhochYvonne HolmesMrs Georgina M HortonMrs Suzzanne & Mr Alexander HoughtonRobert & Heather HughesGeoffrey & Susie IsraelDr Mary JohnssonMs Philippa KearsleyMrs Leslie KennedyIn memory of Bernard M H KhawDr Henry KilhamJennifer KingMr & Mrs Gilles KrygerMr Patrick LaneThe Laing FamilyMs Sonia LalElaine M LangshawDr Leo & Mrs Shirley LeaderMr Cheok F LeePeter Leow & Sue ChoongMrs Erna LevyLiftronc Pty LtdJoseph LipskiHelen LittleNorma LopataKevin McDonaldFrank MachartAlastair McKeanMs Margaret McKennaMelvyn MadiganMrs Silvana MantellatoMs Kwok-Ling MauLouise MillerMr John MitchellKevin Newton MitchellRobert MitchellHoward Morris

Alan Hauserman & Janet NashMr John R NethercoteMrs Janet & Mr Michael NeusteinMr Davil NolanJohn & Verity NormanMr Graham NorthPaul O’DonnellMr Edmund OngKate ParsonsDr Kevin PedemontMichael QuaileySuzanne Rea & Graham StewartKim & Graham RichmondDr Peter RoachMr David RobinsonAlexander & Rosemary RocheMr Michael RollinsonAgnes RossMrs Audrey SandersonGarry E Scarf & Morgie BlaxillMr Tony SchlosserLucille SealePeter & Virginia ShawDavid & Alison ShillingtonMrs Diane Shteinman am

Dr Evan SiegelMargaret SikoraJan & Ian SloanMaureen SmithAnn & Roger SmithCharles SolomanTitia SpragueMrs Jennifer SpitzerRobert SpryCheri StevensonFiona StewartDr Vera StoermerMargaret & Bill SuthersMr Ian TaylorMr Ludovic TheauAlma TooheyHugh TregarthenMs Laurel TsangGillian Turner & Rob BishopMs Kathryn TurnerRoss TzannesMr Thierry VancaillieJan & Arthur WaddingtonRonald WalledgeIn memory of Don WardClaire WhittleMrs Bernadette WilliamsonJane Sarah WilliamsonPeter WilliamsonMr D & Mrs H WilsonDr Wayne WongMrs Sue WoodheadSir Robert WoodsMs Roberta WoolcottDawn & Graham WornerMr John WottonMs Lee WrightMs Juliana WusunPaul WyckaertAnne YabsleyL D & H YMichele & Helga ZwiAnonymous (52)

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyTaine Moufarrige Founding PatronSeamus Robert Quick Founding PatronOscar McMahonShefali PryorChris Robertson & Katherine Shaw

VANGUARD MEMBERSLaird Abernethy Clare Ainsworth-HerschellSimon Andrews & Luke KellyCourtney AnticoLuan AtkinsonAttila BaloghMeg BartholomewJames BaudzusAndrew BaxterHilary BlackmanAdam BlakeMatthew BlatchfordDr Jade BondDr Andrew BotrosMia & Michael BracherGeorgia Branch Peter BraithwaiteAndrea BrownNikki BrownProf. Attila BrungsSandra ButlerLouise CantrillCBRE Jacqueline ChalmersLouis ChienJanice ClarkeLindsay Clement-MeehanMichelle CottrellKathryn CoweAlex CowieAnthony Cowie Robbie CranfieldPeter CreedenAsha CugatiAlastair & Jane CurriePaul DeschampsShevi de SoysaJen DrysdaleEmily ElliottShannon EngelhardRoslyn FarrarAndrea FarrellMatthew FogartyGarth FrancisMatthew GarrettSam GiddingsJeremy Goff & Amelia Morgan-HunnLisa GoochHilary GoodsonJoelle GoudsmitCharles GrahamJennifer HamSarah L HesseKathryn Higgs

James HillPeter HowardJennifer HoyJacqui HuntingtonKatie HryceInside Eagles Pty LtdMatt JamesAmelia JohnsonVirginia JudgeTanya KayeBernard KeaneTisha KelemenAernout Kerbert Patrick KokJohn Lam-Po-TangRobert LarosaBen LeesonGabriel LopataAlexandra McGuiganDavid McKeanCarl McLaughlinKristina MacourtMarianne MapaHenry MeagherMatt MilsomChristopher MonaghanBede MooreSarah MorrisbySarah MoufarrigeJulia NewbouldAlasdair NicolSimon OatenDuane O’DonnellShannon O’MearaEdmund OngOlivia PascoeKate QuiggMichael RadovnikovicJane RobertsonKatie RobertsonAlvaro Rodas FernandezEnrique Antonio Chavez SalcedaRachel ScanlonNaomi SeetoBen ShipleyToni SinclairNeil SmithTim SteeleKristina StefanovaBen SweetenSandra TangIan TaylorRobyn ThomasMichael TidballMelanie TiyceJames TobinMark TrevarthenRussell Van Howe & Simon BeetsAmanda VerrattiMike WatsonAlan WattersCorey WattsJon WilkieAdrian WilsonDanika WrightJessica YuYvonne Zammit

SSO Vanguard

30

SALUTE

PREMIER PARTNER

GOLD PARTNERS

PLATINUM PARTNER MAJOR PARTNERS

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government through

Arts NSW.

The Sydney Symphony Orchestra is assisted

by the Commonwealth Government through

the Australia Council, its arts funding and

advisory body.

MEDIA PARTNERSSILVER PARTNERS

REGIONAL TOUR PARTNERVANGUARD PARTNER SUPPORTERS

LOVE SUPREME, PADDINGTON

TECHNOLOGY PARTNERFOUNDATIONS

SALUTE