sydney youth orchestras
autumn
One Night Festival of Music, Art, Food and Wine in support of Sydney Youth Orchestras
live at level 7 june 2018
tickets on sale 2 april syo.com.au | 02 9251 2422
For more information about LL28 see page 32
major partners
4 May Kids CafĂŠ, Sydney Opera House
23
24
Autumn Showcase Symphonic Orchestral Program
Kids Cafe
Autumn Showcase Orchestral Fundamentals Program
Sydney Opera House
Riverside Theatres
6 april
SYO State South East Moruya High School
may
8
22
Copland By The Sea
Mahler Symphony No. 10, Adagio & Stravinsky Firebird Suite
Four Winds Sound Shell, Bermagui
Verbrugghen Hall
4
13
19
Kids Cafe
Meet the Orchestra
SYO State Central West
Sydney Opera House
31 SYO State Central West Tour
Santa Sabina College
june
Mosman Art Gallery
St John’s College
1
1
SYO State Showcase
SYO State Showcase
Gilgandra Shire Hall
Forbes Town Hall
2
3
3
7
SYO State Showcase
SYO State Showcase
SYO State Showcase
Live at Level 28
Orange
Mudgee
Dubbo Christian College
autumn claendar
march
18
Level 28, Deutsche Bank Place
_ 3
autumn showcases
Join us as our students showcase the new skills they have learned in term one. These concerts are the perfect opportunity to come and see what SYO is all about.
autumn symphonic orchestral showcase Sunday 18 March, 2pm Riverside Theatres, Parramatta for tickets riversideparramatta.com.au | 02 8839 3399 Peter Seymour Orchestra John Ockwell Conductor MOZART Overture to the Marriage of Figaro HAYDN Symphony No. 101 ‘Clock’ - Mvt. I Adagio - Presto SYO Philharmonic Brian Buggy OAM Conductor RIMSKY-KORSAKOV Russian Easter Festival Overture Symphonic Wind Orchestra James Pensini Conductor GRAINGER Molly On The Shore HOLST Jupiter from The Planets AGAPKIN A Slavic Farewell Western Sydney Youth Orchestra James Pensini Conductor MOZART Symphony No. 35 ‘Haffner’ - Mvt. I Allegro con spirito Mvt. IV Presto
_ 4
conductors
Since 2007 Brian has conducted the Sydney Youth Orchestra Philharmonic.
Brian Buggy is also conducting Stage 4 at the Autumn Orchestral Fundamentals Showcase and the SYO Philharmonic in Mahler Symphony No. 10, Adagio & Stravinsky Firebird Suite.
brian buggy OAM Brian Buggy OAM was born and educated in Brisbane. He played trumpet in his own jazz band during his school days, won a violin Scholarship to the Queensland Conservatorium and toured as principal trumpet of the Borovansky Ballet Orchestra. At 21 he became Musical Director for “The Firm,” J C Williamson Theatres. For 15 years he directed most of the great Musicals of the era throughout Australia, New Zealand and South Africa, before teaching for 35 years at Knox Grammar School in Sydney, “retiring” in 2007. He has composed scores for Film Australia, incidental music for the Theatre, TV, Chamber Music and many arrangements for various ensembles, as well as much work dedicated to School performance. For 11 years, Brian Buggy conducted and presented the Sydney Symphony Orchestra’s very popular Family Concerts, taking these productions to ABC orchestras in Melbourne, Hobart and Perth and to New Zealand.
City, State and National Eisteddfod wins by School-based Concert Bands and Symphony Orchestras such as the Knox Abbotsleigh Youth Orchestra (KAYO), coincided with International Tours for these groups, one every two years, under his leadership. There were more School Musicals than he should care to remember – but they uncovered and encouraged outstanding talent including Hugh Jackman, Georgie Parker, Hugo Weaving and scores of fine musicians peppered throughout orchestras world-wide. Since 2007 he has conducted the Sydney Youth Orchestra Philharmonic and guestconducts and tutors for several Schools. As Artistic Director of the Christchurch Youth Orchestra in New Zealand, prior to the devastating earthquakes, he mentored several promising young conductors. In 1998, Brian Buggy was awarded an Order of Australia Medal, for services to Music, particularly in the areas of Theatre and Youth Orchestras. More significantly, he loves his family and is a devoted grandfather; his dance-card is delightfully full. _ 5
conductors john ockwell John Ockwell has a longstanding relationship with Sydney Youth Orchestras: he was a member of the cello section when the SYO started in 1973, and by the 1980s he was conducting junior string groups for the organisation. His inspiration as a musician and educator was SYO founder Peter Seymour, who was remarkable, he says, for not getting ‘bogged down in admin work’ and being ‘always interested in giving young people the experience of music itself’. Today he conducts SYO’s Classical orchestra named for Peter Seymour.
_ 6
'my inspiration as a musician and educator was SYO founder, Peter Seymour.'
John Ockwell is now director of Orchestra and Strings at Fort St High School in Sydney (a post he has held for the past 15 years) as well as a member of the school’s Music faculty, and he is coconductor of The Arts Unit NSW Public Schools Symphony Orchestra. In previous years he has been assistant conductor and a steering committee member for the Sydney Symphony Orchestra’s Education Program, and for five years he was the Coordinator of the D.E.C. (Department of Education and Communities NSW) Primary String Festival. You can hear him playing cello in ‘The Dead Heart’ on Midnight Oil’s 1987 album Diesel and Dust, although nowadays you’re more likely to find him playing double bass.
autumn 2018
james pensini James Pensini started learning the trumpet in Year 5 when the trumpet was the only instrument left at school band tryouts! James continued to play trumpet throughout high school and joined the SYO family in 2000 as a member of the Peter Seymour Orchestra. In 2003 James moved to the Sydney Conservatorium High School to further his studies.
2018 is James’ seventh year leading the SYO Symphonic Wind Orchestra and second year leading the Western Sydney Youth Orchestra. He has also been appointed to the role of Orchestral Training Manager.
James studied for his Bachelor of Music (Performance) degree at the Sydney Conservatorium of Music and graduated in 2008. Whilst at the Conservatorium James had the opportunity to study conducting under Henryk Pisarek, a former Chief Conductor and Artistic Director of the Sydney Youth Orchestras. As a trumpet player James toured in 2005 as Lead Trumpet of the Australian Youth All-Star Big Band on their tour to the United States of America including performances at the prestigious Monterey Jazz Festival. In 2006 James toured as Associate Principal Trumpet of the SYO Flagship Orchestra to Spain and Portugal and in 2007 James toured as Associate Principal Trumpet with the Australian Youth Orchestra in their 50th anniversary year tour to Europe. James has twice been part of the Symphony Australia conducting course for music educators as well as completing courses in conducting with the Australian Band and Orchestra Directors Association and NSW Department of Education. James is incredibly passionate about music education and has been engaged as a conductor and tutor for many of the finest instrumental music programs run for young people at a school and representative level. _ 7
autumn showcases
autumn orchestral fundamentals showcase Saturday 24 March, 11am Santa Sabina College, Strathfield for tickets syo.com.au | 02 9251 2422 Grieg Vivaldi Rachel Pogson Conductor Heloise Meisel Conductor BRITTEN ‘Boistrous Bouree’ and ‘Playful Pizzicato’ from Simple Symphony COPLAND arr. Bulla ‘Hoe Down’ from Rodeo Corelli Dr. Ireena Andreeva Conductor CHIN Sunrise at Kakadu CHIN Twilight Trek SHARPE Chicken in the Kitchen Haydn Kathryn Crossing Conductor
BAIRD Debut for Strings NEWBOLD Jubilee Fanfare Brahms Peter Corkill Conductor MOZART ‘Andante’ from Salzburger Sinfonie in D HOLST ‘Finale’ from St Pauls Suite Mozart Joanne Waples Conductor DEL BORGO Sonata Vivant BEETHOVEN arr. Gruselle Bagatelle Opus 119, No. 1
MOZART arr. Longfield Eine Kleine Pop Music
PIAZZOLLA arr. Kazik Libertango
TCHAIKOVSKY arr. Whistler and Hummel Scene and Dance
Sinfonia Brian Buggy OAM Conductor BUGGY Integration Overture BIZET Carmen Suite No. 1
_ 8
autumn 2018
peter corkill
joanne waples
Peter is a graduate of the Sydney Conservatorium of Music where he studied cello, performance and music education. Peter was principal cellist in The Sydney Youth Orchestra under maestros Richard Gill and Stuart Challender and toured with SYO to Singapore. Peter performed in Australian seasons of the Bolshoi Ballet, Russian State Ballet and Rudolf Nureyev with the Melbourne Philharmonic Orchestra.
Joanne’s love of music began at an early age when she began learning the violin at the age of 4. She has completed her Bachelor of Music and Masters of Music in violin performance at the Sydney Conservatorium of Music and has undertaken courses overseas at the Mozarteum, Salzburg and Nice Academie, France.
Peter has led comprehensive string programs at independent schools. He currently leads a team of thirty-two music tutors in an extensive private tuition program at Kambala. Peter has had extensive experience conducting orchestras and string ensembles of all ages and stages. He studied conducting under Harry Spence Lyth and in master classes of Symphony Australia. Peter has led international tours with student ensembles to Europe and the USA on many occasions performing at historic venues such as Schloss Esterházy and Schloss Mirabel in Austria, Basilica di Saint Marco and Chiesa Santa Maria della Pieta in Venice and Saint Nicholas Church in Prague.
Joanne has participated in a number of Symphony Australia conducting courses. As an emerging musician, Joanne has been a member of Sydney Sinfonia and has participated in Australian Youth Orchestra programs. Joanne now regularly performs with a number of orchestras and ensembles such as Sydney Philharmonia Choirs and enjoys working as a freelance musician. Her passion for music and love of working with children has lead to her working in a number of Sydney schools as a violin teacher and conductor of ensembles. Joanne’s first experience with SYO was as a violin tutor for the string orchestral program many years ago. Now as a resident conductor, she is an extremely valuable member of a dynamic team, providing Sydney with unmatched string orchestral education. _ 9
conductors _ 10
heloise meisel
kathryn crossing
Heloise began her violin studies in Adelaide where she was fortunate to learn from some inspiring teachers. In 1988 she became a single studies student of Beryl Kimber at the Elder Conservatorium of Music. She completed her Bachelor of Music (Performance) at the Canberra School of Music (ANU) and was a member of the Wesley Scholars program until moving to Sydney to continue her music studies. Heloise works as freelance musician, playing with many different groups including the Sydney Philharmonia Orchestra. She tutored at MLC School (Burwood) from 2000 until the end of 2010, where she was privileged to work with many fine musicians and contemporary composers. 2011 – 2013 has included new projects, teaching, tutoring and conducting at new schools and organizations, including SYO where she conducts the String Orchestral Program ensemble, Vivaldi. Heloise is also a member of the newly formed Bancroft Quartet.
Kathryn Crossing trained as a classical violinist from the age of seven. Throughout her career she has performed extensively in many classical and contemporary settings. Kathryn attained her Bachelor of Music from the Sydney Conservatorium of Music in 2005. She also has an Associate from Trinity College London and her AMusA performance diplomas. Kathryn was a member of the SBS Radio & Television Orchestra where she toured Italy in 2002 and Russia, in 2004. Kathryn was concert master and frequent soloist for the Mosman Orchestra and section leader for the Bourbaki ensemble. Kathryn has a wide range of performing and recording experience. Kathryn is currently the director of the string program at Cromer Public and is passionate about music education.
autumn 2018
rachel pogson
dr irina andreeva
Originally from Orange in rural NSW, Rachel is a freelance cellist, string pedagogist and conductor. She studied ‘cello with Susan Blake at the Sydney Conservatorium of Music and Anthea Scott-Mitchell at Newcastle Conservatorium. Rachel has played as prinicpal cellist with the Christ Church Camerata, Orange Symphony Orchestra, Newcastle Conservatorium Orchestra, Lake Macquarie Philharmonic
Irina Andreeva began her studies in Novosibirsk, Russia. She completed her Post Graduate MMUS program with First Class Honors at Auckland University New Zealand in 2009 and currently is working on a Doctor of Musical Arts at Victoria University of Wellington, New Zealand. Irina has had a long career in performance and education. Performance highlights include being awarded a ‘Member of the Order of the Royal Household of Tonga for services to classical music and His Majesty the King’ for her performance at the Investiture Ceremony in the Kingdom of Tonga in 2010. She was soloist with the New Zealand School of Music Orchestra in the New Zealand premiere of Concerto No 2 for Viola and Orchestra by Darius Milhaud. In 2015 she began tutoring violin at The Scots College in Sydney and conducting SYO’s John Hopkins Orchestra. _ 11
meet the orchestra Peter Seymour Orchestra Sunday 13 May 9.30 & 11am Mosman Art Gallery
The conductor started with a tap-tap-tap and the strings began to sing la-la-la. Then the flutes joined in with a tootle-toot-too and the sound of the drums shook the room with a boom-boom-boom! These unique performances are designed to ignite interest in music and instruments for children ages 2-8. Our conductor and players lead children through each section of the orchestra and give hands on demonstrations of how each instrument creates sound. These concerts have been composed with the classical music young children love. for tickets syo.com.au | 02 9251 2422 Adult $25 | Concession $15 Children $15 (under 2 free)
_ 12
IDAGIO : DIGITAL EDUCATION PARTNER OF SYO
the syo concert series Sunday 22 April, 2pm Verbrugghen Hall, Sydney Conservatorium of Music SYO Philharmonic conducted by Brian Buggy OAM Learn more about Brian and his career on page 5 RIMSKY-KORSAKOV Russian Easter Festival Overture The Sydney Youth Orchestra conducted by Alexander Briger AO MAHLER Symphony No. 10 STRAVINSKY Firebird Suite
_ 14
mahler symphony no. 10, adagio & stravinsky firebird suite
Heroes of 20th century orchestral modernism, Mahler and Stravinsky sit side by side in this energetic and challenging program. Together their contrasting works make for a dazzling, evocative musical experience. Unfinished at his death, the first movement of Mahler’s final symphony is considered the only performable movement of this rarely-heard work. Written in 1910, this work reflects the composer’s inner turmoil at the end of his life. It exists in several versions, but this concert features the work as Mahler left it. The Firebird was Igor Stravinsky’s first large-scale work for orchestra. The work clearly shows Stravinsky on the cusp of a new world, mixing his orchestral mastery with the rhythmic vitality of a musical revolution about to burst out of his shell. for tickets syo.com.au | 02 9251 2422
Alexander studied in Sydney and Munich, winning various awards, including first prize at the “International Competition for Conductors” in the Czech Republic in 1993. He later worked closely with both Sir Charles Mackerras, where he developed a strong knowledge of the music of Leoš Janáček, and Pierre Boulez and the Ensemble InterContemporain. He has premiered works by composers such as Arvo Pärt, Bruno Mantovani, Mark Anthony Turnage and Simon Holt and combines a varied concert career with a wide range of operatic projects.
Alexander Briger is one of Australia’s preeminent conductors, having worked with Maestros Zubin Mehta, Pierre Boulez and Sir Charles Mackerras.
autumn 2018
alexander briger AO
He has performed regularly with the Philharmonia Orchestra in London (collaborating with such soloists as Alfred Brendel, Maria Joao Pires and Murray Perahia) and the London Philharmonic Orchestra. He made his BBC Proms and Berlin Festival debuts with the Birmingham Contemporary Music Group (following a recommendation from Sir Simon Rattle) and Edinburgh Festival debut with the Scottish Chamber Orchestra. In August 2010 he founded the Australian World Orchestra, of which he is the Artistic Director and Chief Conductor, and in 2011 conducted their award-winning inaugural season at the Sydney Opera House with Beethoven’s 9th Symphony, which was subsequently released on Deutsche Grammophone. Current and future engagements include concerts with the Orchestra of the Teatro San Carlo, Naples, Tchaikovsky Symphony Orchestra, Moscow, Jay Reise’s Rasputin for the Helikon Opera, Moscow, The Magic Flute for the Toulon Opera, France and a tour to India with the Australian World Orchestra. Alexander was honoured in the 2016 Australia Day Honours List as an “Officer of the Order of Australia” (AO) for distinguished services to the arts as a leading conductor, and as founder of the Australian World Orchestra. _ 15
about the music
nikolai rimsky korsakov (1844-1908)
Russian Easter Festival Overture Rimsky-Korsakov composed his Russian Easter Festival Overture in July and August 1888 and conducted its first performance in December of that year. He had chosen a number of themes from the Obikhod, a collection of Russian Orthodox canticles, in order to create an overture which would contain ‘reminiscences of the ancient prophesy, of the Gospel story and a general picture of the Easter service with its ‘pagan merry-making’. Using various Biblical quotations, he put together a programme which opens with the words ‘Let God arise; let his enemies be scattered’. It goes on to tell how Mary Magdalene and others came with sweet spices to anoint the body of Christ, how they came back to the sepulchre later and found a heavy stone blocking its entrance, and how they found inside a man clothed in white who told them that he who was crucified had now risen from the dead. ‘Resurrexit’ sang the angels in heaven, to the sound of trumpets; ‘Resurrexit’ sang the priests in their temples to the sound of triumphant bells.
_ 16
Rimsky-Korsakov was quite clear in his own mind about the sort of people for whom he had composed this overture, although he realized that there might not be many left with the required experience. ‘In order to appreciate my overture even to the slightest degree’, he wrote, ‘it is essential that the listener should have at least once in his life attended an Easter Morning service, and this not in a domestic chapel but in a cathedral crowded with people from all walks of life and with several priests taking part’. It was exactly this kind of experience that the composer remembered and treasured from his own childhood in the town of Tikhvin. Peter Avis © 1990, reprinted courtesy of Hyperion Records Ltd
gustav mahler (1860-1911)
Symphony No.10: Adagio ed. Erwin Ratz Here is a movingly eloquent extended slow movement for a large orchestra, recognisably the work of Gustav Mahler and yet containing strains which will be new to those who know his other music. This Adagio, mainly restrained in dynamics and transparent in orchestral textures, moves to one overpowering outburst for the full forces, where a searing dissonant chord is pierced by a high note for trumpet. Then the music subsides in a reflective, even idyllic, drawnout coda. This piece forms part of Gustav Mahler’s swansong, yet at first it seemed it would never be heard at all, whereas now it forms part of a very convincing performing version of Mahler’s draft for a Tenth Symphony in five movements, accepted by all but some diehard protectors of Mahler’s posthumous reputation. But it is no accident that the Adagio Mahler intended as the first movement of the symphony was the first to be performed with Mahler’s widow’s permission. The English musicologist Deryck Cooke, who in the 1960s began intensive work on the materials Mahler left for his Tenth Symphony, wrote that the orchestral draft of the first movement ‘was taken so far by
autumn 2018
'...one overpowering outburst for the full forces...'
Mahler that it can in fact be performed exactly as it stands, without awakening too strong a sense of inadequacy.’ Realising this, Alma Mahler in 1924 asked the rising young composer Ernst Křenek to see if it was possible to complete and orchestrate the symphony. Křenek made a fair copy of the first movement, and a performing version of the short third movement, Purgatorio, and these movements were performed in Vienna and Prague soon after. It was generally accepted at that time that it was neither possible nor respectful to go further with Mahler’s draft. Even so, the Adagio stood out as one of Mahler’s finest creations. It was published in 1951 in Křenek’s transcription, with additions probably by Zemlinsky and Schalk, who conducted the first performances. This faulty though widely performed edition was superseded in 1964 in the version by Erwin Ratz as part of the International Gustav Mahler Society Edition. Ratz corrected Křenek’s misreadings, and removed the ‘Schalk-Zemlinsky’ additions. This is the edition used in tonight’s performance, and the nearest we can get to Mahler’s intentions for the first movement. Since Cooke’s ‘performing version of the draft for the Tenth Symphony’ won Alma Mahler’s approval (eventually!), the Adagio, even when often played on its own, has a new context for understanding. The facsimile of Mahler’s draft, published in 1924, had revealed even to superficial readers the anxious personal messages to his wife _ 17
about the music
‘Mahler’s music was entering a new phase, and one even more prophetic than what had gone before...’
written over parts of the score: ‘farewell, my lyre’; and over the end of the last movement: ‘to live for you, to die for you’. In July 1910 while he was composing the Tenth Symphony, Mahler by accident discovered his wife’s passionate affair with the young architect Walter Gropius. Many biographers concluded this was the last straw for the composer. It came on top of his resignation from the direction of the Vienna Opera in 1907, the death of his eldest daughter, and the diagnosis of his heart disease.
igor stravinsky
His nearly completed Tenth Symphony shows that Mahler’s music was entering a new phase, and one even more prophetic than what had gone before, foretelling the atonal freedom of the music of Schoenberg, Berg and Webern. Yet the Adagio, the most comprehensively workedout movement where we can get closest to Mahler’s definitive intentions, embraces a rich complexity, as the ‘shadowy’ melody for violas alone which opens it and recurs later unfolds into the rich, broad, almost Brucknerian melody and harmony of the Adagio. It is the achievement of this beauty with an often daringly sparse and widely spread orchestral texture which makes us so grateful that we can be sure that, for the first movement at least, this is what Mahler meant.
The Russian fairy-tale world was irresistibly exotic to European audiences in the early 20th century, so for the 1910 Paris season of the Ballets Russes, artistic director Sergei Diaghilev commissioned Anatoly Liadov to compose a score to Mikhail Fokine’s scenario and choreography.
David Garrett © 2003. Reprinted by permission of Symphony Services International
_ 18
(1882-1971)
The Firebird – Suite (1919)
Introduction – The Firebird and her Dance – Variation of the Firebird The Princesses’ Round (Khorovod) Infernal Dance of King Kashchei Berceuse Finale
When Liadov failed to deliver, Diaghilev turned to the 28-year-old Stravinsky. The ballet would be the largest single piece composed by Stravinsky to date, and would require what the composer in retrospect derided as ‘descriptive’ music, composed to a scenario not of his choosing, and with a deadline that was frighteningly close. But such things concentrate the mind wonderfully, and in The Firebird, Stravinsky emerges as a major composer of the 20th century, while bringing to a radiant close the Russian Romantic tradition.
autumn 2018 Fokine’s original scenario for the ballet brings together characters from three strands of Russian folklore: the Firebird – a phoenix; Kashchei the Deathless, a demon attended by monsters, who abducts maidens and turns knights to stone; and Ivan Tsarevich, who personifies a nationalist, indeed imperial, heroism.
An exhilarating Infernal Dance follows. The Firebird dances a Berceuse, or lullaby, putting Kashchei and the monsters into a magic sleep and telling Ivan that he must destroy the egg in which Kashchei keeps his soul. As Kashchei awakes, Ivan does so, thus destroying the evil demon. In the singlemovement finale, a long-breathed melody passed from solo horn through the full The story begins in the enchanted forest that orchestra announces the destruction of evil surrounds Kashchei’s castle. The Introduction and the reawakening of the knights whom begins in the sepulchral depths of the Kashchei had turned to stone. Ivan, naturally, orchestra, rising to fluttering wind figurations marries the thirteenth princess in music of and a fragmentary, plaintive oboe solo. The great ecstasy. Firebird’s dance, as she enters pursued by Ivan Tsarevich, is a spritely waltz clothed in The Firebird was premiered by the Ballets brilliant orchestral colour that dissolves into Russes in Paris on 25 June 1910 in a scurrying flute textures as Ivan captures her. performance conducted by Gabriel Pierné. Mikhail Fokine was the choreographer and The Firebird begs for her freedom and danced the role of Ivan Tsarevich; Tamara promises to come to his aid should he ever Karsavina was the Firebird. require it; as a token of her promise she gives him a plume from her tail. Moving deeper into In 1919, Stravinsky created the second of the forest, Ivan finds himself in the garden three suites, one which he hoped would be of Kashchei’s castle. Thirteen princesses attractive to concert promoters in its brevity appear and play a game with golden apples; and smaller orchestration. It is this suite that Ivan, enchanted by the thirteenth princess’s you hear in this performance. beauty, reveals his presence and they all Adapted from a note by Gordon Kerry © 2009/13. perform a stately round-dance (Khorovod) Reprinted by permission of Symphony Services to a Russian folk-tune. Kashchei’s monsters International appear, capturing Ivan as Kashchei arrives. The monsters attempt to turn Ivan to stone in the face of the princesses’ pleas for mercy. Ivan summons the Firebird, who casts a spell on the monsters.
_ 19
syo across nsw
copland by the sea
Sunday 8 April, 2pm Four Winds Sound Shell, Barragga Bay, NSW (9kms south of Bermagui) The Sydney Youth Orchestra conducted by Alexander Briger AO COPLAND Appalachian Spring
_ 20
'I’m really looking forward to my Bermagui trip with the SYO because I’ll get to rehearse Copland’s Appalachian Spring in depth, a work which moved me profoundly when I first heard it. And of course, I’ll be in the surrounds of the beautiful Australian landscape.'
SCHUBERT Octet in F Major D Mvt II, Adagio
Suzannah Keene
HAYDN Horn Concerto No. 2, Mvt II, Adagio featuring Eve McEwen, French Horn
for tickets fourwinds.com.au | 02 6493 3414
Principal Cello
$10 | 16 years and under free
(1900-1990)
Appalachian Spring: Suite Aaron Copland’s Appalachian Spring suite originated in a ballet he wrote for the choreographer Martha Graham. Graham had already choreographed Copland’s Piano Variations (Dithyramb, 1931) when, in 1942, arts patron Elizabeth Sprague Coolidge commissioned her to produce three new ballets, and Copland was chosen to write music for one of them. Appalachian Spring premiered in Washington in October 1944 and its score won the Pulitzer Prize for Music the following year. Appalachian Spring is one of those works which defines the American spirit in music, yet its title has attracted its fair share of misunderstandings. For one thing, springtime was not in the creators’ heads at the time of writing. ‘I could not decide on a title,’ recounted Martha Graham, ‘and the day of the first rehearsal I noticed [Aaron] had written on the title page, “Ballet for Martha”. Finally I shared with [him] the title Appalachian Spring, and he laughed that wonderful laugh and sighed, “At last!”’
farmhouse in the Pennsylvania hill country in the early 1800s – a stark symbol of American values. Graham’s unique choreographic style – spare and restrained – determined much of the expressive content of the ballet. Set designer Isamu Noguchi noted that Graham was ‘in a sense influenced by Shaker furniture, but it is also the culmination of Martha’s interest in American themes and in the Puritan American tradition’. The values of simplicity and directness led to the use of the Shaker hymn Simple Gifts, a song ‘previously…unknown to the general public,’ recalled Copland, ‘but…which expressed the unity of the Shaker spirit, [and] was ideal for Martha’s scenario, and for the kind of austere movements associated with her choreography.’
about the music
aaron copland
With the benefit of hindsight, however, we can tell that much of Graham’s aesthetic was in accord with Copland’s own compositional inclinations, which we associate now with the typical American sound. ‘Plain, plain, plain!…,’ said Leonard Bernstein in admiration, ‘one of those Puritan values like being fair – you’re thrifty.’
In 1944, Copland extracted a concert suite from the ballet, which he subsequently arranged for full orchestra. The suite is The words ‘Appalachian spring’ actually come constructed in eight sections, played without interruption. ‘Appalachian Spring had a great from a book-length poem, The Bridge, by Hart Crane, and refer to a spring of water on deal to do with bringing my name before a larger public,’ recalled Copland in later years, a trail through the Appalachian Mountains: and his orchestration of Simple Gifts has become a secondary American anthem. The I took the portage climb, then chose storyline of the original ballet implies good A further valley-shed; I could not stop. Yankee values – sobriety, industriousness, Feet nozzled wat’ry webs of upper flows; community spirit. Though few people these One white veil gusted from the very top. days know the ballet, there is something in O Appalachian Spring!… Copland’s music, his Enlightened Popular style Despite Copland being kept in the dark over – the wide-open folksy breeziness, the stoically the title, much in Graham’s concept inspired heroic melodies, the simple colours – which this most American of scores. Her original has also come to represent these qualities. scenario included Bible quotations, a central Abridged from a note by Gordon Kalton Williams character who resembled Pocahontas, and several references to the Civil War. Eventually © 1998/2015. Reprinted by permission of Symphony Services International the story revolved around a pioneer _ 21
about the music
He gives such abundant solo opportunities to each, that it almost qualifies as a concerto for eight instruments...
franz schubert (1797—1828)
Octet in F Major D Mvt II Adagio Early in 1824, Count Ferdinand von Troyer, an accomplished amateur clarinet player, commissioned Franz Schubert to compose a companion piece to Beethoven’s popular Septet, Op. 20. It was one of the few occasions on which Vienna’s aristocrats approached Schubert with a commission, and he sat down immediately to work, finishing the Octet in March. It was premiered at a private performance in von Troyer’s house in April, but its public premiere had to wait for three years. Four of the movements were published in 1853 as Op.166, but the complete work not until 1889.
Perhaps in consultation with von Troyer, Schubert retained Beethoven’s instrumentation – violin, viola, cello, bass, clarinet, bassoon and French horn, adding only a second violin. He also retained the elder composer’s divertimento style and sixmovement format. One of the most original and masterful aspects of the Octet is Schubert’s writing for the eight instruments. He gives such abundant solo opportunities to each, that it almost qualifies as a concerto for eight instruments – perhaps the original performers were Schubert’s pals.
Where we would expect to see the most intense emotion is in the two slow movements, the second movement Adagio and the fourth movement Andante. In the Adagio, Schubert begins with more sentimentality than pathos in the long cantabile for the clarinet, the repeat is taken At the time Schubert was in poor health, both up as a duet with the first violin, but the mood of the movement keeps intensifying. physically and mentally. In 1823 he had been diagnosed with syphilis, which would prove to In a conventional slow movement, this initial be fatal five years later. The disease produced theme would alternate with one, perhaps extreme depression, alternating with periods two, counter-themes, but Schubert instead spins out a whole series of new musical ideas of “remission” and lifting of his spirits. before returning of his original melody. The Many of his close friends were absent from second half of the movement ramps up Vienna, and his music had made little public headway; the Court Theater routinely ignored the emotional temperature with the rising his operas, which would have earned him the sequences of yet another melody. He closes most status and income. The Octet, however, off by returning to some the secondary themes and a melancholy coda. provides only hints of this sombre mood – except in the final movement. Like his idol, Abridged from a note by Beethoven, Schubert was remarkably able to Elizabeth and Joseph Kahn 2014. achieve the height of creativity and depth of expression in the midst of intense suffering. _ 22
autumn 2018
joseph haydn
Haydn’s concerto sets the bar considerably higher for the virtuoso than do Mozart’s (1732-1809) horn concerti, but these latter concerti were only written some two decades later, at a Horn Concerto No. 2, Mvt II time when Leutgeb (1732-1811) was at the Adagio end of his career. The so-called Second Horn Concerto in D, Hob. VIId:4 cannot be found Joseph Haydn entered the service of Prince in Haydn’s “EntwurfKatalog”. Breitkopf’s 1781 Paul Anton Esterházy in Eisenstadt in 1761. catalogue does cite the principal theme of The court possessed not only an enormous this Concerto “da HAYDEN a Corno princ”. stretch of hunting land, where Haydn, a passionate hunter and fisherman, could have The only surviving copy of this concerto does the time of his life, but also a small orchestra not mention a composer and describes the solo part as “corno principale secundo”, i.e. and a “field band” which lent a festive air a second (=low) solo hornist. The wide leaps to the numerous open air celebrations. Paul in the solo part are reminiscent of the preAnton died in 1762, to be succeeded by his art-loving brother Nikolaus. Haydn was given classical compositions written around 1750 by the circle around the Dresden hornists the opportunity of expanding his orchestra Hampel and Haudek, who taught Giovanni, while recruiting the very best musicians. In the best-known horn virtuoso of the 18th addition to Joseph Oliva and Franz Pauer, century. Perhaps we are looking at an early the horn players who were already part of work by Joseph Haydn or his younger brother, the orchestra, the composer engaged the Michael. At the same time as Leutgeb, virtuosi Johannes Knoblauch and Taddäus Michael Haydn was appointed concertmaster Steinmüller in that very same year. A year and court composer at Salzburg. Before his later they were followed by Joseph Leutgeb, departure for Salzburg, the younger Haydn the famous hornist for whom Mozart had already written a concerto for Leutgeb would later compose his horn concerti. in Vienna. This was followed in Salzburg by Leutgeb departed a month later, joining an evening-length Serenade in D (1767), the Archepiscopal court in Salzburg; a few which included a two movement concertante months afterwards, Franz Reiner and the for horn and trombone and an undated horn and baryton virtuoso Carl Franz were recruited. During the first years of his sojourn three-movement concertino for horn. It is most likely that this also originated as an in Eisenstadt, Haydn wrote at least three intermezzo to a lost serenade. horn concerti, but only the so-called First Horn Concerto in D, Hob. VIId:3 (1762) has Abridged from a note by Herman Jeurissen. survived. He also composed symphonies with Translation: David Shapero. Reproduced by obbligato horn parts, in addition to a number permission of Channel Classics Records. of chamber works with solo parts for horns. _ 23
creating musicial opportunities
The SYO State Strategy supported by the Opportunity Fund has seen more young people engaging in orchestral training with SYO than every before. Now in its third year SYO State Strategy consists of: - An annual Summer School open to all levels of orchestral instrumentalist aged 6-18 - An orchestral hub in the Central West (Dubbo) - Scholarships for musicians experiencing financial disadvantage - Scholarship and flexible orchestra membership to support musicians experiencing geographical isolation - Orchestral concerts and workshop across regional NSW with regional communities - The creation of the Western Sydney Youth Orchestra
Through financial support from the SYO Opportunity Fund in 2018, SYO State will expand to include: - A Winter Intensive and Winter School based in New England (Tamworth) - A second Orchestral Hub on the South Coast (Bega and Bermagui) in partnership with the Four Winds Festival _ 24
autumn 2018
Gilgandra central west
Dubbo Forbes
Mudgee
Orange
Moruya Bermagui south east
south east
central west
APRIL
MAY
Friday 6 April CONCERT: Moruya High School
Saturday May 19 WORKSHOP: St John’s College, Dubbo
Saturday 7 April STRINGS WORKSHOP: Bermagui, Four Winds Windsong Pavillion, 2.30pm Sunday 8 April The Sydney Youth Orchestra Four Winds Sound Shell, 2pm
visit syo.com.au
to find out how to participate, book tickets or support the Opportunity Fund
JUNE Friday 1 June CONCERT: Forbes CONCERT: Gilgandra Saturday 2 June WORKSHOP: Dubbo CONCERT: Dubbo Sunday 3 June CONCERT: Mudgee CONCERT: Orange _ 25
musician spotlight
clare fox about me I began learning the clarinet at the age of ten. I am currently in my third year of a Bachelor of Music Performance degree at the Sydney Conservatorium of Music, studying with Christopher Tingay, where I am a recipient of the Sydney Scholars Award through the University of Sydney. my hometown I am from Blaxland, which is located in the lower Blue Mountains. It is a really beautiful place to live, and I have fond memories of playing in the bush in primary school. It is also very peaceful, and you can’t go to the local shops without running into someone your mum is friends with. my journey My first proper clarinet teacher was Paul Cutlan, who I started learning from in year 9. He is located in Summer Hill, so every Friday fortnightly, I would catch a train into the city. My mum was incredibly supportive and would drive in to pick me up. We would usually get home around 9pm. From year 10-12, I was a member of the Arts Unit Symphonic Wind Ensemble.
Located in Lewisham, I would have to leave school an hour early every Monday to catch a train into the city for weekly rehearsals. For any rehearsal or lesson, I would leave my house a little over two hours before starting time. In year 11 and 12 I was extremely fortunate to start learning from Cathy McCorkill, who lives locally in Lapstone, which is only 15 minutes from my house. my commute In year 11 and 12 I would like to say I spent the time studying, but in hindsight I just listened to music or slept. I did however, read my HSC English texts on the train, so I guess I did some work! During the University semester I live in at The Women’s College, located on the main campus of Sydney University. I moved into Sydney in my second year of University (2017), as I found it almost impossible to manage the travelling with rehearsals and regular university classes. SYO 2018 I’m looking forward to playing some fantastic repertoire with my peers, who have the same drive and passion for music that I do. I am also looking forward to improving and growing as an orchestral musician. supporting young regional musicians For rehearsals or concerts that finish quite late, a place to stay overnight would be fantastic, as trains only come on the hour and it can take a very long time to get home. It can be especially problematic if there is school or university the next day with an early start. my future I haven’t thought too far into the future beyond that, I just hope to keep improving as a player and gain further orchestral experience. SYO helps immensely with this.
_ 26
autumn 2018
The inaugural Macquarie Group Foundation Regional Scholarship will be awarded to musicians from regional NSW who live over 200km from Sydney CBD. This scholarship is funded by Macquarie Group staff with the support of the Macquarie Group Foundation.
gordon richter about me I attend Parkes High School and am in Year 12. I first picked up the clarinet in Year 2 and bassoon in Year 6 and am learning from the local woodwind teacher, Justin Screen. I regularly play in orchestras around my region and am always asked to play bassoon (no one else does). In 2016 I was offered work experience at SYO. This was one of the highlights of my school year. I attended SYO Summer School in 2017 and 2018. I am now in my second year playing bassoon in Symphonic Wind Orchestra. my hometown I live in Parkes, NSW. This is my first year as a bassoonist in the Symphonic Wind Orchestra. It takes me close to 10 hours (five there and five back) by car to travel to concerts and rehearsals, and I try to get to rehearsals at least once or twice a month.
I travel so far to be part of SYO because I love playing the bassoon and clarinet. and there are very few orchestras of this level out in my region. Travelling and attending rehearsals are the events that I look forward to most each month. my commute Normally, we leave at a reasonably early time on the day of rehearsal so most of the time I just sleep. As we get closer to Sydney, I am normally wide awake and am just sitting in the car, listening to the radio, wishing I was in rehearsal. how can we support young musicians living rurally? Just give rural musicians more opportunities to be a part of something amazing. If there were more instruments available to hire that are in good condition, more children might want to give it a go. I feel that once people decide to give it a try, they will realise how awesome this experience is. my future I hope to study Music Performance at Sydney Conservatorium of Music in a few years and focus on music every day. Hopefully this might eventually lead to a job internationally in world-class orchestra. I hope to be a part of orchestras around the world and experience these feelings every day. advice to fellow commuters Make time. It’s worth every last second, especially if you are interested in undertaking music as a career. Be a part of an orchestra where you can and take as many opportunities as possible. _ 27
sponsor spotlight
Since the beginning, one of Dixon Advisory’s greatest passions has been music. That’s why together with the team at Fort Street Capital we have partnered with Sydney Youth Orchestras to help bring beautiful music to your ears! But a passion for music isn’t the only thing our organisations share; just as we aspire to excellence, so too does Sydney Youth Orchestras inspire excellence among its talented musicians. As a partner, Dixon Advisory has been instrumental in helping young orchestral musicians overcome barriers and access training opportunities – through both a yearlong talent development program, and the founding of the first Western Sydney Youth Orchestra in 2017.
_ 28
More recently, the firm has also provided support for the 2017 European Tour by sponsoring a masterclass with Berlin Philharmonic Double Bass, Matthew McDonald, as well as the Chairs Gala Dinner and Live at Level 28. In return, musicians from the Western Sydney Youth Orchestra have had the opportunity to showcase their musical talents to staff and clients alike at a number of exclusive events, including Dixon Advisory’s Wise seminars. By investing in local interests and a number of not-for-profit organisations across the arts and education, Dixon Advisory is committed to making a difference in people’s lives and contributing to Australia’s cultural and educational excellence. We are proud to partner with Sydney Youth Orchestras and strive to continue connecting audiences to music that inspires personal fulfillment, cultural vibrancy and a future shaped by creativity.
support the sound of the future Donations can be made online syo.com.au/giving phone 02 9251 2422 via cheque made payable to Sydney Youth Orchestras Inc. If your company would like to support one of our initiatives, please get in touch phone 02 9251 2422 email info@syo.com.au Sydney Youth Orchestras is a not-forprofit, tax deductible gift recipient and a registered charity with the Australian Charities Commission.
With less than 10% of our funding coming from government and 35% from our participation fees, SYO could not continue to nurture and develop young musicians without the generosity of individual donors, foundations and our corporate partners. These partnerships are key to: Providing greater opportunity for young people who are experiencing geographical or financial disadvantage to access our programs.
- Opportunity scholarships - Western Sydney Youth Orchestra - Regional scholarships - SYO State
Supporting the development of our Orchestral Training Framework and connect our musicians to leading music educators, conductors and performers.
-
Conductor Fellowship International Tour International Masterclasses Digital Education
Underpinning our company by providing professional services and goods which directly benefit our fundraising and business activities.
How can you help young musicians? Buy a ticket and attend one of our concerts Purchase a piece of music for the SYO music library Attend one of the SYO fundraising events held throughout the year Encourage the young people in your life to listen to orchestral music
Donations over $2 are tax deductible. _ 29
our donors
On behalf of the young musicians, staff and Board of Sydney Youth Orchestras we would like to acknowledge and thank the following individuals, companies and foundations who, through their generosity, are protecting the future of orchestral music in Australia. SYO EXCELLENCE FUND
Harp Madeleine Johnson
2018 Donors
2017 Donors
$2,500 - $4,999 Macquarie Group Foundation
$10,000 – $14,999 Stephen Bell Macquarie Group Foundation
$500 - $1,000 John & Irene Garran Leadership Syndicate Julianne Maxwell – Stanford Brown Charitable Foundation Current Principal Chair Sponsors The Sydney Youth Orchestra
Concertmaster Sydney Lyceum Club 2nd Violin Ursula & Martin Armstrong Cello John & Irene Garran Double Bass Ian Hutchinson Flute The Hon Justice Jane Mathews AO Oboe The Key Foundation Clarinet Gabrielle Kennard Bassoon Susie & Martin Dickson AM Trumpet The Alfonzetti Family French Horn The Arcus Foundation
Percussion Tim Samway _ 30
$5,000 - $9,999 Pam & Ian McGaw $2,500 - $4,999 Cameron Williams Anthony Bell Jan Bowen AM Malcolm Long AM Wallis Graham Ursula & Martin Armstrong $1,000 - $2,499 Jon North Mike Thompson Dr Michael & Penny Hunter Joan Connery OAM Patricia H Reid Endowment Pty Ltd Rajiv Gohil & Merrie Caruana Greeba Pritchard Annie & Julian Beaumont OAM John Lamble Foundation Alex and Paula Adamovich Greg Levy $500 - $999 Leigh Garvan Dr Norman Swan Dr Andrew Black David Hornery Philip Levy Chris Brown Anthony Browell George Palmer AM Terence Kwan
$0 - $499 Phillip Cornwell Mrs D. E. Pidd Dr William Brooks & Alasdair Beck Anonymous Sean Tait Lin Cui Anonymous Dianne Wilson Eve Reddy Brian Kim Ines Bell Ian Hill Kate & Jeremy Eccles Rosalind Baker Peggy Andrew Kabilafkas Faye Parker Belinda Cooney Rob Cornish Sarah Danne Lisa George Antony Green Matthew Marasigan Belinda McGuinness Campbell Vidgen
Flute The Hon Justice Jane Mathews AO
2017 Principal Chair Sponsors
SYO OPPORTUNITY FUND
The Sydney Youth Orchestra
2018 Donors
Concertmaster Sydney Lyceum Club 2nd Violin Ursula & Martin Armstrong Viola Shachihata Fellowship Cello John & Irene Garran Double Bass Ian Hutchinson
Oboe The Key Foundation Clarinet Gabrielle Kennard Bassoon Susie & Martin Dickon AM Trumpet The Alfonzetti Family French Horn The Arcus Foundation Trombone Shachihata Fellowship Percussion Tim Samway Harp Madeleine Johnson Western Sydney Youth Orchestra
Conductor Alison & Bob Carr
$1,000 - $2,499 The Stanford Family $0 - $499 The Still Family The Simkovic Family The Lim Family The Cheng and Li Family The Zhang Family The Sharpe Family Elden Loomes Nikolas Margerrison Dr Rachael Kohn
2017 Donors
Beaumoss Pty. Limited Colleen & Michael Chesterman Diana Lysaght $5,000 - $9,999 Ian McGill Ursula & Martin John Carolan Armstrong Mr Neil Thompson Paul O’Brien Neil Burns The Greatorex Paul Franklin Foundation Peta Fenton $2,500 - $4,999 Roger Hudson Richard Willis Sandra Forbes Pieter & Liz Oomens The Hon Justice Peter Weiss Foundation Michael B.J Lee Christine Bishop The Stanford Family Anonymous $1,000 - $2,499 Will Hopkins Rajiv Gohil & AICD on Behalf Merrie Caruana of Melinda Muth Macquarie Group Foundation $0 - $499 Dr Robyn Smiles Belinda & Sean Cooney & John Colvin Bronwyn Goodwin Pam & Ian McGaw Greg Levy Sarah Sherwood Heechung Sung Catherine & Kristen Jung Ewen Crouch AM Shemara Helen Trinca Wikramanayake Alec Leopold Alan Hauserman Anna Cerneaz & Janet Nash Anthony Gregg Susan Sukkar & Deanne Whittleston Rosalind Baker Antoinette Albert Catherine Cameron Christopher Loong Christine Hollyoak Dr Melinda Muth Dr William Brooks Fran & David Miller & Alasdair Beck Geoff Hogbin Leigh Garvan Graham Tribe Peter Simon Barraket Guy Foster Stephen Williams Kevin McCann Kate & Jeremy Eccles Peter Arthur Nikolas Margerrison Peter & Des Hunter Enid Eyles Richard O’Brien Evelyn Lee Suzanne Ho Justin Yoon The Howarth Kirri Stone Foundation Ro Wehby Tim Downing The Chipman Family Suzanne & Anthony The Seeto Family Maple-Brown The Booth Family The Rands Family The Wang Family Robert Mitchell Anna McFarlane $15,000-24,999 Daryl & Kate Dixon
$500 - $999 Annie & Julian Beaumont OAM
Crispin Rice Dan Divina
Jonathan Vardouniotis The Tredinnick Family The Chang Walker Family The Harrop Family The Lee Family The Loomes Family Viviane Rubinstein Kathy Purohit Leorenzo Santos Max Cole Anonymous Kun Wang Peter Davies The Ricci-Michelsen Family In Honour of Ursula & Martin Armstrong The Gunaratnam Family The Yoo Family Andre Kolodochka The Lee Family SYO ENTERPRISE FUND 2016-18 Donors $25,000+ Anonymous $15,000 - $24,999 Susie & Martin Dickson AM $10,000 – $14,999 Anonymous $5,000 - $9,999 Sandra Plowman The Arcus Foundation $2,500 - $4,999 Be100 Property Group Angela & Marco Belgiorno-Zegna AM Mrs Penelope and Dr Michael Hunter Kate and Daryl Dixon $1,000 - $2,499 Anonymous Sarah Sherwood Annalise Thomas Geoff Hogbin Kay Vernon
Michael Chesterman Phillip Isaacs Ron & Suellen Enestrom The Maybanke Fund Angela & Marco Belgiorno-Zegna AM Peter & Des Hunter Josh Heller and Kylie Robb Anonymous $500 - $999 Anonymous Anthony & Annie Whealy Anonymous Barbara Dowe Robert Mitchell $0 - $499 Alan Hausreman & Janet Nash Jane & Dennis Doyle Celia Bischoff JD & LM Elderman John Warburton Rosalind Baker Chantal Hobson Diana Polkinghorne Elizabeth Gole Ian Kennedy Prof Garth Nicholson The Hansen Family on Behalf of James Pensini Kia Mackun Terry Stapleton Louise Hayes Joan Geary Jenny Burgess Gaynor Kaad June Buckingham
If you would like to discuss how a gift could assist young musicians or should you wish to donate please get in touch phone 02 9251 2422 email info@syo.com.au or visit syo.com.au _ 31
save the date
live at level 28
major partners
event partners
_ 32
Photo: Ben Ling
Live at Level 28 is an exciting mid-winter event designed to engage all the senses. Thursday 7 June 2018, 6.30pm Level 28 Deutsche Bank Place, 126 Phillip St, Sydney
Overlooking VIVID Sydney from the 28th floor of the Deutsche Bank Building, guests will have access to the exquisite Allens Linklaters private contemporary Australian art collection, paired with music from some of Sydney’s finest young musicians, curated by Umberto Clerici, Principal Cello of the Sydney Symphony Orchestra. Food and wine gathered from across NSW will tantalise the taste buds in this relaxed classical music lounge, including cocktails by Four Pillars Gin, desserts by Unbirthday Bakery and cheeses from Tilba Real Dairy. All funds raised will support the Sydney Youth Orchestras Opportunity Fund which ensures SYO programs are accessible for all young people regardless or financial or geographic situation. tickets on sale 2 april syo.com.au | 02 9251 2422 _ 33
board member spotlight
wallis cook-graham Wallis has had over 15 years of experience in finance, including funds management, corporate finance, and investment banking. She is currently a member of the Board of Governors of the Wenona School, a Director of the Wenona Foundation, and a Director of the John Brown Cook Foundation. Wallis holds a BA in Economics Modified with Mathematics from Dartmouth College in the United States. what brought you to SYO? I have a passion for music, philanthropy, and advancing opportunities for young people. SYO aligns very well with these interests, and I was also attracted to the impressive group of people working very hard behind the scenes.
board Jan Bowen AM Chair Anthony Bell Deputy Chair Geraldine Doogue AO Jon North Pieter Oomens Malcolm Long AM Greg Levy Tim Downing Ursula Armstrong Wallis Cook-Graham _ 34
why is SYO important to you? SYO offers an incredible training opportunity for talented young musicians from all backgrounds, and offers life lessons that go well beyond an individual’s time with the organisation. I feel proud to support the dedicated leadership team while giving something back to the arts world. what is your favourite SYO memory? The Together Live concert this past year was fantastic. I really enjoyed the collaboration and thought the orchestra performed beautifully alongside the dancers. I’m looking forward to attending again this year.
melody carreon clarinet (2010-2014)
syo alumni spotlight
Over the years, these orchestras presented a world of opportunities and major exclusive experiences, including playing for the Carols in the Domain, Australia Day at Darling Harbour, Darling Harbour Santa Fest, a TV advertisement for Tourism Australia, many Sydney Festivals, and numerous private functions. Melody toured multiple times around Australia, all whilst in high school. Melody’s career has since changed course as she is currently studying Business at a fashion college. Having interned at many luxury brands, including Giorgio Armani, Christian Louboutin and Hermès, Melody now works in the Operations team for CHANEL Australia. “I love what I do and I plan to progress within the company. I hope to move into buying or merchandise planning in the future.”
Melody began her Sydney Youth Orchestras journey in 2010 as a nervous 14-year-old in the ‘SYO presents immeasurable back row of the Symphonic Wind Orchestra. opportunity for anyone with She had taken up clarinet for a few years during high school, however the extent of a passion for music or simply her ensemble work was tooting along in wanting to be a part of band practice to pieces with little regard for technique (or tuning). The Symphonic Wind something great.‘ Orchestra, one of the many orchestras within “While my career interests are now notably SYO, introduced Melody to a wide range of different, the experiences and tuition repertoire, fellow passionate musicians, and I received during my years in SYO are helped refine her individual technique. invaluable. I continue to play regularly within Progressing within the Symphonic Wind a quartet alongside my three brothers (who Orchestra, Melody was eventually appointed also progressed through the SYO orchestras) as the principal clarinet, moving up to the featuring at weddings, church, and a wide SYO Philharmonic Orchestra. Joining the range of formal events. SYO taught me the TangoOz ensemble was a great insight into a fundamentals of ensemble playing and I completely different culture and playing style. remain great friends with the musicians I met during my time. The community is inclusive and nurturing, both personally and academically.” _ 35
syo alumni spotlight
'My experiences in both youth and adult orchestras have shaped my love for music and being a part of these ensembles has given me so many opportunities to become a better musician. '
katherine moses cello (2013-2015)
Katherine Moses began learning the cello at age 8. After going through the Orange Regional Conservatorium as a student with teachers Susan Langbein, John Barry and Helen Baker, she took up the role of cello teacher at Orange Regional Conservatorium and at various schools in the area. While in Orange, Katherine performed regularly with the Orange Youth, Orange Symphony and Macquarie Philharmonic Orchestras, and spent time touring NSW with various chamber ensembles. During this time Katherine participated in masterclasses with the Australian Youth Orchestra and at the Townsville International Chamber Music Festival.
Katherine moved to Sydney in 2013 to study at the Sydney Conservatorium of Music and was awarded her Bachelor of Music Education (Honours) in 2016, having learnt from Minah Choe, Georg Pederson and Umberto Clerici. During this time, Katherine performed with the Sydney Youth and North Sydney Symphony Orchestras and with the SYO String Quartet. Her degree allowed Katherine to explore an interest in Music Therapy, with her research thesis about the role of music therapists in schools receiving first class honours. Katherine’s time in the education faculty of the conservatorium allowed her to engage in music education outreach programs during which she mentored Indigenous students in composition workshops and toured to regional NSW to perform for students in primary schools. Katherine worked as a classroom music teacher at Newtown High School of the Performing Arts in 2016, after which she gained a position at Kent Road Public School where she currently teaches over 450 students and runs the band program. Katherine is a strong advocate for music education in Australia, believing that it should have a core presence in all primary and secondary schools. She also hopes to one day study a Masters of Music Therapy, combining her love for music and her great interest in helping people.
_ 36
our supporters
government partners
Create NSW Arts, Screen & Culture
digital education partner
corporate music partners
international tour partner
event partner
syo state partners
Greatorex Foundation western sydney youth orchestra partners
supporting partners
_ 38
SYO WINTER INTENSIVE The SYO Winter Intensive is a new residential camp for young musicians aged 13-21 during the July school holidays. Spend a week in Tamworth working with leading orchestral educators, building your skills and making friends.
Sunday 8 July Saturday 14 July Calrossy Anglican School, Tamworth
Express your interest and for more information visit syo.com.au
artistic staff
syo staff
symphonic orchestral program
Mia Patoulios General Manager
Alexander Briger AO Chief Conductor
Susan Hart Finance Manager
Brian Buggy OAM SYO Philharmonic
Daniel Placido Executive Administrator
James Pensini Symphonic Wind Orchestra & Western Sydney Youth Orchestra Orchestral Training Manager
Alexandria Siegers Marketing and Digital Coordinator
John Ockwell Peter Seymour Orchestra orchestral fundamentals program Brian Buggy OAM Heloise Meisel Rachel Pogson Joanne Waples Peter Corkill Kathryn Crossing Dr Irina Andreeva
Marita Cranwell Events Coordinator Isabella Mazzarolo Business Development Coordinator Casey Green Orchestras and Operations Manager Katie Garman Operations Coordinator, Senior Orchestras
Angus Davison Operations Coordinator, Orchestral Fundamentals Program Sergio Insuasti Operations Coordinator, Symphonic Orchestral Program Claire Tredinnick Operations Coordinator, Western Sydney Gail Pryor Archivist Sue Ellyard Volunteer Alan Hauserman Volunteer
our patron His Excellency General The Honourable David Hurley AC DSC (Ret’d), Governor of NSW
_ 39
support the sound of the future
syo.com.au/giving | 02 9251 2422 to donate
SydneyYouthOrchestras SYOrchestras SYOrchestras
182 Cumberland St, The Rocks NSW 2000 ABN 63 886 284 698 | Design THREEFOURLEFT