sydney youth orchestras
spring
registrations open 1 October
syo summer school 2019 7–11 January
Register your interest now for Sydney Youth Orchestras’ week-long open music program. Young musicians are placed in ensembles which match their abilities and extend their skills. Come along for a unique opportunity to make friends and learn with the best.
HSC Program For students in Years 11 and 12, the SYO Summer School will include a HSC preparation stream. Boarding SYO will offer catered boarding packages for students to stay in supervised, group accommodation close to the Summer School venue.
to register visit syo.com.au
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Spring Showcase
september
Sydney Conservatorium of Music
Daniel Hope
Daniel Hope Masterclass
Sydney Opera House
Sydney Opera House
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13/14
Chair’s Gala Dinner
Together Live
Union, University & Schools Club
The Concourse Chatswood
16 Together Live Illawarra Performing Arts Centre, Wollongong
29/30 october
Sydney Opera House
The Big Busk Sydney CBD Parramatta CBD
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Kids Café
Mosman Concert Series
Sydney Opera House
30 Kids Café Sydney Opera House
18 2019 Audition Applications Close
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Bernstein Candide
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spring calendar
8
december
SYO Summer School Registrations Open
november
Mosman
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Classical Discovery
Summer Showcase
Balmain Town Hall
Tchaikovsky Symphony No. 4 Balmain Town Hall
Celebrating Strauss Sydney Conservatorium of Music
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spring showcase
Join us as our students showcase the new skills they have learned in term three. These concerts are the perfect opportunity to come and see what SYO is all about.
spring showcase Saturday 8 September Sydney Conservatorium of Music, Music Workshop 10am SINFONIA Brian Buggy OAM Conductor VIVALDI Heloise Meisel Conductor BRAHMS Peter Corkill Conductor 12pm CORELLI Dr Irina Andreeva Conductor MOZART Joanne Waples Conductor 1.30pm HAYDN Kathryn Crossing Conductor GRIEG Rachel Pogson Conductor for tickets syo.com.au | 02 9251 2422 adult $15 | concession $10 | child $10
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Hope’s imagination and intelligence leading the intrepid and versatile Zurich Chamber Orchestra erupts in an astonishing performance of wellloved classics. for tickets sydneyoperahouse.com | 02 9250 7777 Zurich Chamber Orchestra Education Project In partnership with Sydney Opera House, the very best senior string players from the Sydney Youth Orchestra will have the rare opportunity of working exclusively with the Zurich Chamber Orchestra and violin virtuoso Daniel Hope. Following these historic masterclasses, this education partnership will culminate in the Principal Violinists, Violist and Cellist from The Sydney Youth Orchestra performing with the Zurich Chamber Orchestra on the Concert Hall stage of Sydney Opera House. Under the direction of Daniel Hope, this weekend will involve workshops on chamber repertoire including Elgar’s Introduction and Allegro, and chamber performance technique.
spring 2018
daniel hope & the zurich chamber orchestra
Sunday 9 September 2018, 2pm Sydney Opera House ELGAR Introduction and Allegro for Strings, Op. 47 featuring students of The Sydney Youth Orchestra BECHARA EL-KHOURY Unfinished Journey for Violin and String Orchestra MENDELSSOHN Concerto for Violin and Orchestra in D minor VIVALDI The Four Seasons
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Photo: Erik Sawaya
together live 2018
Thursday 13 September, 7pm The Concourse, Chatswood Friday 14 September, 11am The Concourse, Chatswood Sunday 16 September, 2pm IPAC Theatre, Wollongong Brian Buggy OAM Conductor SYO Philharmonic MINKUS Paquita ADAM Giselle Act II KOEHNE Powerhouse
Back by popular demand following the acclaimed premiere last year, the Sydney City Youth Ballet (Artistic Director Lucinda Dunn OAM) and the SYO Philharmonic (conducted by Brian Buggy OAM) present Together Live 2018, a triple bill featuring the power and the passion of Paquita, Maina Gielgud’s production of Giselle Act II and the brand new contemporary POWERHOUSE by international choreographic sensation Lucas Jervies. Witness the beauty of music and classical and contemporary ballet as the 60 piece SYO Philharmonic Orchestra performs in perfect harmony with the artists of the Sydney City Youth Ballet. for tickets syo.com.au | 02 9251 2422 theconcourse.com.au | 02 8075 8111 merrigong.com.au | 02 4224 5999
From its rollicking overture to its dramatic close, Candide is a delight from start to finish. With hints of Gilbert and Sullivan, of tango, and of Broadway glitz, this joyously varied work will keep you entertained – and it might just make you think. While the overture and showpieces like the bravura ‘Glitter and Be Gay’ have become concert-hall fixtures, the complete Candide is rarely mounted. In celebration of Bernstein’s centenary, Sydney Philharmonia Choirs presents a semi-staged production of this witty and moving show, directed by Australian music-theatre power-house Mitchell Butel, in collaboration with Pacific Opera and Sydney Youth Orchestra.
spring 2018
bernstein candide
Saturday 29 September, 8pm Sunday 30 September, 1pm Concert Hall, Sydney Opera House The Sydney Youth Orchestra featuring Festival Chorus conducted by Brett Weymark BERNSTEIN Candide
If there’s one thing that drives Bernstein’s work, it’s the belief that, while we might be ‘neither pure, nor wise, nor good, we’ll do the best we know.’ for tickets sydneyphilharmonia.com.au | 02 8274 6200 $42 - $117 _ 7
symphonic orchestral program concert series
symphonic wind orchestra mosman concert series Sunday 28 October, 2.30pm Blessed Sacrament Church, 62 Bradley’s Head Road, Mosman Symphonic Wind Orchestra James Pensini Conductor
Mosman Concert Series presents a concert for all ages with the Symphonic Wind Orchestra. Bring the whole family and enjoy contemporary works and classics on a Sunday afternoon. tickets available at the door only Adults $30 | Seniors $25 | Children Free
classical discovery Sunday 2 December, 2pm Balmain Town Hall Peter Seymour Orchestra John Ockwell Conductor STAMITZ Concerto for Viola in D major Allegro Moderato Sergio Insuasti, viola BEETHOVEN Symphony No. 3 in Eb major Marcia Funebre
Photo: Michelle Chanique
HAYDN Symphony No. 101 in D major
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Under the baton of John Ockwell, PSO musicians will present a delightful afternoon of classical repertoire featuring the Principal Viola of The Sydney Youth Orchestra, Sergio Insuasti. for tickets syo.com.au | 02 9251 2422 Adult $25 | Concession $15 | Child $15
spring 2018
tchaikovsky symphony no. 4 Sunday 2 December, 7pm Balmain Town Hall SYO Philharmonic Brian Buggy OAM Conductor
Hear SYO Philharmonic tackle the extroverted and wild 4th Symphony under the expert guidance of conductor Brian Buggy OAM in what is sure to be a thrilling conclusion to their 2018 season. for tickets syo.com.au | 02 9251 2422 Adult $25 | Concession $15 | Child $15
summer showcase
Joni us as our students showcase the new skills they have learned in term four. These concerts are the perfect opportunity to come and see what SYO is all about. for tickets syo.com.au | 02 9251 2422 Adult $15 | Concession $10 | Child $10
Photo: Anthony Browell
Saturday 8 December, 9.30am & 12.30pm Verbrugghen Hall, Sydney Conservatorium of Music
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spring 2018
celebrating strauss
Saturday 8 December, 7pm Verbrugghen Hall, Sydney Conservatorium of Music The Sydney Youth Orchestra conducted by Alexander Briger AO featuring Cheryl Barker, Emma Pearson and Caroline Meng STRAUSS Don Juan STRAUSS Four Last Songs STRAUSS Excerpts from Der Rosenkavalier
Richard Strauss, the firebrand composer who revolutionised the technical and expressive possibilities of the orchestra is celebrated in this finale. Don Juan, among the best loved of Strauss’s tone poems opens the concert. Strauss wrote Four Last Songs at the end of his life following the Second World War, and they are regarded as some of the most devastatingly moving music he ever composed. Rounding out this musical feast are excerpts from Der Rosenkavalier, which showcase the composer’s passion for the female voice, and features exquisite duets and trios sung by leading soloists. for tickets syo.com.au | 02 9251 2422
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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. 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.
the conductor
alexander briger AO
Alexander Briger is one of Australia’s preeminent conductors, having worked with Maestros Zubin Mehta, Pierre Boulez and Sir Charles Mackerras.
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. _ 11
the soloists
cheryl barker AO Cheryl Barker AO has established a distinguished operatic career throughout the UK, Europe, USA and Australasia. She has performed with such companies as Royal Opera House Covent Garden, English National Opera, Welsh National Opera, Paris Opera, Nederlandse Opera, Deutsche Oper Berlin, Hamburg State Opera, Houston Grand Opera, Grand Théâtre de Genève, National Opera du Rhin, De Vlaamse Opera, La Monnaie, Opera Holland Park, Reis Opera, Scottish Opera, Glyndebourne Festival Opera, Minnesota Opera, Vancouver Opera, Taipei Opera, Opera Queensland, Opera Australia, State Opera of South Australia, Opera New Zealand, Victoria State Opera and Western Australian Opera. Her many roles have included the title roles in Jenufa, Tosca, Suor Angelica, Madame Butterfly, Manon Lescaut, Rusalka, Arabella, Salome (for which she won both Green Room and Helpmann awards), Adrianna Lecouvreur, Francesca di Rimmini, Hanna Glawari in The Merry Widow and Katya _ 12
Kabanova. Other roles include the Countess in The Marriage of Figaro, Adina in The Elixir of Love, Mimi in the award winning Baz Luhrmann production of La Boheme, Violetta in La traviata, Donna Elvira in Don Giovanni, Tatyana in Eugene Onegin, Nedda in I Pagliacci, Antonia in The Tales of Hoffmann, Giorgetta in Il Tabarro, Lauretta in Gianni Schicchi, Marschellin in The Rosenkavalier, Madeleine in Capriccio, Chrysothemis in Elektra, The Governess and Miss Jessel in The Turn of the Screw, Desdemona in Otello, Musetta in La Boheme, Marie in Die Tote Stadt, Salud in La Vida Breve, Jenifer in A Midsummer Marriage, Micaela in Carmen, Emilia Marty in The Makropoulos Case, Marzelline in Fidelio, Oksana in Christmas Eve and Kate in Kiss me Kate. She created the role of Sarah in Jake Heggies’ opera The End of the Affair for Houston Grand Opera. She has appeared in concert at Wigmore Hall, Barbican Centre, Royal Festival Hall, Royal Albert Hall, Konzerthaus Wien, Koningin Elisabethzaal Belgium, at the Brisbane, Melbourne, Spoletto Festivals, The Australian Festival of Chamber Music and with the state orchestras of Sydney, Queensland, Melbourne and Western Australia.
Emma Pearson was principal artist at the Hessisches Staatstheater, Wiesbaden, in Germany from 2005 until 2014. During this time she performed over 30 roles for the company, including the title roles in La Calisto, Lulu, Lolita and Lucia di Lammermoor, and Zerbinetta (Ariadne auf Naxos), Woglinde, Gerhilde and Waldvogel in Wagner’s Ring Cycle, Sophie (Der Rosenkavalier), Adele (Die Fledermaus), Norina (Don Pasquale), Jenny (The Rise and Fall of the City Mahagonny), Nannetta (Falstaff), Queen of the Night (Die Zauberflöte), and Hilda Mack (Elegy for Young Lovers). Emma has also sung Gilda (Rigoletto) for Theater St Gallen Switzerland, and Saarländisches Staatstheater, Saarbrücken Clorinda (La Cenerentola) for Semperoper Dresden, Nannetta for Nationaltheater Mannheim, Sophie for Minnesota Orchestra’s Sommerfest under
Andrew Litton and for Orquesta de Valencia under Lawrence Foster and Missa Solemnis in Bratislava under Bertrand de Billy. On her departure from Wiesbaden, the State of Hessen awarded Emma the honorary title of “Kammersängerin” (Ks). In Australia, Emma has performed the Queen of the Night and Sophie for Opera Australia, Violetta (La Traviata) for Opera Queensland, Jennifer (The Riders), the title role in Lucia di Lammermoor and Susanna (The Marriage of Figaro) for West Australian Opera, Beethoven Symphony No. 9 with the West Australian Symphony Orchestra, Micaela for Tasmanian Symphony Orchestra and was featured soloist at UKARIA 24 in 2017. For New Zealand Opera, Micaela in Carmen, Susanna in Le Nozze di Figaro, Gilda (Rigoletto) and Fiordiligi (Così fan tutte).
spring 2018
emma pearson
In 2018 her engagements have included the title role in The Cunning Little Vixen, Micaela and Donna Elvira (Don Giovanni) all for West Australian Opera, the title role in Handel’s Athalia for Pinchgut Opera, and as featured artist at the Four Winds Festival, Bermagui. In 2019 one of her roles will include Contessa di Folleville in the Australian premiere of Rossini’s Il Viaggio a Reims with Opera Australia in both their Melbourne Autumn and Sydney Winter seasons. Roles with other companies for 2019 are to be announced shortly. Emma gained a Bachelor of Music (Vocal Performance) from the University of Western Australia and continued her studies at the Australian Opera Studio. She is the recipient of many international and Australian singing prizes, including the Australian Singing Competition and the More Than Opera German-Australian Opera Grant which lead to her contract at the Hessisches Staatstheater, Wiesbaden.
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the soloists
caroline meng After winning piano and chamber music awards at the National Conservatory of Paris, the French mezzosoprano Caroline Meng studied with Malcolm Walker, receiving her “Diploma in Voice” in 2007. She was also invited to attend master classes with Jennifer Larmore, Veronica Cangemi and Sylvie Valayre. Since then, Caroline Meng has performed in a variety of musical forms and styles ranging from opera to recital and sacred concerts, baroque to contemporary music, both in France and abroad. She made her professional debut in 2009 singing the role of Zerlina in Mozart’s Don Giovanni at the Royal Versailles Opera, as well as on tour, under the direction of David Stern. _ 14
Operatic roles since have included Dorabella in Cosi fan tutte (also conducted by David Stern), the title role in Purcell’s Dido and Aeneas at the Théâtre des Champs Elysées in Paris, St. Gallen in Switzerland and the Rouen Opera, the first and second witch and second woman in the same opera at the Concertgebouw in Amsterdam, Royal Versailles Opera and the Bozar in Brussels (recorded for DVD), Ismene in Telemann’s Orpheus at the Magdeburg Opera, Bellezza and Hero in Cavalli’s Egisto at the Opéra Comique, Paris, Rouen Opera and the Opera of Luxembourg under the direction of Vincent Dumestre, Tisbe in Rossini’s La Cenerentola under the baton of Edmon Colomer and Glasa in Janáček’s Katya Kabanova under the direction of Alexander Briger, both at the Opera of Toulon. From 2015-17, she sang the role of the Fox in Janáček’s The Cunning Little Vixen for the Arcal in Paris, Besançon and Reims, Cesonia in Pagliardi’s Caligula for the Poème Harmonique, conducted by Vincent Dumestre, at the Bastille Opera, Paris and on tour in Bruges (also recorded for DVD), as well as making her debut at the Marseille Opera with Fiodor in Mussorgsky’s Boris Godounov under Paolo Arrivabeni. Future engagements include Papagena in Mozart’s The Magic Flute at the Opera of Marseille, the 3rd Woman in the same opera for the Opera of Lille, a tour of India as soloist with the Australian World Orchestra, a tour of China with Le Ballet Royal de la Nuit, as well as revivals of The Cunning Little Vixen, Les P’tites Michu and Caligula.
well known to musical audiences through his characterisation in the Mozart-Da Ponte opera Don Giovanni.
Don Juan, Op.20
The events that befall him vary from one telling of the tale to another, but they invariably involve serial seductions and a trail of destruction.
(1864-1949)
Don Juan arrived like a bolt out of the blue when it was premiered in Weimar in 1889. Up until that time Richard Strauss appeared to be heading down a reasonably conventional career path, with works that were tinged with progressive tendencies (such as the ‘symphonic fantasy’ Aus Italien) but still mostly within the bounds of conservative concert culture (that is to say, he had written serenades, concertos and symphonies). But with Don Juan, Strauss nailed his colours firmly to the mast of outré composers such as Berlioz, Liszt and Wagner. This is all the more surprising since Strauss had grown up in a household with very straight-laced musical tastes – his father, Franz, was one of the most celebrated horn players of the time and an outspoken opponent of Wagner’s music. By aligning himself with the radical trio of composers listed above, Richard Strauss was breaking with the father and declaring his own identity. If the scenario wasn’t oedipal enough, how fitting it is that the work that should mark the rupture was Don Juan, which takes as its narrative the sexual adventures of a young, virile hero. Strauss wrote Don Juan in a flurry of activity in the spring and summer of 1888, during which time he turned 24. Don Juan was inspired by the verse drama of the same name by Austro-Hungarian poet Nicolaus Lenau. In fact, the frontispiece of the published orchestral score includes three specially selected quotations from Lenau’s poem. Swaggering sexual adventurer Don Juan has been an archetype in European literature since the early 17th century. He is
about the music
richard strauss
Strauss’s tone poem opens with a scurrying figure played by the entire orchestra which leads without a break into an energetic theme announced by the violins. Here is Strauss’s representation of the indefatigable lover. Various episodes follow – ‘love scenes’ all – in which the objects of Don Juan’s desire are signalled by a solo violin, in the first instance, and a solo oboe, in the second. These contrasting episodes are interspersed with the return of the opening theme as the protagonist moves ‘onward and upward to ever new conquests’ (to quote Lenau). A significant new theme – which bursts forth on the four horns in unison – is further associated with the sexually adventurous hero. However, in keeping with most versions of the Don Juan narrative, things do not end well for the protagonist. Tired of life, he thrusts himself on the sword of an opponent. Robbed of vitality, Don Juan falls lifeless to the ground. As the foregoing suggests, Strauss’s Don Juan traces a story. But enjoyment of the tone poem is not contingent upon following the narrative step by step. Simply relish the untrammelled brio, brilliant orchestration and profound imagination of a fresh, young talent. Richard Strauss had arrived.
Robert Gibson © 2014 Reprinted by permission of Symphony Services International.
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about the music
Four Last Songs (Vier letzte Lieder) Frühling (Spring) September Beim Schlafengehen (On Going to Sleep) Im Abendrot (In Sunset’s Glow) In his biography of Richard Strauss, Michael Kennedy remarks that the Four Last Songs ‘are the music of old age and wisdom and serenity, of death and transfiguration’. Like Mozart, whom he adored, Strauss maintained a lifelong love of the soprano voice, particularly that of Pauline, the wife to whom he was devoted for more than 50 years. In opera and song, and even here in these valedictory works, he wrote music of erotic intensity for it, and in that regard they may be seen as a final flowering of German Romanticism. Just as 19th-century figures like Novalis and Wagner conflated eroticism and extinction, here the texts of Hermann Hesse and Joseph von Eichendorff identify the end of life and love with the peaceful embrace of night, dreams and death. Kennedy reminds us, however, that the works were not conceived as Strauss’s farewell, and that no one knows if the composer intended them as a song-cycle in the strict sense of the term. They were published posthumously as his Four Last Songs, and seized upon by the great Norwegian soprano Kirsten Flagstad who disingenuously let it be known that she was Strauss’s ideal interpreter. Flagstad gave the first performance with Wilhelm Furtwängler at London’s Royal Albert Hall in 1950, after which they were taken up by Sena Jurinac with Fritz Busch, and Lisa della Casa with Karl Böhm. In these performances the order of the first three songs was reversed from that which Strauss’s publisher Ernst Roth had arbitrarily devised, and which we hear most commonly today. In placing Frühling at the beginning of the set, Roth sets up a satisfying arc for the cycle as a whole. Here Hesse’s poem deals with anticipation – specifically that of the poet at the approach of spring – using many of the well-worn tropes of Romantic poetry
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such as the imagery of trees, blue skies and birdsong. There is also an echo of eroticism in the blissful trembling of the final lines. In September (text by Hesse) spring is of course long past and the anticipation felt by the poet is transformed into a yearning for rest. Both the poem’s imagery and the musical setting, however, represent this as something to be savoured – the falling of golden leaves causes the summer to smile even as it dies, and the music is full of finely detailed activity. In the final moments of the song, Strauss may be remembering his father, as Franz Strauss’s instrument, the horn, has the last word. Yearning for rest is also the theme of Beim Schlafengehen where Hesse further explores the Romantic wish to be free from the bonds of consciousness. Strauss responds with one of his most celebrated inspirations: the violin solo which ecstatically rises to imitate the soul’s soaring into ‘the magic circle of night’. Strauss set Im Abendrot by the great 19thcentury poet Eichendorff before the Hesse settings, but it forms a fitting end to the set, and to Strauss’s career. Here the implicit is made plain: that these songs are all in some way about his love for Pauline. The scene is sunset, where an old couple stop to rest after a long and eventful life together amid the splendours of nature. The trilling larks remind us of the promise of spring in the birdsong of Frühling, and as the poet asks whether ‘this’ (and Strauss altered the text from ‘that’) might be death, we hear a reminiscence of the ‘idealism’ theme from Death and Transfiguration. As Norman Del Mar puts it, ‘Only the memory of Pauline’s voice could be his companion on these farewell excursions through the music to which his life had been dedicated.’
Gordon Kerry © 2001 Reprinted by permission of Symphony Services International
Excerpts In 1905, Salome made Richard Strauss the most famous composer alive. The shockingly sexualized opera catapulted him to international renown. Strauss continued to move away from tone poems and into the atonal world of the Second Viennese School with the equally scandalous Elektra, his first of many collaborations with librettist Hugo von Hoffmansthal. To many listeners, Strauss had gone from traditional composer to modernist rebel. However, Strauss’s next opera, Der Rosenkavalier (The Knight of the Rose), with an original libretto by Hoffmansthal, changed harmonic direction. It was this collaboration which proved made the two of them one of opera’s most celebrated composer-poet teams and brought Strauss his greatest popular success. Der Rosenkavalier is a nostalgic recreation of eighteenth century Vienna, modelled (in the beginning at least) upon Mozart’s The Marriage of Figaro. Composed in 1910 and 1911, this “comedy for music” is oldfashioned and has been loved by the opera world for more than a century. Strauss’ score abounds in orchestral virtuosity, and symphony orchestras have long enjoyed playing selections from the opera, reminding us that before Strauss became the most popular opera composer of his day, he produced an astonishing series of tone poems, beginning with Don Juan. The action in Der Rosenkavalier revolves around the Marschallin and Baron Ochs auf Lerchenau. The Marschallin has taken the seventeen-year-old Count Octavian as her lover, and the lecherous Baron has arranged to marry Sophie von Faninal.
When Octavian is selected to present Sophie with a silver rose on behalf of the Baron, the two fall in love. In the end, Octavian leaves the Marschallin for the pretty, young Sophie, and Ochs is revealed as the bumbling fool he is.
spring 2018
Der Rosenkavalier, Op. 59
Der Rosenkavalier is notable for its showcasing of the female voice, featuring three female protagonists: light lyric soprano Sophie, mezzo-soprano Octavian, and the mature dramatic soprano Marschallin. These characters share several duets as well as a trio. The long farewell duo at the end of Act 1 - when Marie Therese tells Octavian that he will eventually leave her - is all the more moving because of the overlapping timbre of the female voices: sometimes seeming one and then going their separate ways. At the opera’s emotional climax, all three main characters – the older woman, the young count and the new bride – come together for the famous Marie Theres’! / Hab’ mir’s gelobt. From the joyful lines of the opening the prelude to the divine trio and final duet, this score transports audiences to a world of luxury and rapture. Strauss was passionately devoted to the soprano voice with the central roles all written for sopranos. When you hear them unite for the trio, you may well decide that you’ve never heard anything more beautiful written for the human voice. Although his career lasted another thirty years, Strauss never surpassed the popular success of Der Rosenkavalier.
Alex Siegers 2018
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enterprise fund
an investment in the sound of the future In 2016 a small group of individuals aided SYO to make the single largest investment in Information Technology in 43 years. This investment meant SYO could purchase and implement Salesforce (the world’s #1 Customer Relationship Management System), build a new website and connect this database and website together. Not only did this investment make administration and communication easier for our musicians, donors and patrons, it began a dramatic digital transformation for SYO. For 2016/2017 SYO increased: • annual turnover by 8%
SYO Enterprise Fund is designed to support the organisation’s long-term strategic goals. These investors have supported SYO to improve management infrastructure, purchase instruments & equipment and and build the SYO Music Library.
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• the number of musicians in the SYO Program by 15.8% • the number of musicians accessing our Open Programs (Regional Outreach, Summer School and Holiday Programs) by 65% • the number of musicians auditioning 2016/2017 by 6.5%
SYO would like to salute the following investors for assisting us to build a digital foundation upon which we can grow: Alan Hauserman & Janet Nash Angela & Marco Belgiorno-Zegna AM Annalise Thomas Anonymous Anthony & Annie Whealy Barbara Dowe Celia Bischoff Chantal Hobson Diana Polkinghorne Elizabeth Gole Geoff Hogbin Prof Garth Nicholson Ian Kennedy
J.D & L.M Elderman Jane & Dennis Doyle John Warburton Kay Vernon Michael Chesterman Peter & Deslys Hunter Phillip Isaacs Ron & Suellen Enestrom Rosalind Baker Sandra Plowman Sarah Sherwood Susie & Martin Dickson AM The Arcus Foundation The Maybanke Fund
SYO EXCELLENCE FUND
Current Principal Chair Sponsors
2018 Donors
The Sydney Youth Orchestra
$10,000 - $14,999 Stephen Bell $2,500 - $4,999 Macquarie Group Foundation Jan Bowen AM Anthony Bell Geraldine Doogue AO $1,000 - $2,499 Samantha Boston & Francis Beens Patricia H Reid Endowment Pty Ltd Anthony Gregg & Deanne Whittleston Pieter & Liz Oomens Ron & Suellen Enestrom Suzanne & Anthony Maple-Brown $500 - $1,000 John & Irene Garran The Mellefont Family Joan Connery OAM The Arcus Foundation $0 - $499 Kia Mackun Leadership Syndicate Julianne Maxwell – Stanford Brown Charitable Foundation
Concertmaster Sydney Lyceum Club 2nd Violin Ursula & Martin Armstrong Viola Shachihata Fellowship 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 Trombone Shachihata Fellowship Percussion Tim Samway 2017 Donors $10,000 – $14,999 Stephen Bell Macquarie Group Foundation
$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 John Lamble Foundation Alex & 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
our donors
On behalf of the young musicians, staff and Board of Directors 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. 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 Rod Cornish Sarah Danne Lisa George Antony Green Mathew Marasigan Belinda McGuinness Campbell Vidgen 2017 Principal Chair Sponsors The Sydney Youth Orchestra
Concertmaster Sydney Lyceum Club 2nd Violin Ursula & Martin Armstrong Viola Shachihata Fellowship Cello John & Irene Garran Double Bass Ian Hutchinson Flute The Hon Justice Jane Mathews AO
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our donors
Oboe The Key Foundation Clarinet Gabrielle Kennard Bassoon Susie & Martin Dickson AM Trumpet The Alfonzetti Family French Horn The Arcus Foundation Trombone Shachihata Fellowship Percussion Tim Samway Harp Madeleine Johnson SYO OPPORTUNITY FUND 2018 Donors $15,000 - $24,999 Daryl & Kate Dixon $10,000 - $14,999 The Howarth Foundation $5,000 - $9,999 Sarah Sherwood Richard Willis Kate Jackson Andrew Coates Wallis Graham Steve Bellotti Greatorex Foundation Jon & Suzanne North $2,500 - $4,999 Aluxor Industries Dr James Choi & Dr Anita Mardirossian Tom Story Tim Downing Ari & Lisa Droga James Graham Bunny Gardiner-Hill
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Ursula & Martin Armstrong Stephanie & Ian Hardy Cameron Williams $1,000 - $2,499 The Stanford Family Ezekiel Solomon AM Anonymous Scott Bookmyer Paul Uren Malcolm & Helen Long Andrew Maple-Brown J. Matthew Fifield Andrew McKinnon Peter Warne Rosemary Quinn Emma Dunch Paddy McCrudden Sophie Thomas Watkins Taylor-Stone Antoinette Albert Robyn Smiles Neil Burns Mike Thompson Graham Tribe Greeba Pritchard $500 - $999 Dr Rachael Kohn Richard Hunt Dawn Kidd Susie & Martin Dickson AM Dimity Hall Dr Felicite Ross Colleen & Michael Chesterman Geoff Hogbin Anonymous Kevin & Deidre McCann Bronwyn Goodwin $0 - $499 The Still Family The Simkovic Family The Lee & Lim Family The Cheng & Li Family The Zhang Family The Sharpe Family
Elden Loomes Nikolas Margerrison Grill’d Pty Ltd Myee Clohessy Patricia Karedis Neil & Gabrielle Thompson Emma Reid Alice Tang Patrick Thompson Anne Ryrie Chris Bosch Sam & Alicia Elliot Karen Li Lisa Pan Lanne Tucker Niamh Armstrong Nicholas Hume Freya & Madeleine Patoulios Hoi Shan Fung Anonymous Sergio Insuasti Cecilia Rice Barbara Sullivan David Rogers Deborah Barber Jeffrey Temple Sue Fabian Mark Wilson James Bell Anonymous Selina Corkill Anonymous Tim Samway Steven Proud Anonymous Rory Lonergan Moritz von Hauenschild Thomas Kim Tony Lonn Isabel Cropley David Tudehope Phillip Cornwell Rosalind Graham Michael Ryan Scott McCoy John & Irene Garran Katherine Garaty Christopher Khan
Richard Hawkins Deborah Ricci Anonymous Edward Owen Alexandria Siegers John Dean Miriam Greenbaum Mavis Hutton Rev Dr Arthur Bridge OAM Alan Parry Anthony Rossiter Jane Rowden Ying Wang Leela Wesiak Robert Andujar Anonymous Rosalind Baker Georgia Wilson Anonymous Norman Long Dr Robert Mitchell Ken Lee Elizabeth Whittle Kay Vernon The Rands Family Carden Calder 2017 Donors $15,000-24,999 Daryl & Kate Dixon $5,000 - $9,999 Ursula & Martin Armstrong Paul O’Brien The Greatorex Foundation Christine Bishop $2,500 - $4,999 Richard Willis Pieter & Liz Oomens Peter Weiss Foundation $1,000 - $2,499 Rajiv Gohil & Merrie Caruana Macquarie Group Foundation
AICD on Behalf of Melinda Muth
The Ricci-Michelsen Family In Honour of Ursula $0 - $499 & Martin Armstrong Belinda & Sean Cooney The Gunaratnam Bronwyn Goodwin Family Greg Levy The Yoo Family Heechung Sung Andre Kolodochka Kristen Jung The Lee Family Shemara Michael Lee Wikramanayake Alan Hauserman SYO ENTERPRISE FUND & Janet Nash
$500 - $999 Anonymous Anthony & Annie Whealy Barbara Dowe Robert Mitchell
spring 2018
Dr Robyn Smiles & John Colvin Pam & Ian McGaw Sarah Sherwood Catherine & Ewen Crouch AM Helen Trinca Alec Leopold Anna Cerneaz Anthony Gregg & Deanne Whittleston Antoinette Albert Christopher Loong Dr Melinda Muth Fran & David Miller Geoff Hogbin Graham Tribe Guy Foster Kevin McCann Peter Arthur Peter & Des Hunter Richard O’Brien Suzanne Ho The Howarth Foundation Tim Downing Suzanne & Anthony Maple-Brown The Rands Family Robert Mitchell
$0 - $499 Alan Hauserman & Janet Nash Jane & Dennis Doyle Celia Bischoff J.D & L.M Elderman Susan Sukkar John Warburton 2016-18 Donors Rosalind Baker Rosalind Baker $25,000+ Catherine Cameron Chantal Hobson Anonymous Christine Hollyoak Diana Polkinghorne Dr William Brooks Elizabeth Gole $15,000 - $24,999 & Alasdair Beck Ian Kennedy Susie & Martin Leigh Garvan Prof Garth Nicholson Dickson AM Peter Simon Barraket The Hansen Family Stephen Williams on Behalf of James $10,000 – $14,999 Kate & Jeremy Eccles Pensini Anonymous Nikolas Margerrison Kia Mackun $5,000 - $9,999 Enid Eyles Terry Stapleton Sandra Plowman Evelyn Lee Louise Hayes The Arcus Foundation Joan Geary Justin Yoon Peter Weiss Foundation Jenny Burgess Kirri Stone Ro Wehby Gaynor Kaad $2,500 - $4,999 The Chipman Family June Buckingham Be100 Property Group Martin Cohen The Seeto Family Mrs Penelope & $500 - $999 The Booth Family Ian Gordon Dr Michael Hunter Annie & Julian The Wang Family Kelvin Cremen Kate & Daryl Dixon Beaumont OAM Anna McFarlane Robin Windsor Beaumoss Pty. Limited Crispin Rice Gail Windsor $1,000 - $2,499 Colleen & Michael Dan Divina Anonymous Chesterman Jonathan Vardouniotis Sarah Sherwood Diana Lysaght The Tredinnick Family Annalise Thomas Ian McGill The Chang Walker Geoff Hogbin John Carolan Family Kay Vernon Mr Neil Thompson The Harrop Family If you would like to Michael Chesterman Neil Burns The Lee Family Phillip Isaacs discuss how a gift Paul Franklin The Loomes Family Ron & Suellen could assist young Peta Fenton Viviane Rubinstein Enestrom musicians or should Roger Hudson Khyati Purohit The Maybanke Fund you wish to donate Sandra Forbes Leorenzo Santos Angela & Marco please get in touch The Hon Justice Max Cole Belgiorno-Zegna Michael B.J Lee Anonymous phone 02 9251 2422 Peter & Des Hunter The Stanford Family Peter Davies email info@syo.com.au Josh Heller & Anonymous Kun Wang or visit syo.com.au Kylie Robb Will Hopkins Anonymous _ 21
the big busk 9 October 2018, 8am - 5.30pm Various locations
The Big Busk, when youth orchestral music takes over the city!
Performance Highlights
Over 550 musicians and alumni from Sydney Youth Orchestras will bring Sydney to life with a wide scale public celebration of youth music called The Big Busk. The musical spectacle aims to raise both awareness and funds for Sydney Youth Orchestras, to support our work in nurturing and training the musicians of the future.
String Orchestras 8.30 - 10am, Circular Quay Peter Seymour Orchestra 8.30 - 10am Hyde Park Barracks Western Sydney Youth Orchestra 10 - 11am Riverside Theatre at Spot On Children’s Festival Western Sydney Youth Orchestra 12.30 - 1.30pm Centenary Square, Parramatta Sydney Youth Orchestra Philharmonic 12 - 2pm, Martin Place Symphonic Wind Orchestra 4 - 6pm, Pitt St Mall _ 22
But these pop-up performances won’t just be background music – this is genuine busking, and the most important part will be earning tips to support the great cause. The Big Busk performers will be giving it their all, so they capture the attention of thousands of people and leave a lasting impression on their eyes and ears. This will be foot stomping, hand clapping, coin giving fun.
spring 2018
donate Members of SYO will be onsite to accept donations, or donors can give online. All money raised goes towards the Enterprise Fund, which helps to acquire orchestral instruments, expands our music library, and supports SYO’s critical business infrastructure.
calling all alumni We are calling on SYO Alumni to join us in this event. Bring your instrument into the city and play alongside an SYO orchestra. It is a unique opportunity to continue your journey with SYO, reconnect with fellow alumni and help us to continue to deliver the premiere orchestral training program in NSW.
the big busk is supported by
Create NSW Arts, Screen & Culture
make some noise with sydney youth orchestras! partner with the big busk The Big Busk is an annual event taking place up until SYO’s 50th Anniversary. SYO are looking for Partners for The Big Busk from 2019 onwards. This event is an opportunity for your business to increase its visibility in the Sydney CBD and to align with an organisation known for its youth, energy, and musical excellence. Your company can capitalise on the power of music by through brand exposure and awareness, reach, media coverage, positive brand alliance, and the potential for a long-term relationship.
 
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board member spotlight
greg levy what brought you to SYO? I met management and was impressed with their ambitions for SYO and their energy and dedication to providing a great musical experience and education. Joining the board gave me the opportunity to assist the SYO team achieve their goals. I also grew up listening to classical music and this was a great opportunity to combine some of my professional experience with the enjoyment of classical music. why is SYO important to you? SYO has a 45 year history of contributing to classical music development and education, it is an important organisation in the development of our artistic talent. It is important that as a community we provide young people the opportunities to both develop their talent and have a social experience in a team environment that will deliver life long memories.
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 Graham _ 24
what is your favourite SYO memory? Two particular memories are the Dubbo / Western NSW Tour in 2017 which I enjoyed musically and to see how well received our regional workshops were and the recent performance of the Peter Seymour Orchestra playing Beethoven’s 3rd Piano Concerto with Konstantin Shamray at the City Recital Hall. Konstantin is a world class Russian pianist and the orchestra was both excited and nervous, it was great to see them rise to the occasion and deliver a great performance with John Ockwell conducting.
Looking for the perfect gift? Why not give The Gift of Music?
The Sydney Youth Orchestras Music Library is a vital resource providing access for young musicians and community groups to quality orchestral scores and parts.
- Invitations to hear the work when performed.
By giving The Gift of Music you are supporting SYO to purchase outright the music of some of the greatest orchestral and chamber works from the canon as well as investing in the ongoing management of the library. Your gift will ensure that your favourite works continue to be learned and performed, safeguarding the future of classical music in Australia.
- Your requested name appearing in concert programs for 12 months and whenever the music is performed by SYO.
Visit syo.com.au/gift-of-music to view our wish list or request a quote for your favourite piece.
Your Gift of Music will be acknowledged by: - Permanently attaching your requested name to this piece of music in our music library.
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syo alumni spotlight
SYO provides young people with a musical and social experience like no other. Their programs are a vital element in a young person’s education.
Antonio also studied jazz with Jazz Trombone lecturer Bernhard Bamert and played regularly with the Zürich Jazz Orchestra in his time in Switzerland. In 2010, Antonio was a finalist at the International Brass and Woodwind Competition in Jeju, South Korea. Antonio is a proud alumni of Australia’s best youth orchestras, having been a participant of SYO, AYO (2004 to 2007), and SSO’s Sydney Sinfonia (2007 to 2011).
antonio neilleymenéndez de llano Antonio Neilley-Menéndez de Llano is the Solo Tubist of the Malmö Opera in Malmö, Sweden, since early 2013.
Antonio has performed with some of the world’s finest ensembles including the Sydney Symphony, Melbourne Symphony, New Zealand Symphony, Zürich Opera and the Danish Radio Symphony among others.
Born and raised in Sydney to Spanish/ Australian parents, Antonio’s first tuba teacher was Arthur Hubbard at the Sydney Conservatorium of Music High School. After studying a Bachelor of Music with Steve Rossé (Sydney Symphony), Antonio moved to Zürich, Switzerland, to study a Masters with Professor Anne Jelle Visser (Yamaha International Artist and former tubist of the Zürich Opera) at the Zürcher Hochschule der Künste, playing regularly with the Zürich Opera.
“The long-lasting friendships I still have, the challenging repertoire we played, the renowned and experienced tutors and conductors we strived to impress week in, week out, and the opportunity to tour internationally, I think, were all big factors in the musician and especially the person I am today. The benefits to Australian society are immense and I can’t imagine making it this far without SYO’s auditions, rehearsals, performance opportunities and contacts in the professional world.”
Tuba (2000, 2005-2006)
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In 2015, Antonio was first invited to join the Australian World Orchestra’s tour of India with Maestro Zubin Mehta. In May of 2018 he had the honour of playing with AWO again, under the baton of Maestro Riccardo Muti.
spring 2018
endangered instruments Sydney Youth Orchestras offers some instruments, including those that are rare and endangered, to select musicians to give them the best opportunity to learn and excel in their orchestral education. SYO owns a number of Double Basses, Celli and Violas which are available for long term loan to SYO members. SYO are also able to arrange short term loans of some auxiliary woodwind instruments including Bass Clarinet and Baritone Saxophone and some percussion instruments. All these instruments are owned and insured by SYO, serviced regularly and stored in appropriate conditions. The Enterprise Fund supports all expenses related to these instruments’ maintenance and the acquisition of new instruments.
An ‘endangered instrument’ is any uncommon instrument that is in high demand within orchestras – not only at SYO, but within tertiary and professional orchestras around Australia. Some of these instruments include bassoon, viola and double bass, and to a lesser extent, the oboe, french horn and trombone. Musicians who play these instruments will often find that they are placed on an accelerated track through the SYO program due to the demand for these instrumentalists. SYO strongly encourages musicians who play more competitive instruments (such as violin, flute, trumpet and saxophone) and are interested in extending their orchestral opportunities to discuss the option of taking up an ‘endangered instrument’ with SYO or their private instrument tutor. _ 27
musician spotlight
The trombone can access more power in its sound than most other instruments, which gives you great responsibility within an ensemble. The sound of the trombone has been likened as the closest instrument to the human voice – when you reach that sound, anything you play is rewarding. what is a myth or misconception about playing your instrument? Trombones aren’t just for loud notes – take a listen to the trombone chorales Brahms includes in his 1st and 4th symphonies for softer, nuanced trombone excerpts.
rhys oldham Rhys Oldham is Principal Bass Trombone in The Sydney Youth Orchestra. He has been playing Bass Trombone since 2004. what clef do you play in? Is it hard to learn a different clef? Mostly bass clef – a little in tenor clef and it is currently a clef that I am learning. It’s tough but important. what is your favourite piece(s) to play on your instrument? Brubeck Concerto for Bass Trombone what are the top 3 reasons you would give to someone thinking about taking up your instrument? The slide is not only fun, but allows for a wealth of performance technique not available to other instruments. _ 28
what are your favourite extended techniques? Flutter tongue what is it like playing your instrument in an orchestra? You have a real sense of responsibility to the harmony, as a bass voice, and the balance, as an incredibly powerful instrument. You have to learn when is the right moment to unleash you potential, and when to blend into the sound of the group. And because of that, you can have great satisfaction in the unique colour you can bring out of the ensemble when it’s your turn to play out. why should someone who plays your instrument join Sydney Youth Orchestras? SYO’s commitment to engaging young musicians with large-scale works means a bass trombonist has the best opportunity to play the music famous for great trombone parts. Flagship taking on Bruckner 8, and the Wagner overtures tackled by SYOP are just some of the examples of great music for trombone, and bass trombone, that isn’t as commonly performed in other youth ensembles and initiatives.
sponsor spotlight
We are very proud to be a supporting partner and event sponsor of Sydney Youth Orchestras. Craig Walsh & Associates was established in 2014 by Craig Walsh.
craig walsh “My family’s journey with Sydney Youth Orchestras commenced quite recently, with the Summer Camp in January 2017. Our thirteen year old son, Sean, is now in his second year with Sydney Youth Orchestras. He currently plays baritone saxophone in the Symphonic Wind Orchestra under the expert guidance of James Pensini. Sean loves it, and could not be happier than when performing, representing Sydney Youth Orchestras.
Craig provides strategic commercial advice on a range of construction project-related issues, including providing advice in respect of construction-related claims and dispute resolution, including the preparation of expert reports for legal proceedings. He also offers mediation, expert determination, arbitration and dispute board services. Craig has more than 35 years’ experience in the construction industry, both building and engineering construction. His career has included over 20 years of employment with construction contractors and over 15 years’ experience consulting on constructionrelated issues. For more information visit craigwalsh.com.au
It has been very rewarding to see him develop as a musician, together with a very talented group of young people sharing a common interest. It is a journey we very much enjoy being a part of. After a fantastic 2017 for our son, we wanted to give something back. At the beginning of 2018 we decided to sponsor Sydney Youth Orchestras.”
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summer school Applications Open: 1 October 2018 Dates: 7-11 January 2019 Showcase: 4pm, 11 January 2019 Sydney CBD
More information and registrations available 1 October at syo.com.au
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2019 summer school
SYO Summer School combines high standard music making, creativity, exploration and personal development. SYO Summer School is a week-long program open to all school-aged young musicians packed with choir rehearsals, large ensemble playing, masterclasses and tutorials, music theory and info sessions, as well as the opportunity to make friends and have fun. The week culminates with ensemble showcases and concerts to highlight the week’s achievements. Musicians are placed in ensembles which match their abilities and extend their knowledge and experience based on information collected from participants during enrolment. There is also an opportunity for senior musicians to audition for places in the resident symphony orchestra, conducted by Max McBride. to register and to find out more syo.com.au
spring 2018
hsc preparatory program For students in Years 11 and 12, the SYO Summer School will include an HSC preparation stream that can be selected as an add-on to the weekly program or as a standalone package. Led by NSW Music educators and HSC markers, this program will cover areas of theory and practice that relate specifically to the NSW HSC Music 2 curriculum. Participants can expect to receive intense training on theory, composition, essay writing, thesis development and constructive performance critique. This program provides musically gifted HSC students the opportunity to receive invaluable guidance and tailored HSC music training in a supportive and fun environment with like-minded students. to register and to find out more syo.com.au
scholarships As the leading provider of orchestral training in NSW, SYO is committed to reaching across the state to provide greater access for all young musicians and challenge the barriers to participation. SYO is committed to ensuring all talented musicians regardless of distance have the same opportunity to participate. With the very generous support of many private donors, companies, and foundations to the 2018 Opportunity Fund, SYO will be offering several Scholarships to the 2019 Summer School to regional musicians. Applicants need to reside at least 200kms from Sydney to be eligible. For more information email info@syo.com.au _ 31
our 2018 musicians
Stage 1 VIVALDI Violin Lewis Bi Caitlin Cameron Josiah Chan Zara Clarke Katerina Dassakis Imogen Hamilton Akhurst Tomas Jurcic Hannah Koh Cherry Liu Eva Major Dara Minogue Zoe O’Neil Alejandro Perez Martinez Juliette Pfeil Nelum Purohit Leila Rammal Max Rubinstein Sora Syrett-Lay Harry Tait Macayla Wu Lenis Wu Ella Xu Minori Yoshimura Viola Serena Dusan Casey Shea Cello Jonathan Cheng Ethan Lam James Mackun Lucy Moon William Oeser Double Bass Amelia Kim CORELLI Violin Janica Adinanto Saman Akcakanat Lucia Annabelle Arango Jasmine Cohen Alexander Doyle Chris Hoyuen Du Maxine Duong
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Chloe Gu Eugenia He Ronni Hu Emma Rose Koeswandy Oscar Law Justin Lee Anna Liang Elsha Lim Adrian Lo Arabella Logan Anthony Mackun Matthew Ng Grace Ruan Koki Takamura Alexander Tarasov Clara Tonegawa Hannah Van der Wall Carl Vladica Viola James Vo Cello Mia Balmer Alexander Chen Leanne Huang Mike Hyun Woo Jeon Samuel Kong Matthew Lee Aleifr Tinkler-Smith Stage 2 MOZART Violin Ariel Barraket Aaron Bonduriansky Paige Chan Ashley Chan Siqi Chen Nicole Choi Max Dai Samuel de Kroon Jonathan Gaddes Breah Gunaratnam Ofelia Imm Smirk Jeslyn Khoupraseuth Esther Koh Violet Krockenberger Khang Mai Catherine Makmur Hinata Morishita-Lee
Zachary Ng Harrison Stein Lily Still Jayden Tran Sophia Wong Jacob Wong Macauley Woo Julian Wu Marie Park Viola Ethan Chan Charles McCabe Cello Liam Davis Maddison Fauchon Harriet Gohil Kai Hall Genevieve Holt Bryan Huang Emily Khachaturian Chloe Kim Andrea Trahana Ashton Yee HAYDN Violin Jessica Arango Etta Buggy Axton Abigail Bush Ender Carey Hugo Ceran Jerusalemy Ethan Choi Fabiano De Araujo Daniels Fernanda De Pinguel Araujo Shirley Feng Abigail Goodwin Wansi Huang Anastacia Ibrahim Yuting Jin Klara Jurcic Bora Kim Tali Kuba Amberly Ma Bettina Chiara Minogue Jacob Mueller Charlotte Ring Eloise Seeto
Viola Charlotte Kang Rachel Liang Cello Jack Chesterman Samantha Lee Cedric Lin Nathanael Robertson Petar Simkovic Erik Wild Tennyson Wong Samuel Yeoh Double Bass Matthew Cheng Stage 3 BRAHMS Violin Sahara Ali Alexandra Arkapaw Lara Atore Isaac Blasco Kate Chan Sebastien Condon Eva Connolly Eloise Dahm Yuzuka Dekura Evalyne Duong Jake Earls Stephanie Gough Isabella Heriot Adina Husar Sophie Jin Guthrie Kentish Annabel Krockenberger Amaya Kumarage Annabelle Lai Kayla Low Henry Martin Sophie Pan Kristen Tabuena Zoe Ty Mark Ureta Ava Webster Lucas Yang Alson Zhou
Viola
Viola Lisa Bongpipat
Natasha Caward Maximus Cai
Cello Zena Abdo Alexander Benz Mary Franklin Jade Chengyu Liang Lillian Scotland Emily Wan Rebecca Winton Isabella Zhuoyan Yang Emma Zhang
Cello William Bootes Alexander Davidson Alicia HS Kim Olivia McCormick Kiara Nguy Claire Pepperell Celeste Ryan Jocelyn Tang Stephanie Tran
Viola Sophie Moir Amayah Ryan Jia Xun (Jessica ) Teoh Jennifer Leong
GREIG
Stage 4
Violin Nora Aubineau Schuessler Torika Blair Sabrina Blasco Iris Chen Baldric Chen Emily Choi Alexander Cronin Emma Huang Elena Khachaturian Ashley Kim Lucinda King Vienna Li Ella Liu David Milic Misato Mizuno Phillip Muloski Caitlin Murphy Morgan Owen James Pullinger Si-Yun Tan Antonia Touma Zeynep Unal Kitty Wei Chloe Weng Michayla Wereszczynski Yichen Zheng
SINFONIA
Alice Moon
Double Bass Double Bass Rachael Adair Connolly Teagan Martin Sabine Tapia
Violin Sora Wakaki Alexander Martinek Elizabeth Mary Bergan Beatrix Blasco Alisha Choi Amy Diaz Sienna Kang Jamie Krockenberger Daniel Hu Elaine Huang Sophia Juarez Olivia Grace Tardjono Pardis Mohseni Felix Sharpe Aleksei Prakhiy Chanhee Park Violeta Shopova Joanne Law Zhiru (Stella) Lin Hannah Kim Maya Konakci Edsel Angelo Jugado Oliver Chen Yzahbelle Terese Celedonio
spring 2018
Michaela Terrey Annabella Wright Evelyn Zhu
Cello Imogen Stanford Maximilian Mora-Chow Elizabeth Ring Phillip Cullen Nathaniel Spielman Eui Jin Hwang Madeline Panos Charlotte Donald Double Bass Isabelle Teo Flute Samuel de Kroon Julia Chen Joyce Zhang Oboe Anna Kremer Eric Yoo Clarinet Theresa Xiao Shannon Tang Amelia Dillon Sarah Phae Bassoon Calin Hall French Horn Titan Sclavenitis Trumpet Joshua Townsend Jay Lee Tenor Trombone Kai Syrett-Lay
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our 2018 musicians
Western Sydney Youth Orchestra
Ruth McKay Sabine Seeto
Violin Erin Jee Anna Todhunter Felicity Yau Charlotte Todhunter James Parbery Pritika Prahatheesan Jeremiah Noval Nicholas Walker Nicholas Gummerson Isabella Wilson Ethan Powell Nurhan Solbudak Jiayi (Tony) Lu
Oboe Natalie Kim Alex Tsang Karina Williams Meg Bezzina
Viola Elin Wei Samantha Wy Cello Lianah Jaensch Double Bass George Machado Flute Matilda Seppelt Megan Amos Clarinet Shawn Yang Gabrielle Goodman Andrew Cui
Clarinet Sascha Graham Xinghan Feng Ara Jo Miya Chesterman Evangelia Stivactas Kate Chipman Aidan Eccleshall Maddie Adams Kotoko Takehara Bridget Milkovitsch Ruby Skillicorn Emily Batten Lucia Yoo Osmond Wu Fred Sarson Oliver O’Connor Bonna Yoon Bassoon Gordon Richter
Saxophone Oliver Lee Reuben Alperovich Alexander Au French Horn Yiren Guo Jonathan Vardouniotis Wellington Dulay Rebekah Davison Sean Walsh Trumpet French Horn Harry James Finn McGrath Timothy Stewart Holly Benson Percussion James Heynes Symphonic Wind Orchestra Flute Isabella Pinter Gabrielle Cadenhead Ruby Lu Kristie Mui Serena Li Kaoruko Takehara Tanisha Kolodochka _ 34
Ella Doughty Laura Duque Lauren Patterson Trumpet Annie Tan Sasha Saad Jude Macarthur Ben Lawford Harry James Zacharie Egan Kieran Williams Toby Rands Archie Tulk
Trombone Zachary Bonham Molly James Ethan Redman Euphonium Jasper Mihalich Tuba Oliver Jackson Thomas Coates Percussion Remi Defina-Sperando Stephen Gilbert Rosie Bennett George Annas Brandon Ha Peter Seymour Orchestra Violin 1 Sierra Sharman Keith Lizardo Elise Chytra Irene Jung Cassandra Doyle Zi Chen Zhang Matthew Lee Klara Decker-Stewart Jedda Thorley Anica Shen Violin 2 Cathry Prouzos Olivia Hansen Jordyn Brundin Molly Noble-Booth Lauren Quach Anna Naritsuka-Hayler Caroline Zheng Trish Tran Jackson Chong Viola Joseph Newton Isabel Dean Liaam Rao Olivia Chen Isabella Evangelista Roisin Sullivan Cello Dominique D’Silva Madeleine Grisard Rory McClelland
Double Bass Wynter Smith Lara Albany Sam Malone Flute Emily Redfern Isabeau Hansen Oboe Phoebe Xu Madison Au Clarinet Andrew Jung Nicole Hsueh Bassoon Teodor Akerman Josh Reynolds French Horn Emma Waters Adam Shul SYO Philharmonic Violin 1 Ken Noonan Brad Tham Emily Colvin Rhianna Frahill Caitlin Flannery Jovitta Chen Mia Retallack Lawrence Yuen Newton Cheang Koko Barratt Jamie Ramjan Matthew Ross Violin 2 Emily Ampt Sungho Kim Andre Chen Connor Gum Gee Tamarangi Keerthipala Tanya Swinton Cassandra Widjaja James Parbery Mingxi Shen Christina Nguyen Corina Behrens
Viola Po-Shen Wang Alison Eom Olivia Ellis Eli Beirnoff-Giles Nicole Hond Curtis Lau Cello Elden Loomes John Wu Lucy Blomfield Bahar Hakimjavadi Voara Shin Eva Scoufis Alanna Manfredini Bayden Tham Brendan Chew Double Bass George Machado Zoe Morris Flute Isabella Schoeler Pranav Gilder Brendan McRae Suzy Milton Oboe Florence Chou Michael Chang Charlotte Korell Benjamin Porteous Clarinet Selina Lin Zachary Donoghoe Hugo Giles Joshua Reynolds Bassoon Alan Choi Lucy Devine Hayden Burge French Horn Madeleine Aarons Alexander Hogan Elena McEwan Jasper Wang Trumpet Logan Birchall Panagiotis Karamanos Thomas Bootes Patrick Benfield
Trombone Jim Liu James McNaughton Jacob Dooley Tuba Tom Doyle Byrne Percussion Yonatan Babicz Jack Peggie Carl Hemsworth The Sydney Youth Orchestra Violin 1 Marcus Michelsen Elizabeth Greenhalgh Karen Kong Sarah Qiu Alex Paterson Miriam Greenbaum Tilda Shen Rhordan Stephens Olivia Bonanno Celina Tukimin Elizabeth Chun Jason Yip Violin 2 Claudia Norton-Foley James Armstrong Dixon Mak Daisy Wong Elizabeth Kalotay Nathan Trinh Edmund Ing Talia Quartullo Joanne Silva Bao Tram Pham Stephen Epa Iosefa Lilian Le Viola Sergio Insuasti Niamh Armstrong Aisha Goodman Marlena Stanhope Steven Koroknay Lydia Ham Curtis Lau Cello Suzannah Keene Angela Shin Alisdair Guiney
Sam Milch Taylor Mickle Jessica Ellis Double Bass Adrian Whitehall Lillian Bennett Terry Huynh
spring 2018
Emilie Choi Cadence Ing Darcy Martin Rena Tang Saskia Akerman
Flute Jessica Scott Michelle Yue Wang Courtney Coates Oboe Miriam Cooney Joshua Ning Benjamin Porteous Clarinet Clare Fox Katherine Howarth Zhu Xing Cao Bassoon Tiger Chou Jack Cremer Nicholas Zengoski French Horn Eve McEwen John Morabito Simon Jones Lilly Cremer Mackenzie Anderson Trumpet Alfie Carslake Matthew Carter Sergio Barca Tenor Trombone Andrew Challinor Cooper Rands Bass Trombone Rhys Oldham Tuba Marcel Kocbek-Malepa Percussion Huon Bourne Blue Ruari Campbell Carl Hemsworth Harp Kate Moloney
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1300 850 841 | dixon.com.au/myjourney Dixon Advisory & Superannuation Services Ltd | ABN 54 103 071 665 | AFSL 231143
Santa Sabina College home of the SYO
EXCEPTIONAL MUSICIANS
2020 MUSIC SCHOLARSHIPS AVAILABLE FOR YEARS 5, 7 AND 9 ssc.nsw.edu.au/scholarships
Independent Catholic School | Strathfield NSW | Co-ed P-4, Girls 5-12 Ph: 02 9745 7030 | E: enrolment@ssc.nsw.edu.au | ssc.nsw.edu.au
our staff artistic staff symphonic orchestral program Alexander Briger AO Chief Conductor Christopher Lawrence Chief Artistic Advisor Brian Buggy OAM SYO Philharmonic
orchestral fundamentals program Brian Buggy OAM Heloise Meisel Rachel Pogson Joanne Waples Peter Corkill Kathryn Crossing Dr Irina Andreeva
syo staff
James Pensini Symphonic Wind Orchestra & Western Sydney Youth Orchestra Orchestral Training Manager
Mia Patoulios General Manager
John Ockwell Peter Seymour Orchestra
Daniel Placido Executive Administrator
Susan Hart Finance Manager
Alexandria Siegers Marketing and Digital Coordinator Marita Cranwell Events Coordinator Isabella Mazzarolo Business Development Coordinator _ 38
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 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
our supporters
government partners
Create NSW Arts, Screen & Culture
digital education partner
corporate music partners
international tour partner
event partners
syo state partners
Greatorex Foundation western sydney youth orchestra partners
supporting partners
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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