(English only) YouTube Symphony Orchestra 2011 Grand Finale Program #ytso

14-20 March

Sydney Opera House

DIRECTED BY ACADEMY AWARD WINNER

EXECUTIVE PRODUCED BY

FILMED BY

KEVIN MACDONALD RIDLEY SCOTT THE YOUTUBE COMMUNITY

LIFE IN A DAY The story of a single day on earth

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14–20 March Sydney Opera House Sydney Conservatorium of Music Michael Tilson Thomas Artistic Advisor and Conductor Percussion Ensemble Concert Tuesday 15 March | 6pm Sydney Opera House Studio page

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Brass Ensemble Concert Wednesday 16 March | 6pm Verbrugghen Hall, Sydney Conservatorium of Music page

About the YouTube Symphony Orchestra page

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Artist Biographies page

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YouTube Symphony Orchestra Musicians page

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Woodwind Ensemble Concert Thursday 17 March | 6pm Sydney Opera House Utzon Room page

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String Ensemble Concert Friday 18 March | 6pm Sydney Opera House Playhouse page

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Saturday Matinee and Grand Finale Saturday 19 March | 3pm Sunday 20 March | 8pm Sydney Opera House Concert Hall page

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Š2011 YouTube and the YouTube logo are the trademarks of Google Inc. All other company and product names may be trademarks of the companies with which they are associated.

Message from YouTube It may be hard to believe, but YouTube is only six years old. In that short amount of time, online video has become a permanent fixture of our daily lives and forever altered the way we consume entertainment, news, politics, sport and, perhaps most of all, music.

Just three years ago, members of YouTube’s London office came up with a seemingly incongruous idea: combining the nascent world of online video with the 1,200-year-old tradition of classical music. This was to become the YouTube Symphony Orchestra.

Since then we have travelled around the world and back again hundreds of times, virtually and otherwise, following the journeys of our wonderful musicians, our mentors, our virtuosos and maestros, and exploring musical icons like Carnegie Hall and the visionary Sydney Opera House, where we find ourselves this week.

We are extremely proud of this initiative, our partners, and the people in the YouTube community all over the world who have made it happen. We hope that, long after the final performance this week, everyone involved will continue to appreciate radical inclusiveness in the arts and challenge the status quo through technology, science, and just a little bit of magic.

We hope that the YouTube Symphony Orchestra 2011 has inspired you. It has inspired us immensely.

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Sydney Opera House Welcome One of Sydney Opera House’s goals is to democratise creativity for the community at large. Our partnership with YouTube to present the second YouTube Symphony Orchestra project in Sydney is a great example of how technology enables creative collaboration. This week, performers from all around the world converge on our stages to perform, conduct masterclasses and share in the development of their craft.

Technology is increasingly central to our way of life, and our human need to express creativity is becoming more deeply embedded as the tools and environments become more accessible. The ideas that inspired Jørn Utzon when imagining the Sydney Opera House are now the ideas that fuel this online acceleration in creativity. The YouTube Symphony Orchestra experience epitomises collective creativity mediated via the latest channels of communication.

This is one of the busiest cultural and tourism precincts in the world, with already more than eight million visitors setting foot on our site each year. To reach beyond the constraints of our physical site, we are investing in technology and people to take our artists and our stories to digital environments so that anybody, anywhere, can access their own Sydney Opera House experience.

We are particularly proud to work with YouTube through our partnership on arts education initiatives. This week, music students join us on site to participate in masterclasses with some of the world’s most talented musicians, who have given their time to coach and mentor. Some 70,000 young people come to the House each year to participate in our Kids at the House and House:Ed performance programs. To assist us in providing an arts education experience to as many children as possible, YouTube is generously donating all box office proceeds from the YouTube Symphony Orchestra project to our digital education initiatives such as Connected Classrooms.

Democratising creativity is what we’re about and we couldn’t do it without our partnership with YouTube.

Richard Evans Chief Executive, Sydney Opera House

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YouTube Symphony Orchestra 2011 Sydney, Australia The YouTube Symphony Orchestra 2011 marks the return of the world’s first global orchestra for which the selection process is held entirely online. The first YouTube Symphony Orchestra in 2009 brought 100 musicians from 23 countries together for an extraordinary concert at Carnegie Hall in New York. Building on this success, YouTube approached partners, familiar and new, who hold a shared passion for pushing the boundaries of traditional music to collaborate in repeating the audition process.

Those partners include Sydney Opera House, YouTube Symphony Orchestra Artistic Advisor and Conductor Michael Tilson Thomas, the London Symphony Orchestra, Berliner Philharmoniker, Sydney Symphony and many other leading institutions and musicians, as well as esteemed commercial partners, including Hyundai whose exclusive sponsorship enabled new possibilities this time around.

This year, the YouTube community was invited to participate in two ways: by uploading a video audition of standard repertoire for an orchestral instrument, or by uploading a video improvisation for any instrument to a piece specially composed for the project by Chicago Symphony Orchestra Composer-in-Residence Mason Bates.

This opened the audition process to new audiences, and the judges from leading orchestras around the world were astonished by the quality of the auditions received.

The YouTube community voted to choose the final list of 101 musicians from 33 countries who make up the orchestra, including four soloists with instruments as diverse as the electric guitar and the Chinese guzheng. The musicians range from 14 to 49 years old and include among them professionals and amateurs, students and teachers, some who tour the world and some of whom have had never set foot outside their home country.

These musicians have travelled to Sydney from countries as far flung as Argentina, Hungary, South Korea and Venezuela. They will share their perspectives in a weeklong celebration of musical collaboration packed with rehearsals, street performances, masterclasses, concerts and other activities – from holding a koala to climbing the Sydney Harbour Bridge. This final week sees the orchestra performing in seven concerts over six days. The Grand Finale at the Sydney Opera House will be brought to life through extraordinary, real-time projections on the interior of the Concert Hall and the exterior of the iconic sails of the Sydney Opera House, all streamed live on YouTube around the world.

Since its launch, the YouTube Symphony Orchestra channels on YouTube have received over 50 million views with visitors from more than 200 countries and territories.

The Grand Finale concert will be streamed live on YouTube and videos from the orchestra’s week in Sydney will be uploaded to capture the experience on youtube.com/symphony.

Top: Michael Tilson Thomas with the YouTube Symphony Orchestra 2009 in Carnegie Hall. ©Stefan Cohen Middle: YouTube Symphony Orchestra 2009 – interior projections from 15 April 2009. ©Stefan Cohen Bottom: YouTube Symphony Orchestra 2011 – exterior projection (rendering) for 20 March 2011. Courtesy of Obscura Digital

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YouTube Symphony Orchestra 2011 Percussion Ensemble Concert Tuesday 15 March | 6pm Sydney Opera House Studio

Nigel Westlake (born 1958) Omphalo Centric Lecture

Timothy Constable (born 1981) Suna

Marimbas Michelle Hwu, Feargus Brennan, George Nickson, Joel Biedrzycki

Timothy Constable, Alison Pratt, Joshua Hill, Rebecca Lagos, Michelle Hwu, Feargus Brennan, George Nickson, Joel Biedrzycki, Brent Miller

Hand Drums Timothy Constable, Alison Pratt, Joshua Hill, Rebecca Lagos, Brent Miller Didgeridoo William Barton

Toru Takemitsu (1930–1996) Rain Tree

Henry Cowell (1897–1965) Ostinato Pianissimo

Timothy Constable, Alison Pratt, Joshua Hill

Michelle Hwu, Feargus Brennan, George Nickson, Joel Biedrzycki, Brent Miller, Alison Pratt, Joshua Hill, Rebecca Lagos

Steve Reich (born 1936) Music for Pieces of Wood Michelle Hwu, Feargus Brennan, George Nickson, Joel Biedrzycki, Brent Miller

Edgard Varèse (1883–1965) Ionisation Conductor Edwin Outwater Michelle Hwu, Feargus Brennan, George Nickson, Joel Biedrzycki, Brent Miller, Timothy Constable, Alison Pratt, Joshua Hill, Rebecca Lagos, Andrew Chan†, Chiron Meller†, Stefania Kurniawan†

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Christopher Rouse (born 1949) Odoun Badagris Michelle Hwu, Feargus Brennan, George Nickson, Joel Biedrzycki, Brent Miller

Orchestra Mentors Synergy Percussion Timothy Constable, Joshua Hill, Rebecca Lagos, Alison Pratt

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Sydney Conservatorium of Music guests

YouTube Symphony Orchestra 2011 Brass Ensemble Concert Wednesday 16 March | 6pm Verbrugghen Hall, Sydney Conservatorium of Music

Paul Dukas (1865–1935) Fanfare from the ballet La Péri

Eugène Gigout (1844–1925) Grand Choeur Dialogué

Horns Assen Anguelov, Valentin Eschmann, David Cooper, Sarah Willis

Conductor Edwin Outwater

Trumpets Travis Peterson, Mary Bowden, Pedro Silva

Horn Matthew Berliner

Trombones Roman Riedel, Jorge Navarro Martin, Roberto Basile Tuba John DiCesare

Verne Reynolds (born 1926) Music for Five Trumpets Håkan Hardenberger, Travis Peterson, Mary Bowden, Pedro Silva, Jeremy Garnett

Ludwig van Beethoven (1770–1827) Three Equali for four trombones, WoO.30

Organ Cameron Carpenter Trumpets Mary Bowden, Travis Peterson, Pedro Silva Trombones Jorge Navarro Martin, Roman Riedel Tuba John DiCesare

Mark-Anthony Turnage (born 1960) Set To Conductor Håkan Hardenberger Horn Valentin Eschmann Trumpets and flugelhorns Jeremy Garnett, Mary Bowden, Pedro Silva, Travis Peterson Trombones Ian Bousfield, Jorge Navarro Martin, Roman Riedel

Ian Bousfield, Roman Riedel, Jorge Navarro Martin, Roberto Basile

Euphonium Roberto Basile

Herman Jeurissen (born 1952) after Richard Wagner (1813–1883) Tristan Fantasy for six horns

Richard Strauss (1864–1949) Fanfare for the Vienna Philharmonic

arranged by Albert Ligotti

David Cooper, Matthew Berliner, Benjamin Reidhead, Gábor Nyerges, Assen Anguelov, Valentin Eschmann

YTSO brass section with Ian Bousfield trombone

Tuba John DiCesare

Conductor Edwin Outwater

Timpani Brent Miller

Improvisation Organ Cameron Carpenter

Orchestra Mentors Ian Bousfield trombone, Håkan Hardenberger trumpet, Sarah Willis horn

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YouTube Symphony Orchestra 2011 Woodwind Ensemble Concert Thursday 17 March | 6pm Sydney Opera House Utzon Room

Wolfgang Amadeus Mozart (1756–1791) Quintet in E flat for piano and winds, K452

Giuseppe Verdi (1813–1901) Act III Entr’acte from The Force of Destiny

Third movement (Allegretto)

arranged by Andrew Marriner

Oboe Emmanuel Danan

Clarinet Andrew Marriner

Clarinet Irene Yichun Chen

Piano Gerardo Vila

Bassoon Oscar Garcia Horn Gábor Nyerges Piano Gerardo Vila

Paquito D’Rivera (born 1948) Fiddle Dreams Flute Marco Granados Piano Gerardo Vila Double bass Nick Recuber

Astor Piazzolla (1921–1992) Oblivion Oboe Eugene Izotov Piano Gerardo Vila

Antonín Dvořák (1841–1904) Serenade in D minor, Op.44 (B77) Second movement (Minuetto) and Finale (Allegro molto)

Igor Stravinsky (1882–1971) Octet

Oboe Eugene Izotov, Xiomara Mass

Conductor Håkan Hardenberger

Bassoons Laurentiu Darie, Oscar Garcia

Flute Jennifer Zhou

Clarinets Angela Longo, Irene Yichun Chen

Clarinet Michael Rezzo

Horns Matthew Berliner, Ben Reidhead, Gábor Nyerges

Bassoons Samuel Blair, Tono Ruano Nacher

Cello Ross Gasworth

Trumpets Bill Willams, Mary Bowden

Double bass Nicholas Recuber

Trombones Ian Bousfield, Jorge Navarro Martin

Ludwig van Beethoven (1770–1827) Wind Octet, Op.103 Second movement (Andante) Oboes Xiomara Mass, Emmanuel Danan Clarinets Christine Carter, Angela Longo Bassoons Oscar Garcia, Laurentiu Darie Horns Matthew Berliner, Ben Reidhead

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Orchestra Mentors Ian Bousfield trombone, Håkan Hardenberger trumpet/conductor, Eugene Izotov oboe, Andrew Marriner clarinet, Gerardo Vila piano

YouTube Symphony Orchestra 2011 String Ensemble Concert Friday 18 March | 6pm Sydney Opera House Playhouse

Henry Purcell (1659–1695) Fantasia on One Note

Wilhelm Fitzenhagen (1848–1890) Concert Waltz

Violins Richard Tognetti, Colleen McCullough

Cellos Tamás Varga, Ross Gasworth, Madeline Huberth, Julia Yang

Viola Dillard (DJ) Cheek Cello Stephanie Lai Harpsichord Neal Peres Da Costa Double bass Matt Gray with cellos and basses from the YTSO string section

Antonio Vivaldi (1678–1741) Concerto in B minor for four violins, RV580 I Allegro. II Largo. III Allegro Violins Richard Tognetti, Colin Jacobsen, Mai Ke, Federico Nathan Cello Tamás Varga YTSO string section

Ljova (Lev Zhurbin, born 1978) Budget Bulgur Violins Colin Jacobsen, Zoya Leybin Viola Roger Benedict

Pyotr Ilyich Tchaikovsky (1840–1893) Serenade in C for Strings, Op.48 Finale (Russian Theme) YTSO String Ensemble Conductor Edwin Outwater Concertmaster Zoya Leybin Principal Second Violin Colin Jacobsen Principal Viola Roger Benedict Principal Cello Tamás Varga Principal Double Bass Kees Boersma

Colin Jacobsen (born 1978) and Siamak Aghaei (born 1974) Ascending Bird – Suite for string orchestra PREMIERE Leaders Colin Jacobsen and Richard Tognetti YTSO string section Percussion Timothy Constable

Cello Tamás Varga Double bass Kees Boersma Percussion Timothy Constable

Franz Schubert (1797–1828) String Quartet No.14 in D minor (Death and the Maiden) Second movement (Andante con moto) arranged for strings by Richard Tognetti Leader Richard Tognetti YTSO string section

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Orchestra Mentors Roger Benedict viola, Kees Boersma double bass, Timothy Constable percussion, Colin Jacobsen violin, Zoya Leybin violin, Richard Tognetti violin, Tamás Varga cello

YouTube Symphony Orchestra 2011 Saturday Matinee and Grand Finale Saturday 19 March | 3pm Sunday 20 March | 8pm Sydney Opera House Concert Hall Michael Tilson Thomas conductor YouTube Symphony Orchestra 2011

Percy Grainger (1882–1961) Arrival on Platform Humlet from In a Nutshell – Suite

Mason Bates (born 1977) Mothership, for orchestra and electronica with soloists

Digital artist Android Jones

PREMIERE

Hector Berlioz (1803–1869) Roman Carnival – Overture, Op.9 Johann Sebastian Bach (1685–1750) Toccata in F major for organ, from BWV 540 Organ Cameron Carpenter

Alberto Ginastera (1916–1983) Danza del trigo (Wheat Dance) and Danza final (Malambo) from the ballet Estancia Conductor Ilyich Rivas

Wolfgang Amadeus Mozart (1756–1791) ‘Caro bell’idol mio’ – Canon in three voices, K562 Sydney Children’s Choir Soprano Renée Fleming via video

Benjamin Britten (1913–1976) The Young Person’s Guide to the Orchestra, Op.34 INTERVAL Richard Strauss (1864–1949)

Fanfare for the Vienna Philharmonic

arranged by Albert Ligotti Conductor Edwin Outwater

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Solo improvisations Electric Guitar Paulo Calligopoulos Violin Ali Bello Guzheng (zither) Su Chang Bass John Burgess

Felix Mendelssohn (1809–1847) Violin Concerto in E minor, Op.64 Finale (Allegro non troppo – Allegro molto vivace) Conductor Ilyich Rivas Violin Stefan Jackiw

Nigel Westlake (born 1958) Omphalo Centric Lecture with Synergy Percussion and Didgeridoo William Barton

Colin Jacobsen (born 1978) and Siamak Aghaei (born 1974) Ascending Bird – Suite for string orchestra Leaders Colin Jacobsen with Stefan Jackiw (Saturday) and Richard Tognetti (Sunday) Sand artist Kseniya Simonova

Igor Stravinsky (1882–1971) The Firebird Infernal Dance – Berceuse – Finale

About the Music Percy Grainger (1882–1961) Arrival on Platform Humlet from In a Nutshell – Suite At various times the composer and concert pianist Percy Grainger has been claimed by the Americans and the English, but he is a true Australian larrikin. As a performer he could be idiosyncratic, eccentric and abandoned; as a composer he held distinctive ideas, such as the principal of ‘elastic scoring’ and the use of ‘tuneful’ percussion instruments. His personal life is a story in itself.

In a Nutshell is one of Grainger’s major orchestral works and Arrival on Platform Humlet is the first of its four movements. This is music that captures the sheer joy of waiting for a train – the sort of thing one hums, said Grainger, ‘as an accompaniment to one’s tramping feet as one happily, excitedly, paces up and down the arrival platform’. (He had London’s Liverpool Street and Victoria Stations in mind.)

The Humlet was originally composed for ‘massed middle-fiddles’ – that is, violas – and was later rescored for orchestra, piano and tuneful percussion. Its most striking feature is that it has almost no chords: it’s effectively an unaccompanied line of melody, an unbroken stretch of constant variation – the sort of thing you really might hum.

Hector Berlioz (1803–1869) Roman Carnival – Overture, Op.9 Berlioz became a musician against his family’s recommendation: sneaking off to Paris when he was 18, ostensibly to study medicine but in reality following the path that would result in him becoming the ‘arch-Romantic’ composer of his age, ambitious and imaginative.

The Roman Carnival overture emerged from Berlioz’s first attempt at opera, Benvenuto Cellini. It’s not the actual overture from the opera, however, but a ‘characteristic overture’ – a concert piece to evoke atmosphere and arouse feelings. It also represents a clever salvage operation, rescuing some of the opera’s best ideas from oblivion, such as the love song that Cellini sings in Act I and the whirling saltarello dance from Act II. The setting is Carnival time in Rome. And the best description comes from the poet Goethe, who saw it for himself: The Roman Carnival is not really a festival given for the people but one the people give themselves… there are no fireworks, no illuminations, no brilliant processions. All that happens is that, at a given signal, everyone has leave to be as mad and foolish as he likes, and almost everything, except fisticuffs and stabbing, is permissible.…everyone accosts everyone else, all good-naturedly accept whatever happens to them, and the insolence and licence of the feast is balanced only by the universal good humour.

Johann Sebastian Bach (1685–1750) Toccata in F major for organ, from BWV 540 (performed in F sharp major) Modern music lovers know JS Bach as the great composer of the Baroque era. But in his lifetime he was famous as a virtuoso organist, and in particular for his skill as an improviser. In his church and chapel posts, this skill would be exercised on a weekly if not daily basis – the requirements of the 18th-century Lutheran liturgy would include preludes before hymns, introductions and other music during the service. Bach’s improvisations were so skilful and impressive that they must, at times, have threatened to draw undue attention, distracting the faithful from worship. In fact, we know this happened, because he was criticised by the authorities in Arnstadt in 1706 for making his hymn accompaniments too complicated.

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It’s impossible to know exactly what a Bach improvisation would have sounded like – that would involve some enviable time travel – but the virtuosic and flamboyant toccatas and fugues must have come close. Composed in pairs, the toccatas offered a virtuoso display of keyboard ‘touch’, while the fugues were an opportunity to show creative imagination within an intricate and strictly determined form.

The most famous of all is the Toccata and Fugue in D minor (BWV 565), which makes such a striking beginning to the original Disney Fantasia in an orchestral arrangement by Leopold Stokowski. The Toccata from the F major Toccata and Fugue (BWV 540) is structured on a larger scale. Its complex textures are offset by surprising shifts of harmony, often to spectacular effect. If Bach could invent this kind of music ‘off the cuff’ then his reputation was well earned.

This week, one of the modern world’s most flamboyant organists takes to the console of the Sydney Opera House Grand Organ, performing not only this music by Bach but (earlier in the week) an improvisation of his own. Bach wouldn’t recognise the clothes, but we can be sure he’d recognise the spirit.

Alberto Ginastera (1916–1983) Danza del trigo (Wheat Dance) and Danza final (Malambo) from the ballet Estancia Argentina’s ‘great white hope’, and one of Latin America’s leading composers, found early success at the age of 21 with the ballet Panambí. His ballet Estancia from 1942 took ten years to reach the stage, but meanwhile it was acclaimed as a concert piece, giving Ginastera an international reputation as a powerful musical voice. As in many of his early works, the ballet has a strong nationalist flavour and a virile character that points to the traditions of the gaucho or Latin cowboy.

The setting of the ballet is an Argentinian ranch (estancia) and its leading characters are a city boy and a dismissive farm girl. Guitar effects and characteristic dance rhythms evoke the world of the gaucho. In particular, Ginastera takes inspiration from the malambo, a dance in which the gauchos would compete to show their strength with increasingly vigorous steps. In the malambo of folk tradition the display of the choreography is of more interest than the music, but in Ginastera’s hands the red-blooded competitiveness of the genre entered the music itself. By contrast, the Wheat Dance is contemplative, with soaring melodic lines.

Wolfgang Amadeus Mozart (1756–1791) ‘Caro bell’idol mio’ – Canon in three voices, K562 In amongst the masterpieces, Mozart composed trifles – minor works that were nonetheless exquisitely crafted and invariably entertaining. His vocal canons fall into this category, with texts ranging from the sacred to the obscene. If you sang rounds as a child, you’ve sung a canon. The genre’s origins are not in the playground, however, but in the ‘scholarly’ style from a time when the combining and weaving together independent melodies was the height of musical accomplishment. Even in Mozart’s day the canon was hopelessly old-fashioned, a technique with both comic and pedantic associations. ‘Caro bell’idol mio’ (1788) takes its text from a different canon by Antonio Caldara and achieves a sweetly gentle expression through the weaving of its three voices.

Caro bell’idol mio non ti scordar di me!

Tengo sempre desio d’es ser vicino a te.

Dear idol, my idol do not forget me!

I desire always to be near you.

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Benjamin Britten (1913–1976) The Young Person’s Guide to the Orchestra, Op.34 This is the kind of piece that has no need for a program note. Even when it’s performed without narration, the structure and intent of The Young Person’s Guide to the Orchestra is crystal clear.

It has a secondary title – ‘Variations and Fugue on a theme of Henry Purcell’. This is informative, but Britten always preferred the original title, which better conveys the music’s spirit and intent. The Young Person’s Guide was commissioned in 1945 for a film that would introduce children to the instruments of the orchestra. And since 1945 was the 250th anniversary of the death of England’s greatest composer, Henry Purcell, Britten chose to build a set of variations on a tune from Purcell’s music for a play by Aphra Behn, Abdelazar or The Moor’s Revenge. (Britten himself was hailed as ‘the greatest English composer since Purcell’.)

After the full orchestra introduces Purcell’s tune, The Young Person’s Guide presents the ‘four teams of players’ – strings, woodwind, brass and percussion – before showing off each individual instrument, from the high-voiced piccolo to one of Britten’s favourite instruments, the whip. The variations are short, perfectly devised for each instrument, and they race through the spectrum of orchestral colour.

A grand fugue then weaves the instruments together – each one entering in the same sequence as before – and the Purcell theme is returned to the mix for a powerful climax.

Richard Strauss (1864–1949) Fanfare for the Vienna Philharmonic arranged by Albert Ligotti It should be no surprise that Richard Strauss wrote music for brass: he was the son of one of the leading horn players of the 19th century. Franz Strauss was a composer in his own right and for half a century the principal horn of the Munich Court Orchestra. With a family background such as this, there just might be truth in the story that a violin would make the baby Richard cry, but the sound of the horn would make him smile.

In addition to the inventive and colourful writing for brass instruments that can be found in his orchestral tone poems and operas, Richard Strauss composed a number of occasional pieces: fanfares and processional marches – the equivalent of a composer writing music for the Olympic Games.

The Fanfare for the Vienna Philharmonic was dedicated to ‘my beloved and magnificent Vienna Philharmonic’ and given its first performance by members of the orchestra at the Vienna Philharmonic Ball on 4 March 1924. It’s scored for brass ensemble with percussion and, despite its brevity, shows the master composer at work with rich, colourful harmonies.

Mason Bates (born 1977) Mothership, for orchestra and electronica with soloists The composer writes…

The mothership is parked in Sydney, an orchestra of musicians from all over the world, with Michael Tilson Thomas at the helm. Various soloists from continents far and wide periodically dock with the mothership in cyberspace, riffing on the work’s thematic material over action-packed electro-acoustic orchestral figuration.

The piece follows the form of a scherzo with double trio (as found, for example, in Schumann’s Second Symphony). Symphonic scherzos historically play with dance rhythms in a high-energy and appealing manner, with the ‘trio’ sections temporarily exploring new rhythmic areas. Mothership will share a formal connection with the symphonic scherzo, brought to life by thrilling sounds of the 21st century – the rhythms of modern-day techno in place of waltz rhythms, for example.

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In between these gripping segments for the full orchestra are the ‘docking episodes’, when far-flung soloists join up with the mothership. In the version recorded by the London Symphony Orchestra, these episodes feature soloists performing virtuosic cadenzas written by the composer; in Sydney, a hand-picked quartet of soloists offer improvisations based on the work’s musical materials.

In this performance the soloists are physically present, but the idea that soloists could one day improvise with an orchestra thousands of miles away would have surprised Schumann. Technological innovations have often given birth to musical innovations, and it is with a nod to history that Mothership will lift off.

Felix Mendelssohn (1809–1847) Violin Concerto in E minor, Op.64 Finale (Allegro non troppo – Allegro molto vivace) If any composer understood magic it was Felix Mendelssohn. A child of the Romantic age, he composed at the age of 17 a masterpiece: the overture to A Midsummer Night’s Dream. With this evocation of fairies and forests and magical creatures, Mendelssohn set the bar very high for himself.

Even so, music like his Violin Concerto in E minor, composed nearly 20 years later, proved that he never lost his ability to enchant his listeners.

This concerto – violinists and audiences agree – is the jewel of violin concertos. Its melodies sing warmly, its virtuosity is graceful. The music comes across as flowing and spontaneous and yet it took Mendelssohn a good six years to write. The beginning in particular, he told the violinist Ferdinand David, ran through his head, giving him ‘no peace’.

That beginning is the first of some striking innovations in the concerto of form of the 19th century: Mendelssohn brings in the violin with the first main theme after a mere hint of an introduction. He also moved the solo cadenza to an unexpected spot, and finally (because he hated applause between movements) he joined the first and second movements with a sustained bassoon note and then led straight into the third movement via an introduction for soloist and strings alone.

This is where this performance of the Finale begins: with the tiny Allegro non troppo which bridges the slow movement with the finale proper (Allegro molto vivace). This movement suggests the character of Mendelssohn’s youthful Midsummer Night’s Dream Overture and its ‘fairy scherzo’ music – playful and dazzling.

Nigel Westlake (born 1958) Omphalo Centric Lecture Nigel Westlake’s title comes from a painting by Paul Klee, and he writes of the ‘direct and centred simplicity’ of the image, which inspired him while he was composing. His other influence was the playing style of the African balofon (a kind of xylophone) – insistent repeated patterns, cross-rhythms and intricate variations on simple melodic fragments. ‘Like African music,’ writes Westlake, Omphalo Centric Lecture ‘seeks to celebrate life through rhythm energy and movement.’ The result is irresistible.

Omphalo Centric Lecture was composed for Synergy in 1984 and was chosen to represent Australia at the 1986 Paris Rostrum of Composers. It has since acquired something of a classic status among percussionists.

Nigel Westlake studied clarinet with his father Donald (former Principal Clarinet of the Sydney Symphony) before leaving school to become a freelance musician at the age of 16. His performance activities have included study of contemporary bass clarinet performance in Holland and seven years as a core member of the Australia Ensemble. He is largely self-taught as a composer, and his presence extends well beyond the concert hall, with works for theatre, circus, television and film, including the award-winning scores for the Babe movies.

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Colin Jacobsen (born 1978) and Siamak Aghaei (born 1974) Ascending Bird – Suite for string orchestra Colin Jacobsen writes…

In 2004, I had the opportunity to visit Iran, the home of my fellow Silk Road Ensemble members Siamak Aghaei and Kayhan Kalhor. This cultural exchange was to prove a life-changing experience.

Besides learning more about traditional Persian architecture, calligraphy, arts and crafts, and their close link to Persian music, I spent many hours in the homes of both Kayhan and Siamak, listening to them play and talk about the philosophy behind their music.

Siamak is a modern-day Bartók: travelling around Iran making field recordings of folk musicians from the many traditions represented by the different regions. During my visit he dusted off one such recording and the sound that emerged from the speakers gave me a form of vertigo. My ears were held to attention by the sound of a potent and piercing instrument, which Siamak told me was made from the fused bones of a bird and measured little more than two inches in length.

The music encoded a popular mythical story of a bird attempting to fly to the sun. It fails on the first two attempts, and on the third try the bird loses its physical body in the radiant embrace of the sun, a metaphor for spiritual transcendence. What emerged from this experience was Ascending Bird, comprising the traditional tune with original introductory material.

The original version of Ascending Bird was for string quartet. I’ve made subsequent arrangements for the Silk Road Ensemble and full orchestra with winds. The YouTube Symphony Orchestra gives the premiere of the suite for string orchestra this week.

Igor Stravinsky (1882–1971) The Firebird Infernal Dance – Berceuse – Finale With The Firebird the young Igor Stravinsky unmasked his talents as a composer for the ballet stage.

Well did Sergei Diaghilev point him out to the ballerina Tamara Karsavina, saying: ‘Watch him closely.

He is a man on the eve of celebrity.’

The Firebird was conceived for the 1910 season of Diaghilev’s Ballets Russes in Paris. Diaghilev’s goal was twofold: to create a true Russian ballet, and to achieve a harmonious blending of the arts: music, design and dance around a story drawn from Russian fairytales. Stravinsky’s collaborators included the choreographer Michel Fokine and designers Léon Bakst and Alexander Golovine.

Karsavina danced the title role.

Towards the end of the ballet, the evil Kashchei captures Prince Ivan, who escapes being turned to stone by waving the feather the Firebird has given him. She appears, casting Kashchei’s retinue into a trance before hurling them headlong into the menacing Infernal Dance with its thrusting rhythms and irregular phrases separated by explosive chords.

The Firebird moves among the exhausted dancers and with the ravishing Berceuse, or lullaby, charms them into a profound sleep. While the others sleep, the Firebird leads Ivan to a casket containing the egg that holds Kashchei’s immortal soul. He dashes the egg to the ground, the ogre expires, and the enchantments are undone.

The Finale celebrates the dissolution of Kashchei’s kingdom and the union of Ivan and his Princess.

Its horn theme is drawn from a traditional khorovod, or round dance, and the music is developed into a majestic hymn of thanksgiving with a rich display of orchestral colours.

Program notes prepared by Yvonne Frindle ©2011

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About the Artists

Michael Tilson Thomas conductor Michael Tilson Thomas is Music Director of the San Francisco Symphony, Artistic Director of the New World Symphony and Principal Guest Conductor of the London Symphony Orchestra. In 2009 he was also the Artistic Director of the YouTube Symphony Orchestra, the first orchestra to be auditioned entirely online.

During his career he has been committed to expanding classical music to a wider audience. His television work has included the New York Philharmonic Young People’s Concerts (1871–1977) and in 2004 he and the San Francisco Symphony embarked on a multi-tiered media project, Keeping Score, which includes television, radio programs, web sites and programs in schools.

In 1987 he founded the New World Symphony, America’s Orchestral Academy, based in Miami.

More than 800 of its graduates are now in orchestras and ensembles worldwide, and in January a new concert-hall campus, designed by Frank Gehry, opened in Miami Beach.

His extensive discography includes works by composers such as Bach, Beethoven, Mahler, Prokofiev, Stravinsky, Ives, Ruggles, Reich, Cage, Dahl, Feldman, Gershwin, John McLaughlin and Elvis Costello. He recently completed recording the orchestral works of Gustav Mahler with the San Francisco Symphony.

Michael Tilson Thomas studied piano with John Crown and conducting and composition with Ingolf Dahl. He worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts, and was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz. He has held positions at the Boston Symphony Orchestra, Buffalo Philharmonic and Los Angeles Philharmonic, and has been Principal Conductor of the LSO. His honours include a Chevalier dans l’ordre des Arts et des Lettres of France and Musical America Musician of the Year and Conductor of the Year, and he has won ten Grammy Awards. In 2008 he received the Peabody Award for his radio series for SFS Media, The MTT Files. Last year President Obama awarded him the National Medal of Arts.

YouTube.com/MichaelTilsonThomas

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Mason Bates composer The music of Mason Bates fuses innovative orchestral writing, the rhythms of electronica and techno, and imaginative narrative forms brought to life by cutting edge sound design. An advocate for bringing new music to new spaces, he has become known as an artist who moves fluidly between different environments: performing on electronic drumpad and laptop, for example, with the Los Angeles Philharmonic at Disney Hall, or integrating members of the San Francisco Symphony into an evening of DJ-ing at the famed club Mezzanine. He is currently composer-in-residence with the Chicago Symphony Orchestra.

Highlights of the coming season include The B-Sides, a dance suite that drops into five surreal landscapes (CSO and Riccardo Muti), and Liquid Interface, a ‘water symphony’ that moves from glaciers to evaporation (Toronto Symphony Orchestra and John Adams). Although Bates often performs the electronica onstage with orchestras, dozens of repeat performances of his symphonic music take place without him, demonstrating how electronics can act as a new section in the orchestra.

His diverse catalogue is complemented by many purely acoustic works such as Desert Transport for the Arizona Music Festival, Observe in the Magellanic Cloud, touring this season with superstar chorus Chanticleer, the piano work White Lies for Lomax and Ode, an orchestral prelude to Beethoven’s Ninth Symphony.

Mason Bates was raised in Virginia where he studied piano and composition before enrolling in the Columbia-Juilliard program in New York City. Earning degrees in music composition and English literature, he studied primarily with John Corigliano, as well as David Del Tredici and Samuel Adler. He also worked with Edmund Campion at the University of California Berkeley, where the Center For New Music and Audio Technologies became an important influence on his approach to electro-acoustic composition. His awards include the Rome and Berlin Prizes, a Charles Ives scholarship and fellowship (American Academy of Arts and Letters), the Jacob Druckman Memorial Prize (Aspen Music Festival), ASCAP and BMI awards, and fellowships from Tanglewood, Creative Capital and the Guggenheim Foundation.

YouTube.com/MasonBates

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Orchestra Mentors and Guest Soloists William Barton didgeridoo (Australia) William Barton is one of Australia’s leading didgeridoo players and composers. Born in Mount Isa, he was taught the didgeridoo by his uncle – an elder from the Waanyi, Lardil and Kalkadunga tribes of western Queensland. At 11 he became the leading didgeridoo player at traditional ceremonies. He played his first classical concert when he was 17, appearing with the Queensland Symphony Orchestra.

Since then he has appeared with the Australian Chamber Orchestra and the Adelaide, Sydney, Tasmanian and West Australian symphony orchestras, as well as the New Zealand Symphony Orchestra.

In 2003 he was artist-in-residence with the QSO, the first such appointment of an indigenous musician with an Australian orchestra.

He has collaborated with Australian composers such as Peter Sculthorpe, Ross Edwards, Sean O’Boyle and Liza Lim, and Sculthorpe composed his Requiem with him in mind. William’s own compositions include Songs of the Mother Country and Journey of the Rivers, performed at the Pompidou Centre in Paris in 2006.

Kalkadungu, a collaboration with Matthew Hindson, was premiered by the Sydney Symphony in 2008.

In addition to appearances at major Australian festivals, he has performed in Europe, the United States and Japan, demonstrating the virtuosic potential of his instrument and richness of his Australian culture to audiences throughout the world.

YouTube.com/SoundsOfAustralia

Roger Benedict is busy as a soloist, chamber musician, orchestral player and conductor. In 2002, after nine years as principal viola of the Philharmonia Orchestra in London, he moved to Australia to take up the positions of principal viola of the Sydney Symphony and artistic director of the orchestra’s Fellowship Program. He is also a senior lecturer at the Sydney Conservatorium, gives masterclasses worldwide and is a tutor to the European Union Youth Orchestra and the National Youth Orchestra (UK).

As a viola soloist he has appeared with the Philharmonia Orchestra, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic Orchestra and the Ulster Orchestra, as well as orchestras in Australia and Japan, including the Sydney Symphony. As a recitalist and chamber musician he has performed at the Wigmore Hall and Purcell Room in London, and his chamber music partners have included Lorin Maazel, Sir Simon Rattle, Louis Lortie and Leif Ove Andsnes. As a conductor he has worked with orchestras in Australia, New Zealand and the UK. His most recent recording, Volupté, was selected as one of the ten best recordings of 2010 by theclassicalreview.com. Roger is also active as an editor and arranger and writes regularly for journals such as The Strad. He plays a fine Carlo Antonio Testore viola (Milan, 1753).

Inspired by Philippe Petit, high-wire walker: youtu.be/uEU7lrtehDs and the great conductor Carlos Kleiber: youtu.be/KJLXbR_AB6Q

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PHOTO: TERRY LANE

Roger Benedict viola (Australia)

Born in the Netherlands, Kees Boersma studied at the Victorian College of the Arts and the Sweelinck Conservatorium in Amsterdam.

He then worked with the Royal Concertgebouw Orchestra for two years. On his return to Australia, he performed as principal double bass with the State Orchestra of Victoria and the Australian Chamber Orchestra, before joining the Sydney Symphony as principal double bass in 1990. He has been a regular guest principal with the Hong Kong Philharmonic Orchestra and West Australian Symphony Orchestra.

Kees was a founding member of contemporary music group ELISION; he also performs and records with the Sydney Soloists, appears regularly with the Australia Ensemble, and has recently enjoyed performing with The Four Basses. He was involved with the inaugural Melbourne Spoleto Festival, and has performed in the Australian Festival of Chamber Music (Townsville), Huntington Festival and the Arts in the Valley Festival (Kangaroo Valley). His solo appearances with the Sydney Symphony include Colin Bright’s Double Bass Concerto (which he premiered) and Bottesini’s Concerto for two double basses and orchestra.

He has had a long association with the Australian Youth Orchestra and National Music Camp as a tutor, and teaches at the Sydney Conservatorium of Music.

Kees plays a double bass made by John Lott Snr, London, circa 1810.

Ian Bousfield trombone (UK) Ian Bousfield’s career has including playing in two of the top orchestras in the world, appearances as a soloist with orchestras and major brass bands, performances on period instruments, recording, Hollywood soundtracks and teaching. Highlights have included performing the Nina Rota Concerto (Vienna Philharmonic and Riccardo Muti) and giving the premiere of Jonathan Dove’s Stargazer, dedicated to him (LSO and Michael Tilson Thomas).

Born in York in 1964, Ian is a product of the brass band tradition in the north of England. At 15 he won the Shell London Symphony Orchestra scholarship, and at 16 he joined the European Youth Orchestra. He studied at the Guildhall School of Music and Drama in London before becoming Principal Trombone in the Hallé Orchestra in 1983. Five years later he joined the London Symphony Orchestra as principal trombone. In 2000 he was appointed principal trombone of the Vienna Philharmonic/Vienna State Opera – the first British member in the orchestra’s history. Soon after he also joined the Vienna Hofkapelle Orchestra. His solo appearances have included the VPO, LSO, London Philharmonic Orchestra, BBC Philharmonic Orchestra, Hallé Orchestra, Sapporo Symphony Orchestra and Austin Symphony.

Ian was appointed professor of trombone at the Royal Academy of Music in London in 1992, and is also an honorary member of the RAM. Right now, laughing at British Animal Voice Overs: youtu.be/cV6I1_o6vrY

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PHOTO: keith saunders

Kees Boersma double bass (Australia)

Cameron Carpenter organ (USA) Cameron Carpenter challenges the ways in which the organist is promoted and the organ is played, earning a reputation as a controversial and game-changing artist.

His repertoire includes the complete organ works of Bach, Franck and Liszt. He has also made adaptations for organ of more than 200 works, ranging from the piano music of Liszt and Rachmaninoff, Debussy’s Prelude to the Afternoon of a Faun and Mahler’s Fifth Symphony, to music from animé and film (Howl’s Moving Castle, Spirited Away and scores by John Williams and Bernard Herrmann) and re-imaginings of songs by Kate Bush, Leonard Cohen, Bob Dylan and Annie Lennox.

As a former dancer, he brings increased physicality to the organ and his super-virtuosic organ transcriptions of Chopin’s Études have led to comparisons with Vladimir Horowitz and Fred Astaire. Cameron’s embrace of fashion on the concert stage includes concert wear of his own design. His original compositions are published by Edition Peters.

Cameron was a child prodigy who performed Bach’s complete Well-Tempered Clavier at age 11 before touring as a boy soprano with the American Boychoir for two years. He is a graduate of The Juilliard School in 2006 and lives in Berlin with his cat Kittyball.

YouTube.com/CameronCarpenterNow Inspired by The Rescuers Down Under: youtu.be/lItsFbelsDU

Soprano Renée Fleming captivates audiences with her sumptuous voice, consummate artistry, and compelling stage presence. Known as ‘the people’s diva’, she graces the world’s greatest opera stages and concert halls, now extending her reach to include other musical forms and media. She has appeared as a musical statesman on numerous distinguished occasions, from the 2006 Nobel Peace Prize ceremony to the 2008 Olympic Games. She has performed for President Obama and HRH The Prince of Wales, and appeared in the 20th anniversary of the Czech Republic’s ‘Velvet Revolution’ at the invitation of Václav Havel.

In 2008 she became the first woman in the history of the Metropolitan Opera to headline an opening night gala. She is currently appearing at the Met in Rossini’s Armida and Strauss’s Capriccio, and her 2010–11 concert season began with the BBC Symphony Orchestra’s Last Night of the Proms.

A 12-time Grammy-nominated artist, she has recorded everything from Strauss’s Daphne to jazz and the soundtrack to The Return of the King. Her accolades include the 2009 Echo Award for Four Last Songs, the Prix Maria Callas Orphée d’Or for Capriccio (DVD), and the 2010 Grammy for Best Classical Vocal Performance for Verismo. Last year she released Dark Hope, featuring songs by artists such as Leonard Cohen, Peter Gabriel, Arcade Fire and Death Cab for Cutie.

YouTube.com/ReneeFlemingTV

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PHOTO: Decca / Andrew Eccle

Renée Fleming soprano (USA)

Håkan Hardenberger trumpet (Sweden) Håkan Hardenberger is the greatest trumpet soloist today.

In addition to his phenomenal performances of classical repertoire, he is a champion for important and virtuosic new works. The works written for and championed by Hardenberger include music by Harrison Birtwistle, Hans Werner Henze, Rolf Martinsson, Olga Neuwirth, Arvo Pärt and Mark-Anthony Turnage, as well as HK Gruber’s concerto Aerial. This season he will perform HK Gruber’s Busking in Sweden, Germany, Istanbul and France.

He performs with the world’s leading orchestras, including the New York Philharmonic, Chicago Symphony Orchestra, Vienna Philharmonic, Swedish Radio Symphony Orchestra, London Symphony Orchestra, Bavarian Radio Symphony Orchestra and NHK Symphony Orchestra (Tokyo), and collaborates with conductors such as Pierre Boulez, Alan Gilbert, Daniel Harding, Paavo Järvi, Esa-Pekka Salonen and David Zinman.

Håkan was born in Malmö, Sweden. He began studying the trumpet at the age of eight with Bo Nilsson and continued his studies at the Paris Conservatoire with Pierre Thibaud, and in Los Angeles with Thomas Stevens. He is a professor at the Malmö Conservatoire and the Royal Northern College of Music, Manchester, and gives masterclasses at the Paris Conservatoire.

Eugene Izotov oboe (USA) Born in Russia, Eugene Izotov studied at the Gnesin School with Ivan Pushechnikov and Sergey Velikanov and at Boston University with Ralph Gomberg. He was appointed principal oboe of the Chicago Symphony Orchestra in 2005, having previously held posts with the Metropolitan Opera Orchestra, San Francisco Symphony and Kansas City Symphony Orchestra, and performed as guest principal with the Boston Symphony Orchestra, Los Angeles Philharmonic and New World Symphony Orchestra.

He is a frequent soloist with the CSO and has appeared with the Boston Symphony Orchestra, KCSO, United States Army Orchestra and SFS. An avid chamber musician, he has collaborated regularly with the Met Chamber Ensemble (Carnegie Hall residency), as well as with Yefim Bronfman, Pinchas Zukerman, Emanuel Ax, Jaime Laredo, Yo-Yo Ma, James Levine, André Watts and Michael Tilson Thomas.

Eugene Izotov teaches at DePaul and Roosevelt universities and has previously taught at the Juilliard School and San Francisco Conservatory of Music as well as giving masterclasses for leading institutions such as the New World Symphony, Manhattan School of Music and Tanglewood Institute. In 2003 he joined the faculty of the Verbier Festival Orchestra in Switzerland, and since 2005 he has served on the International Principals faculty of the Pacific Music Festival in Sapporo.

Mr Bean’s conducting makes him laugh: youtu.be/TzdUiwB-Fj0

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Stefan Jackiw violin (USA) Born in Boston in 1985 to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four.

A graduate of Harvard University and New England Conservatory, he received the prestigious Avery Fisher Career Grant in 2002. He makes his home in New York City.

In 2000, aged 14, he made his European debut in London to great critical acclaim, playing the Mendelssohn Violin Concerto with the Philharmonia Orchestra in a performance that was reported on the front page of The Times. Since then he has performed with the Orchestre Philharmonique de Strasbourg, Bournemouth Symphony Orchestra, l’Orchestra del Maggio Musicale Fiorentino, Royal Liverpool Philharmonic Orchestra, Ulster Orchestra of Ireland and the German Symphony Orchestra Berlin. Last month he toured with the London Philharmonic, appearing in London and Madrid under Yannick Nézet-Séguin, and in Seoul under Vassily Sinaisky.

In the United States he has appeared with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others.

An active recitalist and chamber musician, Stefan Jackiw recorded Brahms violin sonatas for his debut release, and in 2010 he toured Korea and Japan in sold-out concerts as a member of Ensemble Ditto.

Inspired by this astonishing shot by Roger Federer: youtu.be/37qyvTRVus8

Colin Jacobsen violin (USA) Colin Jacobsen first played to critical acclaim at the age of 14, appearing with Kurt Masur and the New York Philharmonic in Bruch’s Scottish Fantasy. He recently returned to perform with the NYP in Brahms’s Double concerto with Yo-Yo Ma, David Zinman conducting.

Colin enjoys a diverse musical life, performing as a guest soloist with orchestras worldwide and as a chamber musician with a number of groups including the Silk Road Ensemble and Brooklyn Rider string quartet, appearing for Metropolitan Museum Artists in Concert.

Together with his brother Eric, cellist and conductor, he founded The Knights, a groundbreaking orchestra which has opened the Dresden Musikfestpiele with Dawn Upshaw and recorded two albums for Sony Classical. As a composer-arranger, he has written two pieces for Brooklyn Rider’s album in collaboration with Persian kamancheh player Kayhan Kalhor, and also helped create pieces for the Silk Road Ensemble. His string quartet Brooklesca, composed for Brooklyn Rider and recorded on the album Passport, has been broadcast on American Public Media’s Performance Today and the album was selected by host Fred Child as one of the year’s top ten classical recordings. Colin is an Avery Fisher Career Grant recipient.

Colin says: Irish fiddler Martin Hayes was one of my listening escapes when I was in tunnel-vision conservatory land. youtu.be/96bKIE37gwQ

Android Jones digital artist (USA) The work of Android Jones (real name Andrew Jones) is a hybrid of academic technique, emerging technology and the mystical experience, bringing together a mixture of archetypal mythology and spirituality. Android is a co-founder of concept.org and has worked as the creative director and co-

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YouTube.com/AndroidJones11

Zoya Leybin violin (USA) Zoya Leybin was born in Riga, Latvia, where her musical life began at age five with piano lessons. Two years later she took up the violin, and by 15 she was making solo appearances and performing chamber music throughout the Soviet Union. After graduating from the Moscow Conservatory, she played in various ensembles before being appointed concertmaster of the Latvian State Chamber Orchestra. In 1973 Zoya left the Soviet Union. Her first stop upon leaving her homeland was Italy. The following year she joined Winnipeg Symphony, then the Denver Symphony, where she played for three years before joining the San Francisco Symphony. She was a member of the SFS from 1979 until her retirement in 2007.

Zoya has always been a dedicated teacher and for many years she coached members of the SFS Youth Orchestra and was on the faculty of the San Francisco Conservatory of Music. She was a founding member of the Stanford String Quartet. Zoya is a fan of musicals and jazz, but she reserves her deepest feelings for Beethoven and Brahms. ‘…Through these scores, you are the messenger of the heavenly things on earth…’

Her grandson Sebastian’s freestyle dancing makes her laugh: youtu.be/5Vj-MeK7oQo

Andrew Marriner clarinet (UK) Andrew Marriner has toured the world as a soloist and chamber musician, and as principal clarinet for the London Symphony Orchestra and the Academy of St Martin in the Fields. He has performed concertos with conductors such as Leonard Bernstein, Sir Colin Davis, Richard Hickox, Antonio Pappano, André Previn, Mstislav Rostropovich, Michael Tilson Thomas and Sir Neville Marriner.

He is a member of both the LSO and Academy Chamber Ensembles and has also performed with the Chilingirian, Lindsay, Endellion, Moscow, Warsaw, Orlando, Sine Nomine and Belcea string quartets, as well as with artists such as Alfred Brendel, André Previn, András Schiff, Lynn Harrell, Stephen Isserlis, Emmanuel Ax, the late Sándor Végh, Manoug Parikian, Vlado Perlemuter and George Malcolm.

In addition to regular broadcasts for the BBC, Andrew has recorded the core clarinet repertoire. including the Mozart clarinet quintet and

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android jones self portrait

founder of Massive Black. Android has launched a series of highly acclaimed art workshops and has travelled the world teaching. With work featured on the box cover of Corel Painter X, he is a leader in the digital fine art community, and works closely with the developers of digital technology to create software that gives artists new tools to create their dreams. He recently began performing onstage as a digital painter, touring with underground DJs and bands. Andrew continues to push the limits of what’s possible with the manipulation of light and energy, and is on the front line of innovation as he creates masterpieces live onstage. In Andrew’s live painting he searches to capture the invisible energetic elements of life that no photo or video camera is capable of reflecting.

concerto (recorded with his father, Sir Neville Marriner), concertos by Carl Maria von Weber and Gerald Finzi, as well as Bernstein’s Prelude, Fugue and Riffs. He is also in demand as a teacher and is a visiting professor at the Royal Academy of Music in London.

Enjoying Anne Sofie von Otter and Barbara Bonney in Der Rosenkavalier: youtu.be/AuS337uc-4Y Inspired by Freddie Flintoff’s greatest over ever: youtu.be/l2yv7OIXKIc

Edwin Outwater conductor (USA) Edwin Outwater is in his fourth season as music director of the Kitchener-Waterloo Symphony in Ontario, Canada. He was a conductor in the first YouTube Symphony Orchestra project in 2009 and in January conducted the Australian Youth Orchestra’s National Music Camp.

Recent highlights include La Traviata (San Francisco Opera), subscription concerts with the San Francisco Symphony (where he was Resident Conductor 2001–2006), a Falla project with the New World Symphony Orchestra and Adams’ Dr Atomic Symphony (BBC National Orchestra of Wales). This season he returns to the National Symphony Orchestra (Washington, DC) and the St Louis Symphony Orchestra, and makes his debut with the Tokyo Metropolitan Symphony Orchestra.

He has conducted many of the leading orchestras in the United States and Canada, including the New York Philharmonic and Los Angeles Philharmonic and the Toronto Symphony orchestra, as well as the New Zealand Symphony Orchestra, Adelaide Symphony Orchestra, Malmö Symphony, North West German Philharmonic, Orquestra Sinfónica de Xalapa (Mexico) and the Hong Kong Sinfonietta.

Edwin Outwater’s work in music education, orchestral training and community outreach has been widely acclaimed, and in 2004 he received the Leonard Bernstein award for excellence in educational programming.

A native of California, Edwin studied English literature at Harvard University and received his master’s degree in conducting from the University of California Santa Barbara.

Currently laughing at this crazy orchestra youtu.be/FhCKQ0_ZYHc And inspired by Leonard Bernstein’s Ravel youtu.be/TK6gGWMnTZI

Ilyich Rivas conductor (USA) Ilyich Rivas was born in Venezuela in 1993 into a musical family.

He showed a natural talent as a boy, and began studying conducting with his father, Alejandro Rivas, at the age of six. In 2009 he was selected as one of seven young conductors to participate in the Cabrillo Festival Conductors Workshop in California. He was subsequently appointed the Baltimore Symphony Orchestra/Peabody Institute Conducting Fellow, a two-year post which allows him to study conducting at the Peabody Conservatory under Gustav Meier while working closely with Marin Alsop and the BSO. In the 2009–10 season he made his professional debut in the United States, conducting the Atlanta Symphony Orchestra. More recently he made his debut with the Stuttgart Radio Symphony Orchestra, conducting music by Verdi, Villa-Lobos and Respighi. He has been twice invited to Glyndeboure Opera to participate in a mentoring program with conductors such as Vladimir Jurowski and Vasily Petrenko.

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He has also conducted the Verbier Festival Orchestra in Beethoven’s Fifth Symphony, and the Lucerne Symphony Orchestra, and his debut appearances this season will include a BSO subscription program including Shostakovich’s First Symphony.

Ilyich Rivas has frequently returned to Venezuela to conduct one of the youth orchestras in his own city, the Orquesta Simón Bolívar del Táchira.

Favourite video: Carlos Kleiber conducting Beethoven Seven: youtu.be/s1qAWcd4rr0

Wilma Smith is concertmaster of the Melbourne Symphony Orchestra and an avid chamber musician. Born in Fiji and raised in New Zealand, she studied in Boston with Dorothy DeLay and Louis Krasner at the New England Conservatory. While in Boston she was founding first violinist of the prize-winning Lydian String Quartet. She also played regularly with the Boston Symphony Orchestra and was concertmaster of the Harvard Chamber Orchestra and the Handel & Haydn Society, as well as performing with period instrument groups, Banchetto Musicale and the Mostly Mozart Festival Orchestra.

Invited to form the New Zealand String Quartet in 1987, Wilma was first violinist for five years, touring Australia for Musica Viva to considerable acclaim, before her appointment as concertmaster of the New Zealand Symphony Orchestra in 1993. Her NZSO years were notable for the production of her three daughters and her musical contribution was recognised with the title Concertmaster Emeritus. Since moving to Melbourne she has performed in the Munro/Smith/Berlin Trio and has been a frequent guest of Ensemble Liaison. She collaborated with Steven Isserlis and Melvyn Tan in a series of concerts for the New Zealand International Arts Festival and her latest venture takes her back to her string quartet roots as a member of the newly formed Hopkins Quartet.

Wilma has been laughing every night playing concerts with Tim Minchin: youtu.be/ESFANzZTdYM And she loves to watch Igudesman & Joo’s take on ‘I Will Survive’: youtu.be/Xui7x_KF7bY

photo: james penlidis

Wilma Smith violin (Australia)

Kseniya Simonova came to worldwide attention through YouTube when she won Ukraine’s Got Talent in 2009. In the semi-finals she used her gift for animating pictures in sand to tell a powerful eight-minute story of a young couple who were separated during World War II. In the final she told the story of a son growing old and forgetting his parents – she stole the show. Her winning video has attracted more than 18 million views on YouTube and turned her unique performance art into a global sensation.

Kseniya has been an artist since childhood, drawing and painting. At the suggestion of her husband Igor, she began exploring sand as an artistic medium in 2008 – having completed studies in English poetry, psychology and graphic art, and while caring a six-month-old baby. The first challenge was finding the right sand: some were too coarse, others didn’t flow smoothly; beach and river sands were rejected. Eventually they sourced special volcanic sand and Kseniya began practising in earnest, standing animating for hours on end each night. Since her television success, she now has more than 50 sand stories on her YouTube channel and continues to follow her passion.

YouTube.com/SimonovaTV Inspiring with her most famous performance: youtu.be/518XP8prwZo

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photo: flicker user mosendez

Kseniya Simonova sand artist (Ukraine)

Synergy Percussion (Australia) Synergy is a world of sound with percussion at its heart. Founded 35 years ago, it has secured an enviable international reputation as one of Australia’s finest and most versatile music projects. Synergy performs at festivals throughout Europe, Asia and the United States as well as appearing in most of Australia’s leading venues. Its core members, including Timothy Constable and Alison Pratt, are all award-winning exponents of new music in their own right.

With a style that transcends accepted wisdom about percussion music, Synergy is at home on world music stages, in contemporary/ experimental art venues, at pop and rock concerts, and in opera and recital. Its expansive vision of percussion and wide musical experience, has allowed the group to work together with a diverse and exemplary family of artists from around the world.

Synergy has commissioned more than 30 works by Australian and international composers.

Performance highlights include Synergy with Synergy (Sydney Dance Company), the premiere of Carl Vine’s Percussion Symphony (Sydney Symphony), and Percussion Spectacular at the Myer Music Bowl in Melbourne for the 2006 Commonwealth Games Arts Festival.

YouTube.com/SynergyAUST We’re inspired by Keith Jarrett: youtu.be/GLCGWh-VZhI Timothy Constable (Artistic Director) is an award-winning percussionist, composer, electronica producer and singer, who has performed throughout Australia, as well as in New Zealand, Sweden, Switzerland, Poland, Britain, Ireland, Senegal, the United States, China, Nepal and South-East Asia. He is also artistic director of Synergy splinter group moth, and tours with Australian Japanese drumming group TaikOz. Alison Pratt studied at the Western Australian Conservatorium and the Sydney Conservatorium.

In 1995 she became the first percussionist to win the ABC/Symphony Australia Young Performers Awards (as Alison Eddington). She has been a member of Synergy since 1997, and also performs with the Sydney Symphony, Australian Opera and Ballet Orchestra, and the Australian Chamber Orchestra, among others.

Joshua Hill is a graduate of the Sydney Conservatorium and has appeared with many of Australia’s orchestras and ensembles, including the Sydney Symphony and the Australian Opera and Ballet Orchestra, as well as the NSW Police Band and the Australian Air Force Air Command Band. He has also recorded soundtracks for film, animé and computer games.

Rebecca Lagos was a member of Synergy from 1987 to 1999 and has returned as a guest on regular occasions since. She has been a member of the Sydney Symphony since 1987 and was appointed principal percussion in 2006. In 2006 she gave the premiere of Nigel Westlake’s percussion concerto, When the Clock Strikes Me, with the Sydney Symphony.

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Richard Tognetti has established an international reputation for compelling performances and artistic individualism. He studied with William Primrose and Alice Waten at the Sydney Conservatorium and Igor Ozim at the Berne Conservatory. In 1989, he was appointed Leader of the Australian Chamber Orchestra and subsequently Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia.

Richard has appeared with the Handel & Haydn Society, Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and the Australian symphony orchestras.

He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

His arrangements and compositions have expanded the chamber orchestra repertoire. He co-composed The Red Tree and soundtracks for Master and Commander and Horrorscopes, and his documentary Musica Surfica won best film awards in the USA, Brazil, France and South Africa. As well as directing numerous recordings by the ACO, he has recorded Bach’s solo violin works, winning three ARIA awards, and the Dvořák and Mozart violin concertos.

Last year he was appointed Officer of the Order of Australia. He holds honorary doctorates from three universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian benefactor.

Inspired by surfing’s greatest wipeouts: youtu.be/iwZ2Hy5N4GY

Tamás Varga cello (Hungary) Tamás Varga was born in Budapest in 1969 and began studying the cello at the age of seven. At the Franz Liszt Academy of Music his teachers included Lászlò Mezö, Ferenc Rados and György Kurtág, and he was also influenced by such artists as Miklós Perényi, Menahem Pressler, and Uzi Wiesel, who accepted him as a scholarship student at the Rubin Academy in Tel Aviv.

Tamás Varga is principal cello of the Vienna Philharmonic/Vienna State Opera, and a regular soloist with the VPO. He made his BBC Proms debut in 2003 and has appeared in numerous solo and chamber music engagements throughout Europe, Canada, South Africa and Japan.

As a chamber musician he appears regularly in the Wiener Konzerthaus, Salzburg Festival, and other European venues, and he has collaborated with such artists as Hildegard Behrens, Ferenc Bognár, Philippe Entremont, Zoltán Kocsis, Karl Leister, Marjana Lipovsek, Wolfgang Schulz, Tamás Vásáry and the Bartók Quartet.

He also performs on original instruments, playing Haydn concerto and Vivaldi cello concertos with the Orfeo Orchestra Budapest, and the complete Bach cello suites (the sixth suite on a five-stringed baroque instrument). An avid teacher, he has served as a tutor for the Gustav Mahler Youth Orchestra, and taught at the International Orchestra Institute in Attergau, Austria.

Favourite video shows cellist Maurice Gendron playing Debussy: youtu.be/1QeFeG3dWdI

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photo: paul henderson

Richard Tognetti violin (Australia)

Gerardo Vila piano (Switzerland) Born in Buenos Aires in 1964, Gerardo Vila began his musical studies at a young age and gave his first public recital at the age of 12. Following a number of first prizes in piano competitions he was selected by Maria Tipo to complete his training with her at the conservatorium in Geneva. During his studies, he also participated in masterclasses with Karl Engel, Maurizio Pollini and György Sándor and Tatjana Nikolajewa, among others. He has performed as soloist with orchestras throughout Europe, including the Orchestre de la Suisse Romande and the Dresden Philharmonic Orchestra, and has appeared in the Lucerne, Gstaad, Cannes and Lisbon festivals.

In addition to his concert activity as a soloist and chamber musician, he trains young musicians, giving masterclasses in Europe and Latin America, and teaching chamber music at the Haute école de Musique de Genève. He also teaches piano and chamber music at the summer courses of the Morges Music Academy in Switzerland, and last year was invited to join the piano faculty of the Youth Orchestra of the Americas. In 2000, he was distinguished as an Invited Member to the Argentinean Music Council and UNESCO in recognition of his artistic work.

Inspired by Stravinsky conducting his Firebird: youtu.be/5tGA6bpscj8

Sarah Willis horn (UK) Sarah Willis was born in Maryland, USA, and lived with her family in Tokyo, Boston and Moscow before moving to England, where she began studying the horn aged 14. (Her school teacher had suggested she take up the flute or oboe because ‘the horn is for boys’.) She studied horn and piano for three years at the Guildhall School of Music and Drama in London and then with Fergus McWilliam in Berlin.

From 1991 to 2001 Sarah was the second horn in the Orchestra of the Berlin State Opera and she has played with many other leading orchestras, including the Chicago Symphony Orchestra, London Symphony Orchestra and Royal Philharmonic Orchestra. In 2001 she joined the Berliner Philharmoniker, the first female brass played to become a member of the orchestra.

Sarah is involved in various music education projects for children, interviews the Berliner Philharmoniker’s conductors and soloists for the Digital Concert Hall, chases after her two lively parrots and loves to dance salsa.

Inspired by her orchestra: YouTube.com/BerlinPhil But her favourite video features Snowball, the dancing cockatoo: youtu.be/N7IZmRnAo6s

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Sydney Children’s Choir (Australia)

Over its 22-year history, the Sydney Children’s Choir has built a worldwide reputation for choral excellence, under founding artistic director Lyn Williams oam. The choir has commissioned more than 100 works from Australian composers and performs a significant number of Australian works each year. In this way, the choir introduces audiences worldwide to a distinctive Australian choral sound and builds appreciation of children’s choirs as a compelling medium for making music.

Last year the Sydney Children’s Choir celebrated its 21st birthday with an acclaimed concert at the Sydney Opera House and a tour to China. Other international tours have included Finland, Estonia, Denmark, Japan, Indonesia, Singapore, France and Britain.

The Sydney Children’s Choir performs regularly with the Sydney Symphony, most recently in Mahler’s Third and Eighth symphonies under Vladimir Ashkenazy. In 2008 the choir began a collaboration with communities across the Torres Strait Islands and in 2009 they performed with the Gondwana National Indigenous Children’s Choir in Sydney and at The Dreaming Festival in Queensland. The choir regularly records for radio and film and can be heard on the soundtracks of Moulin Rouge, Happy Feet and Australia, as well as the recently released disc Voices of Angels.

SCC is inspired by three-year-old Jonathan conducting the finale of Beethoven’s Fifth: youtu.be/0REJ-lCGiKU Choristers A.J. America Rhiona-Jade Armont Niamh Armstrong Madeleine Benson Zoe Brown Alex Bruce Alison Campbell Courtney Chong Leona Cohen Liam Crisanti Marta Davis Stella Davy Sophie Ellison Craddock Carolyn Fernandez Mimi Greenbaum Rebecca Hart Edwina Howes Miranda Ilchef Felix James Rebecca Johnson Oscar Kirk Vincent Kerin Harry Kerr

Helena Kertesz Eleanor Kozak Adele Kozak Tabitha Lee Marley Liyanagama Owen MacNamara Thomas Mahony-Brack Lachlan Massey Eve McEwen Campbell McKenzie Anita Moser Rebecca O’Hanlon Indiana Pooley Sofie Rejto Lara Rogerson-Wood Mackenzie Shaw Amelia Smiles Morgan Smith Charlotte Snedden Tristan Spiteri Cardinia Steanes Christina Syrkiewicz Harrison Taranec

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Zoe Taylor Zoe Tombs Nicholas Tracy-Sumners Yulina Walker Edie Warne Jacqueline Wesiak Staff Lyn Williams oam Artistic Director & Founder Dan Walker Choral Preparation Sally Whitwell Pianist Alexandra Cameron-Fraser General Manager John Nolan Artistic Administrator Jessica Chambers Operations Coordinator Michael Stapleton Administrator

YouTube Symphony Orchestra 2011 First Violins Colleen McCullough (USA) Concertmaster Özgür Baskin (Turkey) Jason Bell (USA) Monica Davis (USA) Vasken Varujan Fermanian (Brazil) Cristiano Giuseppetti (Italy) Alex Jimbo-Viteri (Ecuador) Ma Pou Mang (Hong Kong) Federico Nathan (Spain) Yulia Orlova (Russia) Sanghwa Pyo (South Korea) Ivan Sichka (Russia) Junqi Tang (USA) Anne-Rose van Gils (Netherlands) Ronald Villabona (Venezuela) Yang Hui-Ju (Taiwan) Omiros Yavroumis (Greece) Second Violins Mai Ke (Ukraine) Hye Jin Chang (USA) Tristan Chenevez (France) Allene Chomyn (Canada) Hui Wing Chun (Hong Kong) Ilya Gotchev (Belgium) Stepan Grytsay (Argentina) Rachelle Hunt (Germany) Leyan Lo (USA) Marzena Malinowska (Poland) Hansaem (Esther) Rue (South Korea) Travis Yeh (USA) Yijia Zhang (USA) Rollin Zhao (Australia) Violas Dillard (DJ) Cheek (USA) Jasmine Beams (USA) Yuri Bullon Bobadilla (Mexico) Mauricio Cespedes (USA) Caroline Gilbert (USA) Valeriya Aleksandrovna Kazak (Russia) Jebat Arjuna Kee (Malaysia) Danny Lai (USA) Marta Lutrzykowska (Poland) Nicolaj Møller Nielsen (Denmark) Omar Shelly (USA) Sarah Tradewell (Canada)

Cellos Ross Gasworth (USA) David Barrera (Spain/Austria) Madeline Huberth (USA) Stephanie Lai (USA) Leo Morello (Italy) Desmond Neysmith (UK) Mathisha Panagoda (Australia) Sara Sitzer (USA) Anna Wittstruck (USA) Julia Yang (USA) Double Basses David Milburn (USA) Richard Carnegie (Canada) Andrew Chilcote (USA) Matt Gray (USA) Rodrigo Becerra (Ecuador) Nick Recuber (USA) Gregory Robbins (USA) Yang Xun (Singapore) Flutes Marco Granados (USA) Paul Hung (Canada) Jennifer Zhou (USA) Piccolo Daniel Sharp (USA)

Horns Assen Anguelov (Brazil) Matthew Berliner (USA) David Cooper (USA) Valentin Eschmann (Switzerland) Gábor Nyerges (Hungary) Benjamin Reidhead (USA) Trumpets Mary Bowden (USA) Jeremy Garnett (USA) Travis Peterson (USA) Pedro Silva (Portugal) Trombones Jorge Navarro Martin (Spain) Roman Riedel (Germany) Bass Trombone Roberto Basile (Italy) Tuba John DiCesare (USA) Timpani Brent Miller (Australia)

Oboes Emmanuel Danan (Germany) Xiomara Mass (USA)

Percussion Joel Biedrzycki (USA) Feargus Brennan (UK) Michelle Hwu (Canada) George Nickson (USA)

Cor Anglais Simon Lee (Singapore)

Keyboard Leonid Egorov (Russia)

Clarinets Irene Yichun Chen (Taiwan) Michael Rezzo (USA)

Harp Maria Chiossi (Italy)

E flat Clarinet Angela Longo (Italy) Bass Clarinet Christine Carter (USA) Bassoons Samuel Blair (USA) Laurentiu Darie (Romania) Oscar Garcia (Colombia) Tono Ruano Nacher (Spain)

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Bold = Principal

Improvising Musicians (Mothership) Violin Ali Bello (USA) Bass John Burgess (Australia) Electric guitar Paulo Calligopoulos (Brazil) Guzheng (zither) Su Chang (China)

NED Credits and Acknowledgements Behind the Scenes Executive Producer

Alex Coletti

Directed by

Peter Butler

technology

Immersive digital experience provided by Obscura Digital Artistic Direction

Jessica Lustig, 21C Media Group

Audio Director

Tony David Cray Production Coordinator

Emily Bradley

Australian Facilities Partners

Global Television, Chief Entertainment

Editorial Direction

Damian Fowler PR

Glenn Petry, 21C Media Australia Project Direction Group; Joanna Lee, Museworks Limited Hong Louise O’Donnell, Kong; Emma Heath Public Seed Production Relations & Management; Artistic Operations Georgi Ciot, Creative Patrick Posey director, Communications Paul Beck, Phil Bravo, Travel Management Victoria Grant, Lilla Ito, Classical Movements Gerard Patacca Artistic Administration

Special thanks to*

The Basement Night Club, Berklee College of Music, Australian Broadcast BridgeClimb Sydney, Partner Jason Chuck, Peter Czornyj, Whatever Entertainment Group Alexandra Day, Margo Drakos, Supervising Producer Yvonne Frindle, Google Ean Thorley Creative Labs EMEA and New York, Lawrence Halverson, Line Producer Chaz Jenkins, Tim Lee, Nik Goldsworthy The Octavian Society Limited, Production Design Nina Perlove, Joshua Robison, Julio Himede Rodgers Instruments Technical Director Corporation, Marc Stevens, James Klein Dean Kim Walker and Staff of Lighting Director the Sydney Conservatorium of Richard Nevillle Music,Tourism NSW,

Bill Williams, Alex Orfaly

ENG

Xphyr Event Management, and the YouTube Symphony Orchestra 2009 Sydney Opera House

Richard Evans, Victoria Doidge, Samantha Bagchi, Yarmila Alfonzetti, Lyndsey Long, Tony David Cray, Heather Clarke, Tristan Taylor, JK Power YouTube Project Team*

Lucinda Barlow, Elissa Brown, Chris DiCesare, Dom Elliott, John Flippen, Erin Hawthornthwaite, Laura Hood, Lee Hunter, Leticia Lentini, Felicity McVay, Maximillian Madile, David Marx, Ed Sanders, Scott Savage, Ernesto Soriano III, Abbi Tatton, Ross Warren channel design & build

Psycle, Potato, Tellart, Toaster Video production

Across the Pond, Studio G, Steven Higgins Special thanks to the following Googlers*

Christine Allen, Josh Auffret, Bianca Bailey, Colin Barnard, Anna Bateson, Annie Baxter, Andy Berndt, Naomi Bilodeau, Emily Brotman, Ryan Carey, Maureen Carroll, Marvin Chow,

Hayley Chung, Julie Cohen, Irina Crone, Jamie Dolling, Henning Dorstewitz, Rosalie Eschobar, Michelle Flannery, Ramon de la Fuente, Zoe Goldfarb, Claire Hart, Preston Hershorn, Kenzo Fong Hing, Jensen Hong, Courtney Horne, Chad Hurley, Keumhee Jeong, Mohit Kalra, Salar Kamangar, Lois Kim, Seungyeon Kim, Ted Kim, Mimi Lee, Won-Jin Lee, Joyce Lin, Tinwin Liu, Giovanni Malacarne, Hana Marsalkova, Kate Mason, Amanda Matuk, Rich Mills, Elizabeth Moody, Sunghee Moon, Sharon Ng, Ana Pedros, Mia Quagliarello, Mike Quigley, Anne-Sophie Rachel, Brad Ramsey, Shailesh Rao, Cliff Redeker, Emily Rohan, Norman Rohr, Vinzena Romeo, Isabel Salazar, CS Shin, Dick Soule, Lorraine Twohill, Tom Uglow, Anna Vainer, Dana Vetter, Robert Waddilove * in alphabetical order

And special thanks to everyone who auditioned for, voted on and won the YouTube Symphony Orchestra 2011 online auditions.

Grand Finale Guest Performers

Percussion Andrew Chan, Chiron Meller, Stefania Kurniawan (courtesy Sydney Conservatorium of Music)

This is a Playbill / SHOWBILL publication.

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32 | YouTube Symphony Orchestra 2011

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