MEET THE MUSIC

Wed 6 Mar 6.30pmThu 7 Mar 6.30pm

JAZZ TRUMPETMeets the Orchestra

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INTRODUCTION

High ArtGraeme Koehne likes to quote a line from Noël Coward’s play Private Lives: ‘Extraordinary how potent cheap music is.’ He also confesses – and only partly in jest – to being a sucker for ‘cheap music’ – cartoons, pop, lounge music and musical ‘kitsch’. ‘Unlike most of my colleagues in the world of classical music,’ he writes, ‘I don’t discount this music, but feel compelled to bring the infectious spirit of the musical vernacular into the realm of the ‘classical’…each gaining from the potency of the other.’

That’s the background to High Art, Koehne’s trumpet concerto, and – in a way – it’s the background to this program. Brahms’s Academic Festival Overture was composed for a university graduation – it manages to be rousing and solemn. The climax comes when the full orchestra plays ‘Gaudeamus igitur’ – a mediæval student song still heard at graduations today.

Rachmaninoff ’s reputation as a composer has long straddled the boundary between popular and serious. His late-Romantic style – admired for its rich colours and heartfelt melodies – spoke directly to 20th-century audiences, but he has also been criticised for these exact same qualities. His Symphonic Dances was composed in 1940 – a late work and relatively modern in style, yet still full of Rachmaninoff ’s trademark melody and nostalgia.

At the heart of the program is High Art. In the work of James Morrison, the vigour of popular music unites with the supreme discipline of classical technique. The result, says Koehne, is ‘the kind of energetic, brilliant sound and feeling that all music should naturally aspire to’.

And that’s high art.

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2013 season meet the musicWednesday 6 March | 6.30pmThursday 7 March | 6.30pmSydney Opera House Concert Hall

Jazz Trumpet Meets the Orchestra Kristjan Järvi CONDUCTOR James Morrison TRUMPET

Johannes Brahms (1833–1897)Academic Festival Overture, Op.80

Graeme Koehne (born 1956)High Art – Trumpet Concerto

INTERVAL

Sergei Rachmaninoff (1873–1943)Symphonic Dances, Op.45

Non AllegroAndante con moto (Tempo di valse)Lento assai – Allegro vivace

This concert will be introduced by Andrew Ford, award-winning composer, writer and broadcaster, and presenter of The Music Show on ABC Radio National.

Thursday’s performance will be broadcast that night by ABC Classic FM at the delayed time of 8pm.

Thursday’s performance will also be webcast via BigPond at 6.30pm, and will be available for later viewing on demand. Visit: bigpondmusic.com/sydneysymphony

Pre-concert talk by Scott Davie at 5.45pm in the Northern Foyer. Visit bit.ly/SSOspeakerbios for speaker biographies.

Estimated durations: 10 minutes, 16 minutes, 20-minute interval, 35 minutes The concert will conclude at approximately 8.20pm.

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ABOUT THE MUSIC

JOHANNES BRAHMSGerman composer(1833–1897)

Academic Festival Overture, Op.80The fun starts right at the beginning, with a pompously solemn opening in C minor (academia, we’re allowed to assume) rapidly giving way to the high spirits which make this a festive overture. With rushing scales in the strings, brass chorales, and cymbals, triangle and drum pounding away, Brahms parodies the Wagner of the Meistersinger overture, and towards the end it seems Schumann’s Spring Symphony comes in for the same treatment. The thematic material is based on four of Brahms’s favourite student songs, including the famous Gaudeamus igitur, still played at graduation ceremonies today.

Brahms never formally enrolled at university, but during 1853 he’d led a student-style existence in the city of Göttingen, and apparently had a very good time. The 20-year-old composer especially enjoyed gathering with the local students for a beer and schnapps, and to sing drinking songs.

In 1879, Brahms was awarded an Honorary Doctorate at the University of Breslau – by this point he was a famous composer. The following year he responded with a concert overture in honour of the occasion. But rather than writing an ‘academic’ work based on dry contrapuntal principles or old-fashioned formulae, Brahms set out to complete a jovial piece based on the convivial aspects of student life which he had known fi rst-hand.

Brahms took four of his favourite student drinking songs and worked them into a free sonata structure using the largest orchestra he had ever employed. (There’s an especially dominant percussion section.) He described it as ‘a very boisterous potpourri of student songs à la Suppé’ – a reference to the overture to Suppé’s operetta Flotte Bursche of 1863, which is constructed in the same way.

The four songs are Wir hatten gebauet ein stattliches Haus (We had built a stately house), which is introduced in chorale-like fashion by the brass; Der Landesvater (The father of our country), heard fi rst on the second violins; the undergraduate initiation song Was kommt dort von der Hoh, introduced by bassoons over plucked fi gures in the violas and

Navigating the overture

Honorary student,honorary degree

Drinking songs

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The fi rst performance

About the composer

cellos; and fi nally, a full orchestral version of Gaudeamus igitur, a mediæval student song, which Suppé had also happen to use in Flotte Bursche.

The Academic Festival Overture was fi rst performed in Breslau’s Konzerthaus in January 1881, with the composer conducting an all-Brahms program that also included the Second Symphony and his Tragic Overture. According to one report, the Breslau students were so impressed by the Academic Festival Overture, they began singing their own obscene versions of the words.

Brahms is often thought of as a reactionary composer: he valued classical forms, admired composers of the past, and his choral music is fi rmly rooted in the traditions of the baroque period. Yet his musical language and the way he uses the orchestra clearly represents mid-19th-century romanticism in all its richness and emotive power.

In 1858, at the age of 25, Brahms admitted that his fi rst full-scale orchestral work, the First Piano Concerto, was ‘a brilliant and decisive failure!’ The audience hissed him, and reviewers panned it as a ‘monstrosity’, ‘grotesque’. Wisely keeping his head down, and immersing himself mostly in piano and chamber music and songs, Brahms eff ectively avoided symphony orchestras for two decades.

Brahms took 15 years to compose his fi rst symphony; the looming shadow of Beethoven’s reputation didn’t help. But with this work, the 40-something composer staged a spectacular second bid for orchestral acclaim: the fi rst symphony (1876) was promptly followed by a second (1877), his Violin Concerto (1879) and the Academic Festival Overture.

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A sucker for cheap music

Navigating the concerto

GRAEME KOEHNEAustralian composer(born 1956)

MEL

IND

A P

AR

ENT

High Art – Trumpet ConcertoHigh Art is a one-movement concerto that takes the form of an extended prelude followed by a series of variations on three themes: the fi rst theme is a nervous, rhythmic phrase based on a rapid repeated-note motif; the second theme is a more expressive, song-like tune; and there is a subsidiary third theme, cheerful and carefree.

After a brief fl ourish, the contrabassoon commences the prelude – a slow and gradual build up of a montuno (a repeated, syncopated accompaniment pattern characteristic of Latin American music) that underpins much of the work. The solo trumpet enters tentatively during this prelude but increases in presence and virtuosity with the arrival of the two main themes that launch the music into the sequence of variations – often Latin-fl avoured – that constitutes the body of the piece.

‘Extraordinary how potent cheap music is.’ Amanda in Private Lives, a play by Noël Coward (1930)These words, says Graeme Koehne, ‘elegantly sum up an argument that has been and continues to be a central issue for music’s future.’

The composer continues…We in the world of ‘classical music’ constantly strive to set ourselves apart from the ‘common’ taste, seeking instead to invest our music with a stature of superiority which we imagine makes us morally unassailable. We take every opportunity to put down music which speaks in a language that can be widely understood and enjoyed, refusing to allow the artifi cial barriers between popular taste and ‘high art’ to tumble down.

Throughout my life, I have been a sucker for ‘cheap music’. I fi nd enjoyment in music from the strangest, ‘lowest’ sources: cartoons, pop, lounge music and suchlike musical ‘kitsch’. Unlike most of my colleagues in the world of classical music, I don’t discount this music, but feel compelled to bring the infectious spirit of the musical vernacular into the realm of the ‘classical’. It’s my belief that the ‘two spheres’ (as

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About the composer

philosopher Theodor Adorno described them) should exist together, each gaining from the potency of the other.

In James Morrison’s work, I see popular music’s vigour uniting with the highly disciplined technique of the classical style to create the kind of energetic, brilliant sound and feeling that all music should naturally aspire to. The concerto was inspired by his extraordinary musicianship, notably his brilliant high trumpet playing.

‘For anyone who believes that the great tradition of classical music must re-connect with a sense of contemporary vitality, the music of Graeme Koehne attracts avid interest and attention. In his best works, Koehne achieves that elusive synthesis of sophisticated compositional technique, informed by a deep understanding of musical history, and a popular touch that invests his music with emotional eloquence, visceral appeal and aural pleasure.’James Koehne

Graeme Koehne was born in Adelaide, where he studied composition with Richard Meale. His orchestral work Rain Forest won the Young Composers Prize in the 1982 Adelaide Festival, bringing him national attention. Around this time, he commenced his long and fruitful collaboration with choreographer Graeme Murphy.

In 1984 a Harkness Fellowship enabled him to study at Yale University and work with Dutch composer Louis Andriessen as well as taking private lessons from Virgil Thomson in New York. Koehne had been exposed to the Boulezian modernism preferred by academia in the 1970s, but he wasn’t totally embroiled in the modernistic hard-edge. Thomson, whose own style was direct and anti-modernist, encouraged him to look to the musical vernacular for inspiration.

In the 1990s, Koehne completed a trilogy of orchestral works that take elements of popular music as a starting point: Unchained Melody (1991), Powerhouse (1993) and Elevator Music (1997). These were followed by his oboe concerto, Infl ight Entertainment (2000), premiered by soloist Diana Doherty with Edo de Waart conducting the Sydney Symphony, and High Art (2003), also for the Sydney Symphony.

Through the advocacy of some of today’s most exciting international musicians such as the conductors Vladimir Jurowski and Kristjan Järvi, Koehne’s music is becoming a regular presence on the international stage. His compositions have long been among the most popular by any Australian composer.

High Art was commissioned by a group of anonymous Australian music lovers for James Morrison and the Sydney Symphony, who gave the concerto’s premiere in September 2003. Graeme Koehne has revised the work for these performances: it is now slightly shorter and the orchestration has been amended. Most significantly, the three orchestral trumpets of the original have been reduced to one.

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Symphonic Dances, Op.45Composed in 1940, the Symphonic Dances was Rachmaninoff ’s last orchestral work. It represented the peak of his late style – lean and modern yet still full of his trademark melody and passionate expressiveness.

It was originally conceived as a ballet in three parts: Midday, Twilight, and Midnight. The titles were later dropped, leaving tempo directions: Non Allegro (not fast); Andante con moto, Tempo di valse (an easy, moving pace, waltz tempo); and Lento assai – Allegro vivace (a very slow introduction leading into a fast and lively movement).

In its fi nal form, the Symphonic Dances is a concert work, but even so, signs of its ballet origins remain, whether in macabre dance steps to the ‘Dies irae’ from the Catholic mass for the dead, a hectic waltz swirling out of control, or a festive Orthodox procession to a refrain of Easter alleluias.

‘I don’t know how it happened. It must have been my last spark.’ That’s how Rachmaninoff described the origins of the Symphonic Dances. Michel Fokine had choreographed Rachmaninoff ’s famous Rhapsody for a ballet called Paganini in 1939, and the opportunity to compose an original ballet appealed to Rachmaninoff ’s imagination. He wrote the Dances the following year, giving it the name ‘Fantastic Dances’.

Rachmaninoff played it over on the piano for Fokine, who was enthusiastic about the music but cool about its balletic possibilities. When Fokine died a short time later Rachmaninoff abandoned the ballet idea altogether. He deleted his descriptive movement names and substituted ‘Symphonic’ for ‘Fantastic’ in the title. In its new guise he dedicated the work to his favourite orchestra, the Philadelphia, and its chief conductor Eugene Ormandy.

The Symphonic Dances is full of enigmas, which Rachmaninoff , one of the most secretive of composers, does nothing to clarify. In the fi rst movement, for example, there is the transformation from minor to major of a prominent theme from his fi rst symphony, which at that time Rachmaninoff thought was irretrievably lost. (The score was lost, but the symphony was reconstructed from the orchestral parts after his death.) The

SERGEI RACHMANINOFFRussian composer(1873–1943)

Enigmas

Navigating the Symphonic Dances

Rachmaninoff’s ‘last spark’

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Listening Guide

premiere of the symphony in 1897 had been a fi asco; the reference to it in this new piece has a meaning that remains entirely private.

There is also the curious paradox that the word ‘dance’ – with its suggestion of life-enhancing, joyous activity – is used for a work that – for all its vigour – is essentially concerned with endings. There is a sense of foreboding and fi nality in the second movement, with its evocations of a spectral ballroom, and in the bell-tolling and chant-intoning that pervade the last dance in the set.

The fi rst movement, with its unusual tempo marking Non Allegro (‘Not fast’ – what could he have meant?) begins hesitantly, before a bold, staccato statement of a theme that sounds very much like the plainchant for the dead, ‘Dies irae’, in disguise. It will reappear in diff erent guises throughout the work. This leads to the main part of the movement. From this point on, most of the major musical ideas are introduced by the woodwinds, including the leaping main theme, given to fl utes, oboes and clarinets. The major lyrical theme is then given to the alto saxophone, with a delicately scored accompaniment for winds only. (The saxophone has no other music to play in the work.)

Rachmaninoff also employs orchestral piano, and when the lyrical theme is given its second statement by the strings, in an impassioned unison, the piano traces a fi ligree accompaniment, creating an overall eff ect of shining brightness. In the coda of this movement, harp and piano together create a glistening, shimmering background to the plush, chorale-like statement of the motif plucked from Rachmaninoff ’s fi rst symphony.

The waltz movement begins with muted trumpet fanfares that have a sinister fairy-tale quality to them. Woodwind

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SHOSTAKOVICH Jazz Suite No.1

GERSHWIN Piano Concerto in F

PROKOFIEV Symphony No.5

James Gaffigan conductor

Jean-Yves Thibaudet piano

Pianist Jean-Yves Thibaudet brings impeccable f lair to his performances and you’ ll want to hear him in George Gershwin’s jazz-inf lected piano concerto.

Thu 5 Dec 1.30pm . Fri 6 Dec 8pm Sat 7 Dec 2pm . Mon 9 Dec 7pm

Jazz Inspirations

THIBAUDET PLAYS GERSHWIN

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arabesques swirl around them, until a solo violin passage gives way to the main waltz theme, introduced by the oboe and cor anglais before being taken up by the strings. The ghostly woodwind arabesques continue to decorate this theme until the winds themselves announce the livelier second melody. Although the atmosphere becomes warmer and more passionate at times, it does not lighten, and sometimes becomes quite macabre. It is as if we are experiencing a memory of a ballroom rather than a ball itself.

The fi nale is the work’s most complex movement. The extensive use of the ‘Dies irae’ combined with a motif derived from Russian Orthodox chant and marked ‘Alliluya’, suggests the most fi nal of endings mingled with a sense of thanksgiving. (The ‘Alliluya’ motif is in fact borrowed from Rachmaninoff ’s great choral masterpiece, the All-Night Vigil.)

The tolling of the midnight bell that prefaces the movement’s vigorous main section reinforces the view that the work might, after all, be a parable on the three ages of man.

In 1892, Rachmaninoff graduated from the Moscow Conservatory with the Great Gold Medal. His future as a pianist and a composer promised to be equally golden, although his fi rst symphony received a disastrous premiere in 1897.

During his career, Rachmaninoff enjoyed success as a composer, pianist and conductor, but he often complained that he could never maintain all three activities simultaneously. Most of his major compositions date from before 1917, the year he fl ed Russia. As well as two symphonies, these include three piano concertos.

After he moved to America, his career as a touring concert pianist provided his major source of income. But this left him with little time for composition, and for years he wrote next to nothing. But he did complete another two works for piano orchestra, including the brilliant Rhapsody on a Theme of Paganini, his Third Symphony and the Symphonic Dances. In the procession of ‘Indian summer’ pieces that emerged between 1926 and 1940, are many works that are now regarded as among his fi nest compositions.

Rachmaninoff ’s Symphonic Dances calls for piccolo, two fl utes, two oboes, cor anglais, two clarinets, bass clarinet, alto saxophone, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and percussion; harp, piano and strings.

SYDNEY SYMPHONY © 2013

Program notes adapted in part from notes by Martin Buzacott (Brahms); Graeme Koehne, James Koehne and Gordon Kalton Williams (Koehne); and Phillip Sametz (Rachmaninoff).

About the composer

In the orchestra

Death and Thanksgiving

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Kristjan Järvi CONDUCTOR

Kristjan Järvi is a distinctive musical personality who has combined his classical roots and affi nity for traditional repertoire with an infectious enthusiasm for inventive programming and brave collaborations. An entrepreneur by nature and a passionate educator, he leads both the oldest radio orchestra in Europe and the newest youth orchestra.

Estonian-born and American-raised, he studied piano at the Manhattan School of Music and conducting at the University of Michigan, and began his career assisting Esa-Pekka Salonen at the Los Angeles Philharmonic. He currently holds four posts: Music Director of the MDR Leipzig Radio Symphony Orchestra, Chief Conductor of the Gstaad Festival Orchestra, Founder and Music Director of the Absolute Ensemble (Bremen), and Founding Conductor of the Baltic Youth Philharmonic. He is also Artistic Advisor to the Basel Chamber Orchestra and this season is resident with the Danish National Symphony Orchestra. He regularly conducts the London Symphony Orchestra at home and on tour, and appears as a guest with leading orchestras in Europe, the United States and Japan. Last year made his debut with the Berlin Philharmonic.

He has more than 30 recordings to his credit and his accolades include a Grammy nomination, a Swedish Grammy for Best Opera Performance and a Gramophone magazine ‘Editor’s Choice’. Recent projects include a recording of Carmina Burana.

The diversity of his musical interests is refl ected in collaborations with Arvo Pärt, Tan Dun, John Adams, Esa-Pekka Salonen, HK Gruber, Renée Fleming, Joe Zawinul, Benny Andersson, Goran Bregovic, Paquito d’Rivera, Eitetsu Hayashi and Marcel Khalife, and he has been responsible for the commissioning of more than a hundred new works, including the Cloud Atlas Symphony by Gene Pritsker. (He also recorded the soundtrack for Cloud Atlas with the MDR Leipzig Radio Symphony Orchestra.)

Kristjan Järvi is committed to music education, working with dozens of youth organisations in addition to his work with the Baltic Youth Philharmonic. He also founded the Absolute Academy at Bremen University for Music and Arts and the Muusikaselts project in remote Estonian orphanages.

He has previously conducted the Sydney Symphony in 2008 and 2010.

ABOUT THE ARTISTS

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James Morrison TRUMPET

James Morrison is a virtuoso in the true sense of the word and plays trumpet and many other instruments. He was given his fi rst instrument at the age of seven; at nine he formed his fi rst band; and at 13 he was playing professionally in nightclubs. When he was just 16, he made his US debut at the Monterey Jazz Festival.

Following this were performances at the big festivals in Europe, playing with Dizzy Gillespie, Cab Calloway, Woody Shaw, Red Rodney, George Benson, Ray Charles, B.B. King, Ray Brown, Wynton Marsalis and other jazz legends. There were also gigs in the world’s famous jazz clubs – the Blue Note and Village Vanguard in New York, the New Morning in Paris and Ronnie Scott’s in London.

He has recorded Jazz Meets the Symphony with the London Symphony Orchestra, and performed concerts at the Royal Albert Hall with the London Philharmonic Orchestra and in the Hollywood Bowl. He has given royal command performances on two occasions for Her Majesty Queen Elizabeth II and played for US Presidents Bush and Clinton at Parliament House in Australia. In 1997, he was awarded the Order of Australia Medal.

Concert highlights have included Hollywood Bowl, the Israel National Orchestra and the LA Jazz Festival. In addition to touring the world for much of the year, he is head of Morrison Records, an independent label dedicated to the best of jazz. His concerts with the Sydney Symphony in recent years have included the premiere of Lalo Schifrin’s Concerto for Jazz Trumpet and Piano (2007) and tributes to Duke Ellington and Louis Armstrong.

James Morrison is deeply involved in education, conducting masterclasses and workshops in many countries and presenting the James Morrison Jazz Scholarship at Generations in Jazz. He is an avid user of the latest technologies to furthering jazz and music education on the Internet, and is currently designing new instruments with Austrian company Schagerl.

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To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musiciansIf you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

The men of the Sydney Symphony are proudly outfitted by Van Heusen.

FIRST VIOLINS

Dene Olding Concertmaster

Sun Yi Associate Concertmaster

Lerida Delbridge*Jennifer BoothMarianne BroadfootBrielle ClapsonSophie ColeAmber DavisNicola LewisAlexander NortonMonique Irik*Vivien Jeffery*Elizabeth Jones*Emily Qin°Martin Silverton*Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie BattyJennifer HoyGeorges LentzAlexandra MitchellLéone Ziegler

SECOND VIOLINS

Alexander Read Associate Principal

Emma Jezek Assistant Principal

Susan Dobbie Principal Emeritus

Maria DurekEmma HayesShuti HuangStan W KornelEmily LongNicole MastersBiyana RozenblitMaja VerunicaLaura D’Angelo*Lucy Warren*Kirsty Hilton Marina Marsden

Benjamin LiPhilippa Paige

VIOLASRoger Benedict Justin Williams Assistant Principal

Robyn BrookfieldSandro CostantinoJane HazelwoodGraham HenningsStuart JohnsonFelicity TsaiLeonid VolovelskyRosemary Curtin*Tobias Breider Anne-Louise Comerford Justine Marsden

CELLOS

Catherine Hewgill Tim Hugh*Leah Lynn Assistant Principal

Kristy ConrauTimothy NankervisElizabeth NevilleDavid WickhamHanna Pokorney*Fenella GillChristopher PidcockAdrian Wallis

DOUBLE BASSES

Kees Boersma Alex Henery Neil Brawley Principal Emeritus

David CampbellSteven LarsonRichard LynnBenjamin WardDavid Murray

FLUTES

Janet Webb Carolyn HarrisRosamund Plummer Principal Piccolo

Emma Sholl

OBOES

Shefali Pryor David PappAlexandre Oguey Principal Cor Anglais

Diana Doherty

CLARINETS

Francesco Celata Christopher TingayCraig Wernicke Principal Bass Clarinet

Lawrence Dobell

BASSOONS

Matthew Wilkie Fiona McNamaraNoriko Shimada Principal Contrabassoon

Roger Brooke

SAXOPHONE

Christina Leonard*

HORNS

Robert Johnson Geoffrey O’Reilly Principal 3rd

Marnie SebireEuan HarveyRachel Shaw°Ben Jacks

TRUMPETS

Paul Goodchild Anthony HeinrichsRainer Saville*David Elton John Foster

TROMBONES

Ronald Prussing Nick ByrneChristopher Harris Principal Bass Trombone

Scott Kinmont

TUBA

Steve Rossé

TIMPANI

Richard Miller

PERCUSSION

Rebecca Lagos Mark Robinson Chiron Meller*Brian Nixon*Philip South*Colin Piper

HARP

Louise Johnson

PIANO

Kate Golla*

Bold = PrincipalItalics = Associate Principal° = Contract Musician* = Guest Musician† = Sydney Symphony FellowGrey = Permanent member of the Sydney Symphony not appearing in this concert

MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Jessica CottisAssistant Conductor supported by Premier Partner Credit Suisse

sydney symphony 15

Irene LeeDavid LivingstoneGoetz Richter

Sydney Symphony BoardJohn C Conde ao ChairmanTerrey Arcus amEwen Crouch amRoss Grant

Jennifer HoyRory JeffesAndrew Kaldor am

SYDNEY SYMPHONYVladimir Ashkenazy, Principal Conductor and Artistic AdvisorPATRON Her Excellency Professor Marie Bashir AC CVO

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. David Robertson will take up the post of Chief Conductor in 2014. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle, Gordon Kerry and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on the ABC Classics label.

This is the fi fth year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.

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SYDNEY SYMPHONY PATRONS

Sydney Symphony Leadership EnsembleAlan Fang, Chairman, Tianda GroupTony Grierson, Braithwaite Steiner PrettyInsurance Australia Grou pMacquarie Group FoundationJohn Morschel, Chairman, ANZAndrew Kaldor am, Chairman, Pelikan Artline

Lynn Kraus, Sydney Office Managing Partner, Ernst & YoungShell Australia Pty LtdJames Stevens, CEO, Roses OnlyStephen Johns, Chairman, Leighton Holdings,

and Michele Johns

Maestro’s CirclePeter William Weiss ao – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoRoslyn Packer ao

Penelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair

03 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair

05 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

06 Robert Johnson Principal Horn James & Leonie Furber Chair

07 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

For information about the Directors’ Chairs program, please call (02) 8215 4619.

Directors’ Chairs

01 02 03 04 05

06 07 08 09

Sydney Symphony Vanguard

Vanguard CollectiveJustin Di Lollo – ChairKees BoersmaDavid McKeanAmelia Morgan-HunnJonathan Pease

Ron ChristiansonMatthew ClarkBenoît CocheteuxGeorge CondousMichael CookPaul CousinsJustin Di LolloRose GalloSam GiddingsDerek HandRose HercegJennifer Hoy

Damian Kassagbi Chris KeherElizabeth LeeAntony Lighten Gary LinnanePaul MacdonaldDavid McKeanHayden McLeanAmelia Morgan-HunnHugh MunroFiona OslerPeter Outridge

MembersMatti AlakargasNikki AndrewsJames ArmstrongStephen AttfieldAndrew BaxterMar BeltranKees Boersma Peter BraithwaiteAndrea BrownIan BurtonJennifer BurtonHahn Chau

Archie PaffasJonathan Pease Seamus R QuickMichael ReedeJacqueline RowlandsBernard RyanAdam WandJon WilkieJonathan WatkinsonDarren WoolleyMisha Zelinsky

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PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

Platinum Patrons $20,000+Brian AbelGeoff Ainsworth am & Vicki AinsworthRobert Albert ao & Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsMr John C Conde aoRobert & Janet ConstableMichael Crouch ao & Shanny CrouchJames & Leonie FurberDr Bruno & Mrs Rhonda Giuff reIn memory of Hetty & Egon GordonMs Rose HercegMr Andrew Kaldor am & Mrs Renata Kaldor aoD & I KallinikosJames N Kirby FoundationJoan MacKenzie Violin Scholarship, SinfoniaJustice Jane Mathews aoMrs Roslyn Packer aoPaul & Sandra SalteriMrs Penelope Seidler amG & C Solomon in memory of Joan MacKenzieMrs W SteningMr Fred Street am & Mrs Dorothy StreetPeter William Weiss ao & Doris WeissWestfi eld GroupMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine DoveyRay Wilson oam in memory of James Agapitos oam

Gold Patrons$10,000–$19,999Stephen J BellAlan & Christine BishopIan & Jennifer BurtonHoward ConnorsCopyright Agency Cutlural Fund Edward FedermanNora GoodridgeMr Ross GrantThe Estate of the late Ida GuggerHelen Lynch am & Helen BauerRuth & Bob MagidThe Hon. Justice AJ Meagher & Mrs Fran MeagherMrs T Merewether oamMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeHenry & Ruth WeinbergJune & Alan Woods Family Bequest

Silver Patrons $5000–$9,999Doug & Alison BattersbyMr Alexander & Mrs Vera BoyarskyMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettEwen Crouch am & Catherine CrouchIan Dickson & Reg HollowayPenny EdwardsDr C GoldschmidtThe Greatorex Foundation The Sherry Hogan FoundationMr Rory Jeff esStephen Johns & Michele BenderJudges of the Supreme Court of NSW Mr Ervin KatzThe Estate of the late Patricia LanceMr David LivingstoneTimothy & Eva PascoeWilliam McIlrath Charitable FoundationDavid Maloney & Erin FlahertyRodney Rosenblum am & Sylvia RosenblumManfred & Linda SalamonMichael & Mary Whelan TrustCaroline WilkinsonJill Wran

Bronze Patrons $2,500–$4,999Jan BowenThe Hon. Ashley Dawson-DamerFirehold Pty LtdStephen Freiberg & Donald CampbellVic & Katie FrenchMrs Jennifer HershonAnn HobanIn memory of Bernard M H KhawMichael & Anna JoelGary LinnaneMatthew McInnesJ A McKernanR & S Maple-BrownGreg & Susan MarieMora MaxwellJames & Elsie MooreDrs Keith & Eileen OngIn memory of Sandra PaulPottingerDr John Roarty oam in memory of Mrs June RoartyIn memory of H St P ScarlettJulianna Schaeff erDavid & Isabel SmithersMrs Hedy SwitzerMarliese & Georges Teitler

JF & A van OgtropDr Richard WingateMr & Mrs T & D YimAnonymous (1)

Bronze Patrons $1,000–$2,499Charles & Renee AbramsMrs Antoinette AlbertAndrew Andersons aoMr Henri W Aram oamDr Francis J AugustusRichard and Christine Banks David BarnesMichael Baume ao & Toni BaumeNicole BergerAllan & Julie BlighDr & Mrs Hannes Boshoff Lenore P BuckleM BulmerIn memory of RW BurleyIta Buttrose ao obeJoan Connery oam & Maxwell Connery oamConstable Estate Vineyards Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamGreta DavisLisa & Miro DavisMatthew DelaseyMr & Mrs Grant DixonColin Draper & Mary Jane BrodribbMrs Margaret EppsMr Ian Fenwicke & Prof. Neville WillsMichael & Gabrielle FieldMr James Graham am & Mrs Helen GrahamWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryTony GriersonEdward & Deborah Griffi nRichard Griffi n amIn memory of Dora & Oscar GrynbergJanette HamiltonMichelle HiltonThe Hon. David Hunt ao qc & Mrs Margaret HuntDr & Mrs Michael HunterMr Justin LamMr Peter Lazar amIrene LeeAssociate Professor Winston LiauwDr David LuisCarolyn & Peter Lowry oamDeirdre & Kevin McCannIan & Pam McGawMacquarie Group Foundation

18 sydney symphony

To find out more about becominga Sydney Symphony Patron, pleasecontact the Philanthropy Officeon (02) 8215 4625 or emailphilanthropy@sydneysymphony.com

Renee MarkovicMs Jackie O’BrienMr Robert OrrellMr & Mrs OrtisMr Andrew C PattersonPiatti Holdings Pty LtdAndy & Deirdre Plummer Robin PotterErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment Pty LtdCaroline SharpenDr Agnes E SinclairCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully qcMildred TeitlerJohn E TuckeyMrs M TurkingtonIn memory of Joan & Rupert VallentineDr Alla WaldmanMr Robert & Mrs Rosemary WalshThe Hon. Justice A G WhealyAnn & Brooks Wilson amDr Richard WingMr R R WoodwardIn memory of Lorna WrightDr John YuAnonymous (14)

Bronze Patrons $500–$999Mrs Lenore AdamsonMr & Mrs Garry S AshBarlow Cleaning Pty LtdBeauty Point Retirement ResortMrs Margaret BellMinnie BiggsMrs Jan BiberDr Anthony BookallilR D & L M BroadfootArnaldo BuchAnn & Miles BurgessPat & Jenny BurnettThe Hon. Justice JC & Mrs CampbellDr Rebecca ChinMrs Sarah ChissickMrs Catherine J ClarkR A & M J ClarkeMr & Mrs CoatesCoff s Airport Security Car ParkMr B & Mrs M Coles

Mrs Joan Connery oamJen CornishMr David CrossPhil Diment am & Bill Zafi ropoulosElizabeth DonatiThe Dowe FamilyJohn FavaloroDr Nita & Dr James DurhamMalcolm Ellis & Erin O’NeillIn memory of Peter EverettMr & Mrs FarrellMr Tom FrancisMr John GadenVivienne GoldschmidtClive & Jenny GoodwinIan R L HarperKen HawkingsMr Roger HenningHarry & Meg HerbertSue HewittDorothy Hoddinott aoMr Joerg HofmannMrs Kimberley HoldenMr Gregory HoskingBill & Pam HughesNiki KallenbergerMrs W G KeighleyMrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Gilles T KrygerSonia LalMr Luigi LampratiDr & Mrs Leo LeaderMargaret LedermanErna & Gerry Levy amSydney & Airdrie LloydMrs A LohanMrs Panee LowDr David LuisPhilip & Catherine McClellandMelvyn MadiganAlan & Joy MartinMrs Helen MeddingsMrs Toshiko MericMs Irene Miller & Ms Kim HardingP J MillerDavid MillsKenneth N MitchellMs Margaret Moore oam & Dr Paul Hutchins amChris Morgan-Hunn

Mrs Milja MorrisA NhanMr Graham NorthDr Mike O’Connor amMr R A OppenOrigin FoundationDr A J PalmerJustice George Palmer amDr Kevin PedemontDr Natalie E PelhamMichael QuaileyLois & Ken RaeRenaissance ToursAnna RoPamela RogersLesley & Andrew RosenbergAgnes RossMrs Pamela SayersGarry Scarf & Morgie BlaxillPeter & Virginia ShawMrs Diane Shteinman amMs Stephanie SmeeMs Tatiana SokolovaDoug & Judy SotherenMrs Judith SouthamMargaret SuthersMr Lindsay & Mrs Suzanne StoneNorman & Lydia TaylorDr Heng Tey & Mrs Cilla TeyMrs Alma Toohey & Mr Edward SpicerKevin TroyGillian Turner & Rob BishopProf Gordon E WallMrs Margaret WallisRonald WalledgeMr Palmer WangMs Elizabeth WilkinsonAudrey & Michael WilsonA Willmers & R PalDr Peter Wong & Mrs Emmy K WongGeoff Wood & Melissa WaitesMr Robert WoodsGlen & Everly WyssMrs Robin YabsleyAnonymous (22)

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Stuart was the one who gave us self-belief. Then Edo came – he was a builder…

The Sydney Symphony has been at the centre of Lawrence’s musical life since he joined as an associate principal in 1982. (He was appointed principal in 1985.) Over three decades, he’s played under Mackerras, Mácal, Stuart Challender, Edo de Waart, Gelmetti and now Ashkenazy.

‘Stuart was the one who gave us self-belief. Then Edo came – he was a builder, the demanding maestro. In the 30 years, it’s been fantastic just to be in the orchestra as it gets better and better with every performance.’ Later he adds: ‘The orchestra’s in excellent form. I think I practise more now than I used to – to maintain the stan-dard.’

The concerts that stand out in his memory include Challender’s Mahler 2 and Sinfonia domestica with de Waart in Carnegie Hall. ‘It was astonishing to hear how good the orchestra sounded in a great space,’ he says. ‘Touring every year, as we do now, and playing in other halls has made a huge difference to the culture of the orchestra.’

Among the more recent high-lights are ‘most of the concerts’ with Ashkenazy. ‘I don’t know what it is, but he’s got something! He’s such a great musician, and you just respond to his love of the music.’

The Principal Clarinet chair is supported by Anne and Terrey Arcus. For more information on Directors’ Chairs call (02) 8215 4663.

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Lawrence Dobell didn’t choose the clarinet. His father, a bird dealer and Benny Goodman fan, traded a pair of parrots for a clarinet when Lawrence was 12. ‘I was given the instrument and I just never put it down.’

Playing the clarinet always came easily, which is why it was so devastating when, last year, he broke the little finger of his left hand, enforcing a three-month rest from playing.

The first day back in the prac-tice room was terrible. ‘I put the clarinet together, played for about a minute and my finger kept

missing the key. I just lay on the couch in a catatonic state, think-ing “I can’t play!”’

The left pinkie controls five keys on the clarinet, making its job especially demanding. Recovering his technique presented psycho-logical as well as physical chal-lenges. ‘I’d never picked up the clarinet and not been able to play it, technically,’ Lawrence explains. ‘My fingers had always worked.’ So if a note didn’t speak ‘it felt like a major catastrophe’. ‘Then finally, by the end of last year, I’d started to clear my mind of the finger and just play again.’

IN EXCELLENT FORMPrincipal Clarinet Lawrence Dobell on playing in an orchestra that gets better and better with every performance, and what it’s like to return from an injury.

ORCHESTRA NEWS | FEBRUARY–MARCH 2013

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Sir Simon Rattle with the Berlin Philharmonic © Monika Rittershaus

A summer break is a welcome opportunity to recharge. Yet I always find myself missing the music-making and looking forward to the return of the Sydney Symphony musicians to the stage. I hope you feel the same, and I welcome you to the 2013 season and its celebration of Vladimir Ashkenazy’s continuing relationship with the orchestra and the people of Sydney. This celebration is being expressed in the best way of all: through music, with some of Ashkenazy’s favourite composers and leading guest artists who’ve responded to his invitation to join us here in Sydney.

We have some extraordinary music for you this year; and I also look forward to the visit in July of our Chief Conductor designate David Robertson, who’ll be performing two masterpieces: Verdi’s Requiem and Wagner’s Flying Dutchman. Concerts such as the Requiem will reach not only concert hall audiences but music lovers across the world via live webcasts. These are made possible by our partnership with Telstra BigPond, and with our mobile app you don’t even have to be at home to watch! You are the reason we perform, and as a music lover I look forward to sharing this year’s concerts with you.RORY JEFFES

From the Managing Director Philanthropy HighlightNew Sinfonia ScholarshipLast year we mourned the passing of Joan MacKenzie, a member of the Sydney Symphony Council and one of our most committed supporters and advocates. Joan had enjoyed a long career in fashion – from modelling in New York to leading the David Jones couture department – and she ensured that her support for the orchestra would live on in a characteristically vibrant way through a substantial bequest in her will.

This gift has been generously matched by her nephew Gavin Solomon and his wife Catherine, and the funds have been invested to establish an annual scholarship for a violinist in our Sinfonia mentoring orchestra. The new scholarship will support travel for a regional or interstate participant and private lessons with SSO musicians.

The recipient of the inaugural scholarship will be announced, in the presence of Joan’s relatives and friends, at the Sinfonia’s first concert of the year: Discover Beethoven’s Pastoral on 5 March at City Recital Hall Angel Place.If you’re considering making a notified bequest to the Sydney Symphony, write to philanthropy@sydneysymphony.com or call (02) 8215 4625.

Wheel of FortuneThe first thing that normally comes to mind when someone mentions Carmina Burana is the opening and closing number: ‘O Fortuna!’ It’s both thrilling and ominous: the kind of music that has lent itself to use in movies such as The Omen (1976), Excalibur (1981) and Hunt for Red October (1990). The Latin text also lends itself to comedy: there’s a YouTube spoof that turns it into an illustrated mondegreen, beginning with ‘O four tuna’ and moving on from there.

If you know the music well, there’s another number that might spring to mind: the Roasting Swan, in which the hapless tenor soloist must take his voice into the upper limits of its range as he laments the loss of his snowy whiteness and his imminent death and consumption. (Sometimes this part is assigned to a countertenor, but with the loss of its ‘pained’ effect.)

The texts that Carl Orff set for Carmina Burana were collected by mediæval monks, but these aren’t religious texts. If you follow them during a performance you’ll encounter earthy poetry that’s erotic, humorous and lyrical by turn, and always memorable.

Carmina BuranaSpecial Event Premier Partner Credit Suisse

Thu 21, Fri 22 and Sat 23 March | 8pm

The Score

The rostering of the tutti string players is vastly more complicated. The many variables – which are determined by the musicians’ enterprise bargaining agreement – include ensuring each musician doesn’t exceed the maximum number of calls (rehearsals and performances) permitted for the year, or for any given week. In addition, SSO tutti string players rotate their positions on the stage, changing stand partners as well as how to where they sit. To manage all the intricate details, each section votes one of its number to be the rosterer for two years.

With thanks to orchestra manager Chris Lewis.

The composer tells us which and how many instruments are needed. But in a large symphony orchestra, there’s still some deci-sion-making to be done. Before each season begins, the woodwind, brass and string principals decide amongst themselves who will play in each concert and how indi-vidual parts will be distributed within their sections. Factors include personal preference and musical strengths as well as more pragmatic issues, such as when individuals can be rostered off for a week of guest music-making elsewhere (this practice goes by the unexpected name of ‘black box week’).

Ever wondered who decides which musicians in the orchestra appear in any given performance, or where they sit? Wonder no more…

Ask a Musician

POINT COUNTERPOINTEducation Report

for three days of inspiring work-shops. The experience left one participant, Jessop Maticevski-Shumack, ‘flying like a kite’!

The 2012 Sinfonietta Project was supported by major partner Leighton Holdings and Copyright Agency Cultural Fund. Entries for 2013 close on 11 October and the project is open to all Australian high school students. This year’s open workshop will take place on 28 November. sydneysymphony.com/sinfonietta

True counterpoint belongs to the age of Bach, but this way of composing – note against note – endures as a fundamental aspect of musical technique, like classical draughtsmanship for the artist. So it’s no surprise that Richard Gill chose it as the focus for the 2012 Sinfonietta Project.

This national program cul-minated last November with the assembling of seven talented young teenage composers and the Sydney Symphony Fellows

From left: Jessop Maticevski-Shumack, Nathan Moas, Curt Petroff, Richard Gill, Luca Warburton, Kevin Lee, Michael Taurian and Aidan McGartland

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NEW FACES BEHIND THE SCENES

With the beginning of a new year and the new season, we welcome three new staff members to the Sydney Symphony administration. Eleasha Mah is the new Artistic Administration Manager, replacing Elaine Armstrong, who departed for Melbourne in January. Elaine will be sorely missed, but we’re delighted to gain Eleasha, who brings with her experience from the Melbourne Symphony Orchestra and the Globe Theatre in London.

Matthew Hodge joins us from Musica Viva Australia – the third person to have made this chamber–symphonic transition in recent years. He takes on the role of Marketing Manager, Database and Customer Relationship Management (CRM).

And Caitlin Benetatos joins us in a new part-time role as the Fellowship Social Media Officer, looking after the blog that follows our Fellows through their musical and educational journey each year (blog.ssofellowship.com).

Late last year we also welcomed two new members to our orchestra management team, both of whom play a crucial role in what goes on behind the scenes at concerts: production manager Laura Daniel and stage manager Elise Beggs.

VALE GUY HENDERSON (1934–2013)

It was with sadness that we learned of the death of former principal oboe Guy Henderson on 4 January after a difficult battle with cancer. Guy was principal in the New Zealand Symphony Orchestra during the 1950s and 60s, and played in the Australian Chamber Orchestra’s first concert in 1975. He was principal oboe of the Sydney Symphony from 1967 until 1998.

Guy will be missed not only as an admired and respected musician and teacher but as a generous colleague and friend and a true gentleman.

Hear Guy Henderson as the oboe soloist in Peter Sculthorpe’s Small Town, performing with the Sydney Symphony: bit.ly/SmallTownSSO

WELCOME TO THE 2013 FELLOWS

We’re delighted to announce that eight outstanding young performers from across the country have been selected for the 2013 Fellowship program. A very warm welcome to Rebecca Gill (violin, 26), Kelly Tang (violin, 26), Nicole Greentree (viola, 24), James Yoo (cello, 24), Laura van Rijn (flute, 26), Som Howie (clarinet, 22), Jack Schiller (bassoon, 21), Brendan Parravicini (horn, 23).

Supported by Premier Partner Credit Suisse and directed by our Principal Viola Roger Benedict, the Fellowship program provides Australia’s top young aspiring musicians with an invaluable opportunity to undertake a full-time apprenticeship with the orchestra.

NEW CO-CONCERTMASTER

Our search for a second concertmaster has come to a close, and in January we announced the appointment of Andrew Haveron, from the Philharmonia Orchestra in London. Andrew joins us in May.

CODA

Have a question about the music, instruments or the inner workings of the orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch,Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM,Dr Thomas Parry AM, Mr Leo Schofi eld AM, Mr John Symond AM

EXECUTIVE MANAGEMENTChief Executive Offi cer Louise HerronExecutive Producer SOH Presents Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Marketing, Communications and Director, Customer Services Victoria DoidgeBuilding Development and Maintenance Greg McTaggartDirector, Venue Partners and Safety Julia PucciChief Financial Offi cer Claire Spencer

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Offi ce (02) 9250 7777Facsimile (02) 9250 7666 Website sydneyoperahouse.com

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

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily refl ect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

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By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specifi ed on the title page of this publication 17017 — 1/060313 — 05MM S9/10

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