Jonathan Sweeney Managing Director...Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of

Trust is proud of its long standing partnership with the SydneySymphony and is delighted to bring you the Thursday AfternoonSymphony series in 2008.

The series offers perfect afternoons with some of the best-lovedcomposers – Ravel, Bernstein, Elgar, Mozart, Stravinsky, and manyothers. These concerts bring together some of the world’s mosttalented conductors and soloists – you’re in for a truly delightfulexperience.

Just like the Sydney Symphony, which has been the sound of thecity for more than 75 years, entertaining hundreds of thousands of people each year, Trust has been supporting Australians for over 120 years.

Whether it be in administering an estate or charity, managingsomeone’s affairs or looking after their interests via estate planning,financial planning or funds management, people come to Trustbecause of our personal service and commitment to ensuring theirinterests are being looked after.

We hope you enjoy a delightful Thursday afternoon with the Sydney Symphony.

Jonathan SweeneyManaging DirectorTrust Company Limited

SEASON 2008

THURSDAY AFTERNOON SYMPHONY

SUPPORTED BY TRUST

MAHLER 1

Thursday 3 July | 1.30pm

Sydney Opera House Concert Hall

Gianluigi Gelmetti conductorMichael Dauth violinShefali Pryor oboeMatthew Wilkie bassoonCatherine Hewgill cello

JOSEPH HAYDN (1732–1809)

Sinfonia concertante in B flat, Hob.I:105

AllegroAndanteAllegro con spirito

INTERVAL

GUSTAV MAHLER (1860–1911)

Symphony No.1 in D

Langsam, schleppend – Im Anfang sehr gemächlich (Slow, dragging – Very comfortably)

Kräftig bewegt, doch nicht zu schnell(Forcefully, yet not too fast)

Feierlich und gemessen, ohne zu schleppen (Solemn and measured, without dragging) –

Stürmisch bewegt (Stormily)

This program will be broadcastlive across Australia on ABC Classic FM 92.9 on Friday 4 July at 8pm.

Pre-concert talk by Dr WolfgangFink at 12.45pm in the NorthernFoyer.

Estimated timings:22 minutes, 20-minute interval, 53 minutes

The performance will conclude at approximately 3.20pm.

SUPPORTING PARTNER

Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and offering a common platform forvaried cultures and communities to come together. It is for these reasonsthat the Sydney Symphony – a first class orchestra in one of the world’smost diverse and beautiful cities – is an ideal partner for Emirates Airline.

With more than 300 major international awards for excellence, Emirateshas developed an international reputation for providing a standard ofservice and an inflight experience to which other airlines aspire.

And like the Sydney Symphony, Emirates reaches out to a truly globalaudience, flying to every continent in the world from its hub in Dubai. We also have a long term growth strategy for Emirates in Australia.Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of 2009. This will include a third daily flight from Sydney, makingconnections to our expanding network across Europe, Middle East,Africa, Asia and the Americas easier for local travellers.

Emirates continues to take great pleasure in supporting the SydneySymphony and fostering the growth of arts in the community.

We look forward to an exciting and memorable 2008.

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP

SEASON 2008

EMIRATES METRO SERIES

MAHLER 1

Friday 4 July | 8pm






INTERVAL


Symphony No.1 in D





Tonight’s performance will bebroadcast live across Australia onABC Classic FM 92.9


Estimated timings:22 minutes, 20-minute interval, 53 minutes

The performance will conclude at approximately 9.50pm.

Apia and the Sydney Symphony – a wise move

A partnership between the internationally acclaimed Sydney Symphonyand Apia is a wise move indeed.

The worlds of a symphony orchestra and an insurance company mayappear far removed, but they have much in common. Just as anorchestra must have a working knowledge of the music it performs,so too must a specialist insurer have in-depth knowledge of its product in order to meet the needs of its customers.

And just like a complex orchestration, at Apia all the sectors within ourbusiness work in harmony to provide our customers with the bestpossible products and services.

Apia is a pioneer and leader in providing specialised home and contents,car, caravan, motorhome, boat and travel insurance, to customers aged50 and over, who are not working full-time.

Apia is also a proud sponsor of the Sydney Symphony, just one of theorganisations we support as part of our ongoing commitment to servingthe community in which we live and work.

We hope you take great pleasure from this performance, just as we takepleasure in our association with one of the world’s leading orchestras.

Geoff KeoghExecutive ManagerApia

Australian Pensioners Insurance Agency Pty Ltd is an authorised representative of Australian Alliance Insurance Company Limited.

SEASON 2008

GREAT CLASSICS

PRESENTED BY APIA

MAHLER 1

Saturday 5 July | 2pm






INTERVAL


Symphony No.1 in D





This program has been recorded for broadcast across Australian on ABC Classic FM 92.9.


Estimated timings:22 minutes, 20-minute interval, 53 minutesThe performance will conclude at approximately 3.50pm.

PRESENTING PARTNER

We have great pleasure in welcoming you to an exceptional evening of the 2008 VeuveClicquot Series; a series of concerts for lovers of great music, adding a little sparkle to

Monday nights.

Since the foundation of our great champagne House in 1772, Veuve Clicquot Ponsardin hasbecome synonymous with elegance, seduction and celebration.

Creating truly great champagne is the collaboration of many individuals, along with the finestvintage wines, which together produce a singular sensation for the senses – much like theincredible talents and dedication of the members of the Sydney Symphony.

Champagne always adds a certain je ne sais quoi, a touch of luxury to every occasion. Throughproviding our flagship champagne, Yellow Label Brut, in the bars at the Sydney Opera HouseConcert Hall for the Sydney Symphony performances, our aim is to enhance your pleasurefrom these superb musical experiences.

We hope that you enjoy the outstanding talents of the Sydney Symphony this evening, andindulge in a glass of pure pleasure at interval.

A votre santé!

Allia RizviBrand Manager – Veuve Clicquot Ponsardin

PRESENTING PARTNER

SEASON 2008

THE VEUVE CLICQUOT SERIES

MAHLER 1

Monday 7 July | 7pm






INTERVAL


Symphony No.1 in D






Estimated timings:22 minutes, 20-minute interval, 53 minutesThe performance will conclude at approximately 8.50pm.

This program has been recordedfor broadcast across Australia onABC Classic FM 92.9.

5 | Sydney Symphony

INTRODUCTION

Mahler 1

It’s ironic that Mahler’s First Symphony so polarised itsaudience at the premiere in 1889. For every listener whorecognised a masterpiece there were plenty who wereperplexed and shocked by it.

Nowadays the First is the most often recorded Mahlersymphony (only the Fourth and the Resurrection comeclose) and it’s one of the most often performed. For manypeople ‘Mahler 1’ represents their first taste of Mahler,and you’d be hard pressed to better it as an introduction.

But apparently Mahler’s contemporaries ‘didn’t get it’,and that was in 1903 after the symphony had been in thepublic arena for more than a decade and had beensubstantially revised.

Listening to the symphony in this concert you mightfind that puzzling – and perhaps you might be temptedto feel a little smug (in the same way that you mightsmile over the dreadful reviews that were thrown atTchaikovsky’s gorgeous violin concerto). After all, what’snot to like? Unlike Mahler’s later symphonies, the Firstis not especially long; it establishes an appealing pastoralcharacter from the outset; and it includes charmingquotations of familiar tunes (including a twist on ‘FrèreJacques’) as well as dance-like moments that evoke anold-world Vienna.

Classical Vienna by way of London provides theopening to the concert. Haydn had his own methods of surprising listeners, and even shocking them, buthe also belonged to an era in which composers soughtalways to please. In a way, his Sinfonia concertantesuffered a reverse fate to Mahler’s First: wildly popular in the 1790s, it fell out of fashion and it is really only inthe past 30 years that is has returned to the repertoire – a delightful way to demonstrate the virtuoso skills to befound in a fine orchestra.

7 | Sydney Symphony

Joseph Haydn (1732–1809)



Michael Dauth violinShefali Pryor oboeMatthew Wilkie bassoonCatherine Hewgill cello

One of the offshoots of the development of professionalorchestras playing for public concerts rather than in the service of a court was the desire to show off theindividual virtuosi who played with each ensemble.Perhaps, too, these players required solo exposure tomaintain their interest in orchestral playing. At any rate,the 1770s and 80s saw a veritable rash of concertantes orsinfonie concertante – pieces featuring more than onesoloist, usually from within the orchestra. Mozart wroteone for wind instruments, another for violin, viola andorchestra – these were inspired by his contacts with theorchestras in Mannheim, Munich and Paris.

The fashion had spread to England, and at the time of Haydn’s first visit there, his pupil Ignaz Pleyel wasachieving great success with his sinfonie concertante in the‘Professional Concert’ series in London.. The violinist andimpresario Johann Salomon, who had brought Haydn toLondon, obviously wished to counter his rival’s success bypresenting a sinfonia concertante by the celebrated Haydnhimself, in his own concert series.

Haydn obliged with a work featuring important solosfor Salomon to play, and it was premiered at Salomon’sfourth concert of the season (9 March 1792), with oboe,bassoon and violoncello played by Messrs Harrington,Holmes and Menel respectively. It was so successful thatit had to be repeated and the Morning Herald wrote:

A new Concertante from HAYDN, combined with all theexcellencies of music; it was profound, airy, affecting andoriginal, and the performance was in unison with the merit ofthe composition. SALOMON particularly exerted himself on thisoccasion, in doing justice to the music of his friend HAYDN.’

It is only in the past 20 years that the piece hasrecaptured the popularity it enjoyed in the 1790s – as well it might, for it combines the maturity of style andcertainty of orchestral writing of Haydn’s Paris and

ABOUT THE MUSIC

8 | Sydney Symphony

London symphonies with a lighter tone of unashamedentertainment music. Unlike most of the sinfonie concertanteof its time, Haydn’s uses the soloists mainly as a group,without neglecting the characteristic timbre of eachinstrument.

Listening guide

The first movement is the most symphonic in style, and is richly scored for horns, trumpets and drums as well aswinds. It features a fully written-out cadenza by Haydn forthe four soloists together. (Mozart likewise wrote out thecadenza for his K.364 violin and viola concertante).

The Andante begins delightfully with the soloinstruments playing against pizzicato strings, the first ofmany textural felicities. The last movement gave Salomonan opportunity to shine with a device Haydn had used insome of his early symphonies. Recitative passages for thesolo violin provide it with the opportunity to behave asthough it were a dramatic soprano, complete with writtenout appoggiaturas (‘leaning’ notes).

DAVID GARRETT ©1997

This Sinfonia concertante calls for flute, two oboes, one or twobassoons, two horns and two trumpets; timpani and strings.

The Sydney Symphony first performed this Sinfonia concertante in1968 in a concert conducted by Thomas Mayer; the soloists wereDonald Hazelwood, Guy Henderson, John Cran and GregoryElmaloglou. The most recent performance was in 1998 with BrunoWeil and orchestral soloists John Harding, Catherine Hewgill, DianaDoherty and Roger Nye.

‘…it was profound, airy,

affecting and original…’

REVIEW FROM 1792

Cadenzas in Haydn’s Sinfonia concertante

Concertante works in the 18th century were performed by musicians who shared a stylisticunderstanding, allowing them to fill out the composer’s intentions, extemporaneously, by addingflourishes where the music comes to ‘rest’ in the tonic key, or establishes a new key. Composersexpected these places to be interpreted within the common language, an art which is beingincreasingly revived as we take more seriously what we know of 18th-century performing practices.

Where there are several solo instruments, the need for the composer to write out these passagesis obvious, and in several places in his Sinfonia concertante Haydn himself supplies fullywritten-out cadenzas, including one for all the solo instruments. (Mozart did the same in hisQuintet for piano and winds.)

But there are also certain passages in the Sinfonia concertante where Haydn wittily plays on the audience’s expectation of just such cadenzas, and leaves a silence, followed by a newdeparture in an unexpected key. His use of silence was one of the many humorous devices inHaydn’s arsenal.

9 | Sydney Symphony

Gustav Mahler (1860–1911)

Symphony No.1 in D

Langsam, schleppend – Im Anfang sehr gemächlich(Slow, dragging – Very comfortably)

Kräftig bewegt, doch nicht zu schnell (Forcefully, yet not too fast)



Gustav Mahler once told his friend Natalie Bauer-Lechner that ‘composing is like playing with buildingblocks, where new buildings are created again and againusing the same blocks. Indeed these blocks have beenthere, ready to be used, since childhood, the only timethat is designed for gathering.’

Mahler’s First Symphony proved the point. He drewhis idea for the first movement and also the middlesection of the slow movement from his own Songs of aWayfarer, the song cycle which he’d composed four yearsearlier, in 1884.

The original second movement, entitled Blumine(but rejected by the composer as too light andinsubstantial for a symphony) came from another ofhis early works, The Trumpeter from Säkkingen, and thescherzo contains a tune first composed by Mahler as early as 1880. Aside from his own earlier works, the First Symphony also quotes motifs from Liszt’s DanteSymphony, Wagner’s Parsifal, and German drinkingsongs. Truly a number of pre-existing ‘building blocks’went into its construction!

A failed love affair played its part too. Back in 1884,Mahler and the soprano Johanna Richter parted waysafter an intense affair and Mahler poured out his rejected soul in original verses, some of which foundtheir way into the Songs of a Wayfarer and indirectly intothe symphony. ‘The symphony begins where the love-affair ends,’ Mahler wrote subsequently. ‘The real lifeexperience was the REASON for the work, not itscontent.’

Perhaps because of all this anterior material, Mahlercomposed the bulk of the work in just six weeks in theearly spring of 1888. At the time he was working assecond conductor to Arthur Nikisch at the Leipzig CityTheatre and was characteristically failing to get along

10 | Sydney Symphony

with his boss and had been threatened with the sack.Perhaps in part because of the apparent tenuousness ofhis career in conducting, he was working intensively as a composer, juggling the conducting of opera rehearsalsand performances with early morning and late eveningcomposition.

In early 1888 this punishing regimen had resulted in a big triumph, with his completion of Carl Maria vonWeber’s opera The Three Pintos receiving a warm audienceresponse and introducing Mahler into the circle of theWeber family descendants. Inspired by the success, the28-year-old Mahler launched into his new symphonywith fanatical concentration. ‘It became so overpowering,’he commented later. ‘It flowed out of me like a mountainriver. For six weeks I had nothing but my desk in frontof me.’

Bauer-Lechner followed the progress of the symphony.‘He worked in the morning from the time he got up until 10 o’clock and in the evenings whenever he wasfree,’ she wrote. ‘Meanwhile – in a magnificent March and April – he constantly went walking in the Rosental.The public holidays on the death of Kaiser Wilhelm were like a gift to him: ten days which he used mostthoroughly.’

When the first movement was done, he played it on the piano for the Weber family, who were stunned andrequested an encore of the work. ‘I had no finer hourwith my First Symphony,’ Mahler wrote subsequently tohis mother. ‘It proved a downright sensation with them.’But the work would never enjoy such immediate approvalagain. Time and bitter experience would demonstratethat not everyone was as enlightened about Mahler’s First Symphony as the grandson of Carl Maria von Weberand his family.

By contemporary standards, the completed symphonywas massive. Nearly an hour long and in five movements,it employed a large orchestra including seven horns andfour trumpets, as well as four flutes, three oboes, fourclarinets, three bassoons, three trombones, a prominenttuba, timpani, extensive percussion, harp and a largebody of strings.

Elsewhere of course, the biggest-name composer ofthe time, Johannes Brahms, was still writing symphoniesthat could have been performed by Beethoven’s orchestra,and confining his musical ideas within Classical four-movement proportions. In that context, the young

‘It flowed out of me like

a mountain river. For

six weeks I had nothing

but my desk in front of

me.’

MAHLER


Mahler was a revolutionary, and downright disrespectfulto the grand Viennese tradition, bringing lashings ofthe Bayreuth sensibility into the classical salons of oldEurope.

Despite what was at the time the gargantuan scope ofthe symphony, the initial intention had been to performthe work in a kind of pops-concert, but sanity soonprevailed and Mahler rejected the idea. Instead, Mahler’stroubled tenure in Leipzig came to an end just weeksafter the Symphony’s completion and he moved toBudapest as Artistic Director of the Royal HungarianOpera. Eighteen months later, on 20 November 1889,he conducted the premiere of the First Symphony in the Hungarian capital, heading it ‘A Symphonic Poem in Two Sections’ and including a detailed program.

The Hungarian audience was divided, with some ofMahler’s admirers immediately hailing it as amasterpiece, but with the majority of the paying publicbeing mystified, or worse, offended by it. By the end ofthe performance the boos outweighed the cheers andMahler was distressed by the hostility of the reception. ‘In Pest where I performed it for the first time,’ he wrotelater, ‘my friends steadfastly avoided me afterwards.Nobody dared to talk to me about the performance or my work, and I went around like an invalid or an outcast.’

In response, Mahler locked his manuscript away foranother three years, only returning to it in 1893, by whichtime he was based in Brahms’ old stomping ground of Hamburg. ‘As a whole, everything has become moreslender and transparent,’ he wrote to Richard Straussabout the revision.

This new version was performed in Hamburg on 27 October 1893 and was successful. Encouraged by thatpremiere, Strauss himself programmed it in Weimar,but that third performance caused another controversy.‘My symphony was received with furious opposition bysome and wholehearted approval by others,’ Mahlerwrote. ‘The opinions clashed in an amusing way, in thestreets and in the salons.’

Mahler’s young acolyte, the 17-year-old Bruno Walter,said that the German press condemned the work as ‘acrime against law and order in the realm of symphonicmusic’. He said that the third movement’s funeral marchparticularly offended the ‘writing Philistines’ and thatfew shared his own belief that it was a work of genius.

‘As a whole, everything

has become more slender

and transparent…’

MAHLER

One of the major criticisms was that the program of the symphony, adapted from the novel Titan by theGerman poet Jean Paul Richter, was ‘confused andunintelligible’, as one contemporary newspaper reviewput it, and bore no real connection with the music. The closest connection could be said to be simply a vague Promethean element, a similarity of fantasy andgrotesque humour which the two works – novel andsymphony – share, and a sense of heroic, titanic strugglegoing on within them.

Mahler himself said that he had in mind only ageneralised concept of ‘a powerfully heroic individual,his life and suffering, struggles and defeat at the hands of Fate’. The literary references hardly helped to elucidate music of such elemental power and originality.The program, in other words, was a distraction.

As he would do in subsequent symphonies too,Mahler took the criticism to heart and when the nextperformance occurred in 1896, it bore no program andwas labelled simply ‘Symphony in D major’. The Blumineslow movement was dropped for this performance,turning it into the four-movement work that is nowthe usual performing version, but even then thesymphony failed to capture the imagination of itsaudience. ‘No,’ Mahler commented sadly, ‘they have notunderstood it.’

For years afterwards he lamented the work’s ‘cold effect on the listener’ and at a further performance in1903 he complained that the audience simply ‘didn’t getit’. In 1906, he advised a Paris producer not to put on aperformance of the First Symphony, because ‘it is verydifficult to understand’. He suggested the Fifth or Sixthinstead. And as late as December 1909, less than two yearsbefore his death, he told Bruno Walter that there hadbeen ‘no particular response’ to a New York performanceof the First Symphony.

And yet for all the apparent coldness which its firstaudiences attributed to it, Mahler himself loved thissymphony and it has now become one of his mostpopular. Even today, the originality of its conception can be striking.

Mahler complained that

the audience simply

‘didn’t get it’.



Listening Guide

Right from the outset, the score gives a clear indicationof the work’s intentions. Over a suspended note, thecomposer writes the direction ‘Like a sound of nature’and soon we hear a cuckoo’s call which will permeate themovement as a whole. As the original program stated, it’sintended to depict ‘Spring without end…the awakeningof nature in the early morning’.

It need hardly be stated how revolutionary this‘natural’ approach to composition would have soundedback in 1889. When Stravinsky tried a similar thing aquarter of a century later in his Rite of Spring it causedriots.

What Mahler discovered was that even in the post-Beethoven era, the strict rules of traditional compositionremained current in the musical capitals of Europe,and aside from the storm scene in Beethoven’s PastoralSymphony and ‘Forest Murmurs’ from Wagner’s Siegfried,there were still few precedents for a composer attemptingto imitate the sounds of nature, and never at the verybeginning of a symphony!

But this was a naturalistic revolution which wassweeping not just music but theatre and literature atthe time. With the rise of scientific discovery and the theoretical work of Emile Zola, by the 1880s naturalismand the juxtaposed mundane and profound events of‘real life’ had become the theatrical fashion of the day.

Mahler adapted the aesthetic to music, and in doing so created a new kind of symphonic form whose truegenius is only being fully appreciated now more than a century later. In it, the inconsistencies, the expansivestructures, and the clash between the sublime and thefacile that so characterise everyday existence found amusical form, as the tight Classical structures of sonataform were exploded, quite literally with instruments now going beyond the frame and playing offstage.

All this occurs within the first pages of Mahler’s FirstSymphony. It’s as if a new world of unlimited horizons is dawning right there in front of us.

Add to that the developing literary form of thegrotesque, which was the world inhabited by Richter’snovel, and the remarkable extra-musical inspirationsbehind the style of the symphony are revealed even more clearly. Stark reality and the extremes of humanexperience were hardly the stuff of the Viennese salon,

…there were still few

precedents for a

composer attempting to

imitate the sounds of

nature, and never at the

very beginning of a

symphony!


and the symphony whose genesis was in literature andwhose early life spanned Leipzig, Budapest and Hamburgwould never find favour in Vienna during Mahler’slifetime

Each of the work’s usual four movements has its own take on this revolutionary aesthetic. In the now-customary second movement, it’s Mahler’s employmentof the Ländler – not the refined waltz that we have cometo expect but a much cruder, much more earthy andauthentic kind of peasant dance. This is Schubert andBruckner curdling in the world of fin-de-siècle decadenceand anxiety.

The slow movement is perhaps even more startlingand characteristic. It’s the first of Mahler’s famousfuneral marches, but set to a children’s nursery tune –Bruder Martin in German, Frère Jacques in French. It’sbased on a woodcut entitled The Huntsman’s Funeral (or‘How the animals buried the hunter’) in which animalsfollow the dead man’s coffin. In that illustration there are hares, cats, frogs and crows, all making music.

Mahler’s take on the children’s illustration begins in D minor on a solo double bass and is later interrupted by some crude street music. It’s the sound of everydaylife, but with fantasy and grotesquerie thrown in for anintensely unsettling effect.

The critics didn’t quite know how to react to suchstriking novelty. One wrote, ‘The second part begins witha kind of funeral march, yet we do not know whether weshould take this “funeral march” seriously or interpretit as parody. We are inclined to assume rather the latter,as the main motive of the funeral march is a well-knownGerman student song, Bruder Martin, which we ourselves

‘How the animals buried the hunter’ – a woodcut after a drawing by Moritz von Schwind (1850). This image formed the

inspiration for the third movement of Mahler’s First Symphony.


have frequently sung, albeit not at funerals but whilehappily drinking.’

And then of course there is one of the most famoustransitions in all Mahler, with the Funeral March giving way to the shocking, shrieking, almost despairingattacca into the final movement. Mahler himselfdescribed this transition as being ‘like a flamingaccusation of the Creator’ and also ‘the cry of a deeplywounded heart’.

Friedrich Lohr, who had gone to Budapest especiallyto hear the premiere, commented that an elegant ladysitting next to him was so alarmed by the violence ofthe transition that she dropped everything that she washolding onto the floor!

But as in Richter’s novel, this apocalyptic finalmovement all ends in triumph, with the radiant keyof D major gradually taking over for a conclusion of deep beauty and emotion. In the end, the work hasdemonstrated its own internal logic and its compellingmusical vision based on the music of the street as muchas the harmony of the spheres.

MARTIN BUZACOTT ©2003

Mahler’s First Symphony is scored for four flutes (three doublingpiccolo), four oboes (one doubling cor anglais), four clarinets (withbass clarinet and E flat clarinet doublings), and three bassoons(one doubling contrabassoon); seven horns, four trumpets, threetrombones and tuba; two timpani and percussion (bass drum,cymbals, triangle, tam-tam); harp and strings.

The Sydney Symphony gave the first performance by an ABCorchestra of Mahler’s First Symphony in 1948, conducted byEugene Goossens. The most recent performance was in 2003 underGianluigi Gelmetti.

GLOSSARY

APPOGGIATURA – literally, a leaning note; inpractice a melodic ornament in which themain note is preceded by a note one stepabove or below (therefore in dissonancewith the underlying harmony), whichresolves on a weak beat.

CADENZA – a virtuoso passage, traditionallyinserted towards the end of a concertomovement and marking the final ‘cadence’.In Mozart’s day cadenzas were improvisedby the performer, but many composerswrote out cadenzas either to provide modelsfor their students or for friends to play.

RECITATIVE – in vocal music a recitative is a kind of ‘sung speech’; transferred toinstrumental music, it refers to passages in which the melody and rhythms mimicthe inflections of speech. In the finale ofBeethoven’s Ninth, for example, recitativecan be heard from both the double bassesand the bass soloist

LÄNDLER – a popular Austrian countrydance in triple time. A forerunner of thewaltz, it is slower and ‘heavier’ than theViennese waltz.

In much of the classical repertoire, movementtitles are taken from the Italian words thatindicate the tempo and mood. A selection ofterms from this program is included here.

Allegro – fastAllegro con spirito – fast, with spiritAndante – at a walking pace

This glossary is intended only as a quick and easyguide, not as a set of comprehensive and absolutedefinitions. Most of these terms have many subtleshades of meaning which cannot be included forreasons of space.

MORE MUSIC

Selected Discography

GIANLUIGI GELMETTI

Nino Rota Film Music

Music from The Leopard, War and Peace, La Strada, WaterlooMonte Carlo Philharmonic EMI ENCORE 5 74987-2

Rossini Overtures and highlights from The Barber

of Seville

Thomas Hampson, Susanne Mentzer; Stuttgart RadioSymphony Orchestra, Toscana OrchestraEMI 74752-2

Ravel Tzigane, with Berg and Stravinsky Violin

Concertos

Frank Peter Zimmermann is the soloist in this 1990recording; out of print but available as a reissue fromArkivmusic.comEMI CLASSICS 54248

HAYDN

Sándor Végh and soloists from his Camerata Academicagive a spirited performance of the Sinfonia concertanteon a disc that also includes Symphony No.39 in G minorand No.60 in C (Il distratto).ORFEO D’OR 532001

Australian Elizabeth Wallfisch is one of the soloists in the recording with the Orchestra of the Age ofEnlightenment, directed by Sigiswald Kuijken. The value-packed 2-CD set also includes Symphony No.26 in D minor (Lamentatione), Symphony No.52 in C minor,and Symphony No.53 (L’Imperial), all with La Petite Bande;and Wallfisch and the OAE in two Haydn violin concertos.VIRGIN CLASSICS VERITAS 61800

On the Nimbus label, Adám Fischer and the Austro-Hungarian Haydn Orchestra combine the Sinfoniaconcertante with five of the late symphonies, includingNo.92 (Oxford).NIMBUS 5417

MAHLER

Mahler is most closely associated with the ViennaPhilharmonic and this orchestra has recorded the FirstSymphony with conductors such as Georg Solti andLorin Maazel as well as Leonard Bernstein. Bernstein’srecording is available on DG’s Panorama label, coupledwith the Fifth Symphony.DEUTSCHE GRAMMOPHON 469154

Bernstein – a leader in the revival of Mahler’s music in the 1960s – also recorded this symphony with the New York Philharmonic (SONY CLASSICAL 7069, SACD) andwith the Royal Concertgebouw Orchestra (DG 427303).

For other Mahler pioneers, try Rafael Kubelik’s 1967recording with the Bavarian Radio Symphony Orchestraon DG’s The Originals label.DEUTSCHE GRAMMOPHON 449735

And Bruno Walter, another advocate, is represented in a2-CD set that also includes the Resurrection Symphony.SONY 64447

JULY–AUGUST

4 July, 8pmMAHLER 1

Gianluigi Gelmetti conductorMichael Dauth violin, Shefali Pryor oboeMatthew Wilkie bassoon, Catherine Hewgill celloHaydn, Mahler

29 & 30 July, 8pmSYDNEY INTERNATIONAL PIANO COMPETITION

Nicholas Milton conductorFinalists to be advised

Mozart concertos

1 August, 8pm & 2 August, 2.30pmSYDNEY INTERNATIONAL PIANO COMPETITION

Kirill Karabits conductorFinalists to be advised

19th and 20th-century concertos

8 August, 8pmSTRAVINSKY’S FIREBIRD

David Robertson conductorYefim Bronfman pianoTchaikovsky, Stravinsky

20 August, 8pmEMANUEL AX IN RECITAL

Schubert, Liszt

Broadcast Diary

Selected Sydney Symphony concerts are recorded forwebcast by BigPond and are available On Demand.Visit: sydneysymphony.bigpondmusic.com

Latest webcast:EMANUEL AX PLAYS MOZART

Available On Demand

sydneysymphony.com

Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.

2MBS-FM 102.5SYDNEY SYMPHONY 2008

Tue 8 July, 6pmWhat’s on in concerts, with interviews and music.

Webcast Diary



ABOUT THE ARTISTS

Gianluigi Gelmetti

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

KEI

TH S

AU

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ERSGianluigi Gelmetti, Chief Conductor and Artistic Director

of the Sydney Symphony, studied with Sergiu Celibidache,Franco Ferrara and Hans Swarowsky. For ten years heconducted the Stuttgart Radio Symphony Orchestra; he has conducted many of the leading orchestras in theworld and appears regularly at international festivals.Since 2000 he has been Music Director of the Teatrodell’Opera di Roma.

Highlights of past seasons include engagements inFrance, Germany, Great Britain, America, Australia, Japan,Switzerland and Italy, where he conducted Mascagni’s Iris and Respighi’s La fiamma at the Teatro dell’Opera diRoma and William Tell at the Rossini Opera Festival. In1999 he was awarded the Rossini d’Oro Prize. GianluigiGelmetti has also worked regularly at the Royal OperaHouse, Covent Garden.

His interpretation of Mozart’s The Marriage of Figaroearned him the title Best Conductor of the Year from the German magazine Opernwelt, and in 1997 he won theTokyo critics’ prize for the best performance of the year of Beethoven’s Symphony No.9. He has been honoured as Chevalier de l’Ordre des Arts et des Lettres in Franceand Grande Ufficiale della Repubblica Italiana in Italy.

Gianluigi Gelmetti’s recording catalogue includesoperas by Salieri, Rossini, Puccini and Mozart, thecomplete orchestral music of Ravel, the late symphoniesof Mozart and works by many 20th-century composers,including Stravinsky, Berg, Webern, Varèse and Rota.Among his recordings are William Tell, Iris, La fiamma,Bruckner’s Symphony No.6 and Rossini’s Stabat mater.

Gianluigi Gelmetti is also a composer; his recentworks include In Paradisum Deducant Te Angeli, written tocommemorate the tenth anniversary of Franco Ferrara’sdeath, Algos, and Prasanta Atma, in memory of SergiuCelibidache. Last month saw the Australian premiere ofCantata della vita.

He has taught at the Accademia Chigiana in Siena since 1997.


Michael Dauth violinCONCERTMASTER, CHAIR SUPPORTED BY THE SYDNEY SYMPHONY BOARD AND COUNCIL

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honours from the Sydney Conservatorium of Music. During herstudies she participated in numerous programs with the AustralianYouth Orchestra and was a member of the Sydney Sinfonia. Upongraduating she joined the Sydney Symphony as Second Oboe.

In 2004/05 she was granted leave in order to study as apostgraduate with Stefan Schilli at the Mozarteum University inSalzburg. Not long after her return to Australia she was appointedAssociate Principal Oboe. In 2006 she won the Other Instrumentscategory of the Symphony Australia Young Performer Awards. She has performed as soloist with the Sydney, Melbourne andTasmanian Symphony Orchestras, including performances withviolinist Nigel Kennedy in 2006.

Shefali Pryor has performed as guest principal with theAustralian Chamber Orchestra and the Auckland Philharmonic,and as a casual musician with the Australian Opera and BalletOrchstra and the Tasmanian Symphony Orchestra. She is a foundingmember of the Sydney Omega Ensemble and has performed withthe Australia Ensemble, Sydney Soloists, and Southern Cross Soloists as well as with the staff of the Sydney Conservatorium,where she teaches oboe.

Michael Dauth studied violin with his father and later with FranzJosef Maier and the Amadeus Quartet in Cologne, and Yfrah Neaman at the Guildhall School in London. Soon after, he becameConcertmaster of Hanover’s North German Radio Orchestra andsuccessfully auditioned for the Berlin Philharmonic under Herbertvon Karajan. He was invited to lead the Berlin Philharmonic Octet,Berlin Piano Trio and Chamber Virtuosi. In 1988 he moved toAustralia, became Concertmaster of the Melbourne Symphony,and was the founding Artistic Director of the Orchestra EnsembleKanazawa, Japan, a position he still holds.

He has appeared as a soloist with major orchestras in Japan,Australia, New Zealand and Europe, performs extensively as achamber musician, and has appeared at all the major festivalsincluding Salzburg, Lucerne, Berlin and Tokyo.

His recordings include the Beethoven, Tchaikovsky andMendelssohn violin concertos, as well as Schnittke’s ConcertoGrosso (which received the Deutsche Grammophon prize in Japan),and the premiere recording of Takemitsu’s Nostalghia. Hisrecordings with Orchestra Ensemble Kanazawa include an all-Johann Strauss release and the Vivaldi-Piazzolla Eight Seasons.

In 2003 Michael Dauth received the Centenary medal awarded by the Governor-General for service to Australian society and theadvancement of music.


Matthew Wilkie bassoonPRINCIPAL BASSOON

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Conservatorium of Music, during which time he made many soloappearances with the Queensland Youth Orchestra, he settled inHannover to continue his studies with Professor Klaus Thunemann.

In Germany he appeared as soloist with a number of orchestrasincluding the South West Germany Chamber Orchestra and theWürttemberg Chamber Orchestra. In Geneva he won second prizein the International Music Competition, performing Mozart’sBassoon Concerto with the Orchestre de la Suisse Romande.

He joined the Chamber Orchestra of Europe in 1986 as PrincipalBassoon and has made a number of solo performances andrecordings with them, including the Mozart concerto and theRichard Strauss Duet Concertino. With the Wind Soloists of theCOE his recordings include Mozart’s Wind Serenades and WindDivertimenti. In 1995, together with members of the COE, herecorded the trio sonatas of Jan Dismas Zelenka.

Matthew Wilkie was appointed Principal Bassoon with the SydneySymphony in 2000, and in recent years he has performed both theMozart concerto and the Strauss Duet Concertino with the Orchestra.He lives with his Japanese-born wife, Noriko Shimada (PrincipalContrabassoon with the Sydney Symphony), and two young children.

Catherine Hewgill celloPRINCIPAL CELLO, MR TONY & MRS FRANCES MEAGHER CHAIR

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travelled to London for a year’s study at the Royal College of Music.She then studied at the University of Southern California and theSanta Barbara Music Academy, and was a Fellow at the AspenSummer Music Festival.

In 1984 she won the Hammer-Rostropovich Scholarship and was invited by Rostropovich to perform in a recital at the SecondAmerican Cello Congress. A period of private study withRostropovich followed. She then toured Europe with I Solisti Veneti, and studied with William Pleeth in London. On her return to Australia she joined the Australian Chamber Orchestra.

In 1989 she joined the Sydney Symphony, and was appointedPrincipal Cello the following year. She has performed as a soloistwith most of the Australian symphony orchestras and her concertswith the Sydney Symphony have included Haydn’s Sinfoniaconcertante and C major and D major concertos, Elgar’s CelloConcerto, Beethoven chamber music, Messiæn’s Quartet for the End of Time, the Brahms Double Concerto with Michael Dauth,and as a soloist in concerts with Nigel Kennedy.

In 2003 she toured Japan with the Orchestra Ensemble Kanazawaand Michael Dauth, performing the Brahms Double. She alsoperformed in the 2006 Australian Festival of Chamber Music inTownsville. Catherine Hewgill plays a 1729 Carlo Tononi cello.


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities. Last year the Orchestracelebrated its 75th anniversary and themilestone achievements during itsdistinguished history.

Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.

Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon,Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, aposition he holds in tandem with that ofMusic Director at Rome Opera. MaestroGelmetti’s particularly strong rapportwith French and German repertoire iscomplemented by his innovativeprogramming in the Shock of the Newconcerts.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonyalso maintains an active commissioningprogram promoting the work of Australiancomposers, and recent premieres haveincluded major works by Ross Edwards and Brett Dean, as well as Liza Lim, whowas composer-in-residence from 2004 to2006.

In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.

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PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13 14

15 01Second Violins

02 03 04 05 06

07 08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate Concertmaster

03 Kirsty HiltonAssistant Concertmaster

04 Fiona ZieglerAssistant Concertmaster

05 Julie Batty06 Gu Chen07 Sophie Cole08 Amber Gunther09 Rosalind Horton10 Jennifer Hoy11 Jennifer Johnson12 Georges Lentz13 Nicola Lewis14 Alexandra Mitchell

Moon Design Chair of Violin15 Léone Ziegler

Second Violins

01 Marina MarsdenPrincipal

02 Emma WestA/Associate Principal

03 Shuti HuangA/Assistant Principal

04 Susan DobbiePrincipal Emeritus

05 Pieter Bersée06 Maria Durek07 Emma Hayes08 Stan W Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Manu Berkeljon First Violin†

Michele O’Young First Violin

Martin Silverton First Violin

Natsuko Yoshimoto Violin

Rohana Brown Second Violin†

James Cuddeford Second Violin

Alexandra D’Elia Second Violin#

Thomas Dethlefs Second Violin

Belinda Jezek Second Violin

Alexander Norton Second Violin#

Jacqueline Cronin Viola#

Jennifer Curl Viola#

Rosemary Curtin Viola#

Yilin Zhu Viola†

Rowena Crouch Cello#

Patrick Murphy Cello#

Patrick Suthers Cello†

Lauren Brandon Double Bass

Damien Eckersley Double Bass

Gordon Hill Double Bass#

David Rowden Clarinet

David Papp Oboe†

Alexander Love Horn

Michelle Perry Horn

Brian Nixon Percussion

# = Contract Musician† = Sydney Symphony

Fellow

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council


08Cellos

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01Violas

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04 05 06 07 08 09

01Double Basses

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Harp01 Flutes

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MUSICIANS

Violas

01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe

Cellos

01 Catherine Hewgill Mr Tony & Mrs Frances Meagher Chair of Principal Cello

02 Nathan Waks Principal

03 Leah LynnAssistant Principal

04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Neil BrawleyPrincipal Emeritus

04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Gordon Hill(contract, courtesy Auckland Philharmonic)

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Euan Harvey06 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet

03 John Foster04 Anthony Heinrichs

Trombone

01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipal

02 Adam JeffreyAssistant Principal Timpani/Tutti Percussion

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 06 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

02

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER

MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Austrian National Tourist Office

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contact Alan Watt on (02) 8215 4619.


01 02 03 04 05

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DIRECTORS’ CHAIRS

01Mulpha Australia Chair of Principal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul SalteriChair of Artistic DirectorEducation, Richard Gill OAM

04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris

05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing

06Brian and Rosemary White Chair of Principal DoubleBass, Kees Boersma

07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding

08Gerald Tapper, Managing Director Rogen Internationalwith Rogen International Chair of Trombone, Nick Byrne

09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell

10Andrew Kaldor and RenataKaldor AO Chair of PrincipalOboe, Diana Doherty

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11Andrew Turner and VivianChang Chair of PrincipalViola and Artistic Director,Fellowship Program, Roger Benedict

12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild

13 Mr Tony & Mrs FrancesMeagher Chair of PrincipalCello, Catherine Hewgill


Mrs Mary Costigan °*Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Mr Colin DraperMrs Francine J Epstein °Mr and Mrs David Feetham Mr Steve GillettIn memory of Angelica Green §Anthony Gregg & Deanne

Whittleston ‡Dr & Mrs C Goldschmidt §Beth Harpley *Mr Ken Hawkings °*Dr & Mrs Michael Hunter §Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Doctor Faith M Jones §Mr Noel Keen *Mrs Margaret Keogh °*Iven & Sylvia Klineberg *Dr Barry LandaDr & Mrs Leo Leader °Margaret Lederman §Ms A Le Marchant *Mr & Mrs S C Lloyd °Mr James McCarthy *Mr Matthew McInnes §Ms Julie Manfredi-HughesKate & Peter Mason °Ms J Millard *‡Helen Morgan *Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A Oppen §Mrs Roslyn Packer AO °Mrs Jill Pain ‡Mr Tom PascarellaDr Kevin Pedemont *Mr & Mrs Michael Potts Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol

Reid §Mr M D Salamon §In memory of H St P Scarlett °*Mr John Scott °Ms Ann Sherry AO °Dr John Sivewright &

Ms Kerrie Kemp ‡Margaret Suthers °Mrs Elizabeth F Tocque °*Mr & Mrs Richard Toltz °Mr Andrew & Mrs Isolde

TornyaRonald Walledge °Louise Walsh & David Jordan °Mrs Lucille Warth ‡Mrs Christine WenkartDr Richard Wing §Mr Robert Woods *Jill WranMiss Jenny Wu Mrs R Yabsley °§Anonymous (19)

PLAYING YOUR PART

MaestriBrian Abel & the late Ben

Gannon AO °Geoff & Vicki Ainsworth *Mrs Antoinette Albert §Mr Robert O Albert AO *‡Alan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§Mr John Curtis §Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*Mr Harcourt Gough §Mr David Greatorex AO &

Mrs Deirdre Greatorex §The Hansen Family §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mrs T Merewether OAM &

the late Mr EJ Merewether Mr James & Mrs Elsie Moore °Mr B G O’Conor °§The Paramor Family *The Ian Potter Foundation °Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Dr John Roarty in memory of

Mrs June RoartyRodney Rosenblum AM &

Sylvia Rosenblum *Mr Paul & Mrs Sandra Salteri °Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (2) *

VirtuosiMr Roger Allen & Mrs Maggie

GrayMr Robert & Mrs L Alison Carr §Mr Greg Daniel Ian Dickson & Reg Holloway°Mr Ross GrantMr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§

Ms Ann Lewis AM Helen Lynch AM & Helen Bauer°Mr & Mrs David Milman §Mr Michael J. Perini *Mrs Helen Selle §David Smithers AM & Family °§Ms Gabrielle Trainor °In memory of Dr William &

Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1)

SoliMr David Barnes °Mr Charles Barran §Mr Anthony Berg AMMs Jan Bowen °§Mr Alexander & Mrs Vera

Boyarsky §Mrs Emily Chang §Mr Peter Coates Ms Elise Fairbairn-SmithMr Robert Gay §Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mr Philip Isaacs OAM °§Mr Bob Longwell Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Mrs Mora Maxwell °§Mr and Mrs John van OgtropMs Robin Potter °§Ms Julie Taylor ‡Mr Geoff Wood & Ms Melissa

Waites Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (4)

TuttiRichard Ackland °Mr C R Adamson §Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J Bell *‡Mr Phil Bennett Nicole Berger *Mr Mark BethwaiteGabrielle Blackstock °‡Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §A I Butchart °*Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &

Mrs Margaret Cunningham °§Mrs Ashley Dawson-Damer °Mr Peter & Mrs Mary Doyle °*Mr & Mrs J B Fairfax AM §Mr Russell Farr Mr Ian Fenwicke & Prof Neville

Wills §In memory of Hetty Gordon §Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr Charles Hanna

Rev H & Mrs M Herbert °*Mr A & Mrs L Heyko-Porebski°Ms Judy JoyeMr & Mrs E Katz §Miss Anna-Lisa Klettenberg §Mr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §Dr Garth Leslie °*Erna & Gerry Levy AM §Mrs Belinda Lim & Mr Arti Ortis §Mr Gary Linnane °§Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM °Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic °§Wendy McCarthy AO °Justice Jane Matthews §Mr Ian & Mrs Pam McGaw *Mrs Barbara McNulty OBE §Ms Margaret Moore & Dr Paul

Hutchins *Mr Robert Orrell °Timothy & Eva Pascoe §Ms Patricia Payn °§Mrs Almitt PiattiMr Adrian & Mrs Dairneen Pilton Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Pamela Rogers °‡Mr Brian Russell & Mrs Irina

SinglemanMs Juliana Schaeffer §Robyn Smiles §The Hon. Warwick SmithDerek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Dr Heng & Mrs Cilla Tey §Mr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Merle Turkington °Mrs Kathleen Tutton §Ms Mary Vallentine AO §Henry & Ruth WeinbergAudrey & Michael Wilson °Anonymous (14)

Supporters over $500Ms Madeleine AdamsPTW Architects §Mr John Azarias Mr Chris & Mrs Mary Barrett °Doug & Alison Battersby °Ms Wendy BlackBlack CommunicationsDr & Mrs Hannes Boshoff §M BulmerMarty Cameron §Hon. Justice J C & Mrs

Campbell °*Mr Brian CaseyMr B & Mrs M Coles °Mrs Catherine Gaskin Cornberg§Jen Cornish °Mr Stan Costigan AO &

Patron Annual

Donations Levels

Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999

To discuss givingopportunities, please callAlan Watt on (02) 8215 4619.

° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace is limited we are unable to list donors who give between $100 and $499 –please visit sydneysymphony.com for a list of all our patrons.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Matthews AO*Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen Pearse

Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna SchaefferLeo Schofield AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC

Minister for Primary Industries, Energy, MineralResources and State Development

Dr Richard Sheldrake Director-General, Department of Primary Industries

Mark Duffy Director-General, Department of Water and Energy

Colin Bloomfield Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBilliton

Romy Meerkin Regional Express Airlines

Peter Freyberg Xstrata

Tony McPaul Cadia Valley Operations

Terry Charlton Snowy Hydro

Sivea Pascale St.George Bank

Paul Mitchell Telstra

John Azarius Deloitte Foundation

Greg Jones

Rob Vickery Royal Agricultural Society

Gerard Lawson Sunrice

Grant Cochrane The Land


Sydney Symphony Staff

MANAGING DIRECTOR

Libby ChristieEXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff WilsonARTIST LIAISON MANAGER

Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR

Lisa Davies-GalliADMINISTRATION ASSISTANT

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret MooreEDUCATION COORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Development

CORPORATE RELATIONS MANAGER

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Seleena SemosPHILANTHROPY MANAGER

Alan WattDEVELOPMENT EXECUTIVE

Kylie Anania

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

Public Relations

PUBLIC RELATIONS MANAGER

Yvonne ZammitPUBLICIST

Stuart Fyfe

Public Affairs

PUBLIC AFFAIRS MANAGER

Claire Duffy

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark Elliott

Customer Relations

MARKETING MANAGER – CRM

Rebecca MacFarlingDATA & ONLINE TECHNOLOGY MANAGER

Marko LångONLINE MANAGER

Kate Taylor

Marketing Communications

MARKETING MANAGER – TRADITIONALMARKETS

Simon Crossley-MeatesMARKETING MANAGER – NEW MARKETS& RECORDINGS

Penny EvansMARKETING COORDINATOR

Antonia Farrugia

Box Office

BOX OFFICE MANAGER

Lynn McLaughlinBOX OFFICE COORDINATOR

Peter GahanCUSTOMER SERVICE REPRESENTATIVES

Michael DowlingErich GockelNatasha Purkiss

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRAMANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Greg LowTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Marrianne CarterACTING STAGE MANAGER

Peter Gahan

BUSINESS SERVICES

DIRECTOR OF FINANCE

Martyn DominyFINANCE MANAGER

Ruth TolentinoACCOUNTS ASSISTANT

Li LiOFFICE ADMINISTRATOR

Rebecca WhittingtonPAYROLL OFFICER

Usef HoosneyINFORMATION TECHNOLOGY MANAGER

Tim Graham

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

COMMERCIAL ENTERPRISES

COMMERCIAL ENTERPRISES MANAGER

David PrattRECORDING ENTERPRISES MANAGER

Philip Powers

This is a PLAYBILL / SHOWBILL publication

Publisher

Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office:

1017 Pacific Highway, Pymble, NSW 2073

Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected]: www.playbill.com.au

Operating in Sydney, Melbourne, Canberra, Brisbane,

Adelaide, Perth, Hobart and Darwin

EXECUTIVE CHAIRMAN

Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR

Michael Nebenzahl

EDITORIAL DIRECTOR

Jocelyn Nebenzahl

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

Overseas Operations:

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SYMPHONY AUSTRALIA LIMITED

Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007GPO Box 9994, Sydney NSW 2001Telephone (02) 8333 1651Facsimile (02) 8333 1678

www.symphony.net.au

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Facsimile (02) 8215 4646

Customer Services:GPO Box 4338, Sydney NSW 2001Telephone (02) 8215 4600Facsimile (02) 8215 4660

www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced ortransmitted 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 thispublication do not necessarily reflect 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 acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.

Please address all correspondence to the Publications Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVE OFFICER . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

Bennelong PointGPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com

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