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Roman Holiday · 2019-07-10 · 9 | Sydney Symphony ‘Many persons here consider Melusina to be my best overture…’ MENDELSSOHN Kreutzer’s libretto Märchen von der schöner

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Page 1: Roman Holiday · 2019-07-10 · 9 | Sydney Symphony ‘Many persons here consider Melusina to be my best overture…’ MENDELSSOHN Kreutzer’s libretto Märchen von der schöner










Page 2: Roman Holiday · 2019-07-10 · 9 | Sydney Symphony ‘Many persons here consider Melusina to be my best overture…’ MENDELSSOHN Kreutzer’s libretto Märchen von der schöner



The Sydney Symphony is a fi rst-class orchestra based in one of the world’s most beautiful cities, and Emirates, as a world-class airline, is proud to continue as the orchestra’s Principal Partner in 2011.

A fi rst-class experience is always a memorable one. Whether it be exiting your personal Emirates chauffeur driven car at the airport, ready to be whisked away to the Emirates lounge, or entering a concert hall for an unforgettable night of music, the feeling of luxury and pleasure is the same.

Emirates views sponsorships such as the Sydney Symphony not just as an alignment of values, but also as a way of extending commitments to the destinations the airline serves around the world. Emirates has been a partner of the Symphony since 2000, the same year the airline launched fl ights to Sydney.

Through the support of sponsors and customers in New South Wales over the past ten years, Emirates has grown and now operates double-daily fl ights between Sydney and Dubai, with convenient connections to more than 100 destinations, as well as daily trans-Tasman fl ights to Auckland and Christchurch.

Australia-wide, Emirates operates 63 fl ights per week from Sydney, Melbourne, Brisbane and Perth to Dubai, and 28 fl ights per week trans-Tasman.

Sydneysiders can experience the state-of-the-art features of Emirates’ ultra-modern A380 aircraft which operates daily from Sydney to Dubai and Auckland. These features include onboard lounges where First and Business Class passengers can socialise while enjoying canapés and beverages on demand, and onboard Shower Spas.

This is in addition to the other special touches premium passengers have come to experience from Emirates, such as chauffeur-driven airport transfers, access to dedicated airport lounges, private suites and lie-fl at seating, gourmet food and beverage service, plus more than 1000 channels of entertainment.

We look forward to working with the Sydney Symphony throughout 2011, to showcase the fi nest in both music and luxury travel.

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THURSDAY AFTERNOON SYMPHONYThursday 8 September | 1.30pm

EMIRATES METRO SERIESFriday 9 September | 8pm

GREAT CLASSICSSaturday 10 September | 2pm

MONDAYS @ 7Monday 12 September | 7pm

Sydney Opera House Concert Hall

ROMAN HOLIDAYNicholas McGegan conductorBen Jacks horn

FELIX MENDELSSOHN (1809–1847)The Fair Melusina – Overture, Op.32

RICHARD STRAUSS (1864–1949)Horn Concerto No.1 in E fl at, Op.11

Allegro –Andante –Rondo (Allegro)


OTTORINO RESPIGHI (1879–1936)Gli Uccelli (The Birds) – Suite

PreludeThe DoveThe HenThe NightingaleThe Cuckoo

MENDELSSOHNSymphony No.4 in A, Op.90, Italian

Allegro vivaceAndante con motoCon moto moderatoSaltarello (Presto)

Monday’s performance will be recorded for later broadcast across Australia on ABC Classic FM.

Pre-concert talk by Yvonne Frindle in the Northern Foyer, 45 minutes before each concert.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 10 minutes, 15 minutes, 20-minute interval, 19 minutes, 29 minutesThe concert will conclude at approximately 3.15pm (Thu), 9.45pm (Fri), 3.45pm (Sat), 8.45pm (Mon).

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Carnival in Rome, Italy (1839) – oil painting by Alexander Myasoedov (Russian artist, 1806–c.1852)

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Roman Holiday

If the phrase ‘Roman Holiday’ brings to mind a fi lm starring Gregory Peck and introducing Audrey Hepburn, then it will also bring to mind one glorious, carefree day full of reckless (but innocent!) pleasure. Felix Mendelssohn enjoyed a diff erent kind of Roman holiday – pleasurable but hardly reckless.

After breakfast (he wrote home) I play, sing and compose until about noon. Then Rome in all her splendour awaits me.…I go to work methodically, selecting a particular object of interest. One day it will be the ruins of the ancient city, another the Borghese Gallery, the Capitol, St Peter’s, or the Vatican. Thus each day is made memorable, and since I take my time I remember what I have seen. When noon comes I hate stopping work, but I say to myself that I must see the Vatican; yet once there I equally hate leaving…

Who hasn’t met a tourist like Mendelssohn? – diligent at work, methodical at play. If he were travelling today, he’d be publishing an exquisite blog: beautifully written accounts, accompanied by accomplished watercolours (or photographs) and audio of his latest musical inspiration. Fingal’s Cave, perhaps; gloomy Scottish ruins; or the carnival atmosphere of Italy.

Respighi is the local Italian in this program and his travelling took him in the opposite direction. Where Mendelssohn – and composers before him such as Handel and Mozart – had made the pilgrimage to Italy, Respighi travelled in 1900 to St Petersburg, where he studied with Rimsky-Korsakov. The result is evident in Respighi’s colourful and often brilliant use of the orchestra. He also indulged in time travel: fi nding inspiration in music of the past. Respighi shared with Mendelssohn, not to mention the young Richard Strauss, a deep appreciation for his stylistic heritage.

One of the beauties of Mendelssohn’s seriousness in all things is that the results are so perfect. A more careless composer couldn’t have written a symphony as carefree and spontaneous in eff ect as the Italian Symphony. And this work sets the tone for the concert. There is the fabulous magic of the overture, the pure melodic instinct of the horn concerto, charming evocations of birds, and a symphony that dances under blue skies. We’re not always in Rome, but the holiday mood is never very far away.


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Felix MendelssohnThe Fair Melusina – Overture, Op.32

Like most people of high creativity and intelligence, Felix Mendelssohn loved a challenge. He composed his Ruy Blas Overture in a few days (after fi rst declining because he hated Victor Hugo’s play), when the Theatrical Pension Fund told him they would give him more notice next time!The Melusina Overture, originally titled ‘The Mermaid and the Knight’, was written because on hearing the overture to Conradin Kreutzer’s opera on the subject in Berlin in 1833, Mendelssohn had been irritated and determined that he could do much better. He wouldn’t have admitted this if he felt he had not succeeded.In January 1836 he wrote to his sister: ‘Many persons here consider Melusina to be my best overture: at all events, it is the most deeply felt; but as to the fabulous nonsense of the musical press, about red coral and green sea-monsters, and magical palaces, and deep seas, this is stupid stuff and fi lls me with amazement. But now I take my leave of water for some time to come...’.

Nowadays Mendelssohn’s overture is more likely to be encountered in music reference books than in concert. Its opening theme is almost identical, when slowed down, with the Rhine music at the beginning of Wagner’s Rheingold: an ironic and probably unconscious borrowing by this arch-Mendelssohn-detractor.




Born Hamburg, 1809Died Leipzig, 1847

Felix Mendelssohn was called the 19th-century Mozart: he had a youthful genius, composing masterpieces such the Octet and the Midsummer Night’s Dream Overture while a teenager; his music has a classical sensibility; and he died in his 30s, his tremendous activity as composer, pianist, conductor and administrator having taken its toll on a fragile constitution.


This overture was composed for the concert hall rather than the theatre, but it took its impetus and inspiration from a night at the opera. Mendelssohn went to hear an opera by Conradin Kreutzer, its story based on an ancient French fairy tale, and decided he could do much better with the subject. It seems he was right. In the fairy tale, Melusina turns into a serpent from the waist down every Saturday, a fact she must hide from her husband. He breaks a vow and watches her transform – the story cannot end happily. Mendelssohn’s fl owing and ‘liquescent’ music suggests a water serpent, or rather a mermaid. The composer himself warns us against allowing our imaginations to run riot, but this might be an occasion when it’s best to ignore advice…

Die schöne Melusine (1844) by Julius Hübner

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‘Many persons here consider Melusina to be my best overture…’MENDELSSOHN

Kreutzer’s libretto Märchen von der schöner Melusine – literally a fairy tale – is the story of the most famous of all the fées of French romance, also known as Mélisande. Having enclosed her father in a high mountain for off ending her mother, she was condemned to become every Saturday a serpent from the waist down. She married Raymond, Count of Lusignan, making him vow not to visit her on a Saturday, but he hid, and saw her transformation into a serpent. She was obliged to leave him, and wander as a spectre till the day of doom.

Clearly a mermaid was the type of half-human, half-fi sh Mendelssohn had in mind, for the main musical subject of his overture has watery, wavy, liquescent motion. It is also capable of resourceful variation and extension. The other principal theme is a proud one of knightly character, no doubt representing the Count. But we have Mendelssohn’s warning against reading any more of the story into his music, and one commentator has suggested that the real contrast is between the gentler and the stormier aspects of the sea.

So deft is Mendelssohn’s scoring that it is worth pointing out the subtleties which achieve such an elegant, poetic, and lucid eff ect. The coda passes the introductory fi gure from instrument to instrument, against pizzicato chords, then the violin soars still further, fi nally handing over to the fl ute. The last chord of F major lies ‘deep and soft’, in the words of Percy Young, ‘in the care of clarinet, bassoon and two horns. The edging again comes from the pizzicato of the strings.’


The Fair Melusina overture calls for pairs of fl utes, oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The Sydney Symphony fi rst performed the overture in 1953, conducted by Eugene Goossens, and most recently in 1995, conducted by Gilbert Varga.

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Born Munich, 1864Died Garmisch-Partenkirchen, 1949

Richard Strauss made his name composing operas and exploiting the evocative and storytelling possibilities of the symphonic poem (or orchestral ‘tone poem’, as he preferred to call it) that had been invented by Liszt. Although he wrote two symphonies as a teenager, the symphony was not the orchestral genre that most captured his imagination as an adult, nor was the concerto. He did, however, compose a number of works for solo instrument with orchestra, including the Burleske for piano, an early violin concerto, the Duet-Concertino for clarinet and bassoon, and the tone poem Don Quixote with its featured viola and cello. And his oboe concerto and the two horn concertos are fi rmly established as repertoire staples.


Richard Strauss’s affi nity for the horn is unsurprising: his father was a leading horn player. Even in his orchestral music and operas, some of the most striking moments feature the horn, such as the surging fanfare that begins Der Rosenkavalier. The fi rst horn concerto was composed when Strauss was 19 years old and reveals his earliest musical infl uences. The solo writing also exploits techniques and melodic patterns more commonly associated with the valveless natural horn of the previous century.

Richard StraussHorn Concerto No.1 in E fl at, Op.11

Allegro –Andante –Rondo (Allegro)

Ben Jacks horn

Richard Strauss is associated with marvellous writing for the French Horn. Think of the great horn themes in the tone poems, Don Juan and Ein Heldenleben, or the spectacular opening of the 1913 opera Der Rosenkavalier. Horn concertos virtually book-end his career – this fi rst, written when Strauss was not yet out of his teens; a second written nearly 60 years later, in his sunset period of creativity.

Strauss’ father, Franz, was a professional horn player – he had played under Wagner in some of the fi rst performances of the latter’s works – and the 14-year old Richard had written a song ‘Ein Alphorn hör’ich schallen’ (I hear an Alphorn sound) with horn obbligato, and an Introduction, Theme and Variations for horn and piano, both works dedicated to ‘his beloved Papa’.

This concerto of 1883, however, was written not for ‘Papa’ but for Oscar Franz, a member of the Royal Saxon Orchestra in Dresden, and the fi rst performance was given in March 1885 by Gustav Leinhos with the Meiningen Orchestra, under Hans von Bülow. Strauss wrote to his father that Leinhos had ‘a colossal sureness’ – a welcome quality in a horn player – and a tone very like Papa’s own.

The music shows the infl uence of growing up in Franz Strauss’ household. Franz was a musical conservative. He disliked Wagner’s music, and was aghast at the amount of percussion his son later used in his fi rst tone poems. It would be some years before Richard fell under Wagner’s spell, and so this concerto refl ects the infl uence of household favourites, Schumann and Brahms, particularly in the character of the music and its orchestration.

The work is built around what Strauss biographer, Norman del Mar, calls Naturmotive, that is, themes which arise from the natural disposition of the valveless horn – around common arpeggios that arise from the overtone series. It is curious however that Strauss inserts notes into these themes that would make such themes unplayable on the natural horn (you need an instrument with valves), a characteristic of Strauss’ horn themes throughout his later career.

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As del Mar says: ‘The opening fanfare, delivered at the outset by the solo horn and before the orchestral ritornello, not only serves as a framework enclosing the two long and free cantilenas which comprise the fi rst movement, but, transformed into 6/8 rhythm, constitutes the principal Rondo subject of the Finale.’ There is also a secondary horn-type motive which appears in the opening tutti and is repeatedly worked into the music. It forms the chief means of linking the Andante to the fi nale. In the Andante it is the basis of the triplet accompaniment fi gure.

The work is in three short movements which follow one another without a break. The unity and concision of the writing, abandonment of traditional sonata form for the fi rst and third movements, fl ow of melody and the references to the opening movement in the Rondo, make this one of the most ambitious, original and successful of Strauss’s early works.


Strauss’s fi rst horn concerto calls for an orchestra comprising pairs of fl utes, oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The Sydney Symphony fi rst performed the concerto in 1965 in a concert conducted by Bernard Heinze; the soloist was Clarence Mellor, then principal horn. The most recent performance was in 1990, with conductor Stuart Challender and soloist Robert Johnson.


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Born Bologna, 1879Died Rome, 1936

Ottorini Respighi was a prolifi c composer who worked in nearly every genre of music except the ‘straight’ symphony, as well as making many charming and effective arrangements of music by other composers. Today in the theatre he’s best-known for his ballet La boutique fantasque (based on music by Rossini), and in the concert hall for his ‘Roman trilogy’: Fountains of Rome, Pines of Rome and Roman Festivals – spectacular orchestral showpieces. Among his infl uences was music of the past, a fascination that can be heard in the three sets of Ancient Airs and Dances and in Gli uccelli (The Birds).


Composed in 1927, The Birds draws freely on 17th and 18th-century miniatures composed for harpsichord or lute. In this suite for small orchestra the baroque enthusiasm for imitating nature in music (think of Vivaldi’s Four Seasons) is taken still further and given a modern orchestral colouring. Over the course of 20 minutes, Respighi borrows from French composer Jacques Gallot (the dove), Jean-Philippe Rameau (the hen), an anonymous take on the English nightingale, and Bernardo Pasquini (the cuckoo).

Ottorino RespighiGli Uccelli (The Birds) – Suite

PreludeThe DoveThe HenThe NightingaleThe Cuckoo

To say that for the best part of the 19th century, the musical scene in Italy was dominated by opera would be an understatement. The obsession with opera was so overwhelming that Italian composers focussed almost exclusively on that genre. Indeed, there survive very few notable examples of Italian instrumental music from the period.

The composers of Respighi’s generation – Alfredo Casella, Gian Francesco Malipiero, Ildebrando Pizzetti and others – were confronted with an extraordinary dilemma: how to rekindle the art of composing non-operatic music in the face of this hundred-year-old opera mania? Italy did not have the equivalent of a Beethoven, Schumann, Berlioz, Brahms or Mahler in its musical past – nor a Strauss, Stravinsky or Schoenberg, who were stretching the boundaries of instrumental music in Respighi’s day.

It is little wonder that the Italians responded by turning to the music of the past for their inspiration – to the music of Palestrina, Monteverdi, other composers of the 17th and 18th centuries and, importantly, to the Gregorian chant of the mediæval church. In doing so, they attempted not only to evoke the musical spirit of those bygone days but also to exhume a national musical tradition. This is evident in the use of certain stylistic features of genre, instrumentation, themes and harmony. In fact, in many ways this is the Italian version of neoclassicism, of which Stravinsky’s Pulcinella, based on music attributed to Pergolesi (1710–1736), is a perfect example.

There is little doubt that of the composers mentioned above, it is the music of Respighi that has achieved the most widespread fame and is most fi rmly established in the orchestral repertoire. Although best known for his evocative symphonic poems The Pines of Rome and The Fountains of Rome, Respighi heartily embraced this ‘arcaismo’. Indeed, nearly all of his later music is imbued with features of Gregorian chant. Like his colleagues, Respighi was very active in transcribing the music of earlier masters, such as Monteverdi’s Lamento d’Arianna and the Passacaglia

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in C minor by J.S. Bach. Respighi also paid tribute to Rossini in Rossiniana and the ballet La Boutique fantasque, which is based on vocal and piano pieces by the great operatic composer. As well, there are a number of original compositions based on early music, the most celebrated being the three suites of Ancient Airs and Dances (drawing on music for lute) and The Birds.

Based on pieces for harpsichord and lute from the 17th and 18th centuries, The Birds was composed in 1927. The Prelude is drawn from a theme by Bernardo Pasquini (1637–1710), a celebrated keyboard player in his day. After the strident Vivaldi-like opening, Respighi (perhaps in keeping with the improvisatory character of the preludes to suites of the 17th century) surreptitiously introduces the bird calls which will be heard in the succeeding movements. The Dove, based on a piece by the French composer Jacques Gallot (died c.1690), includes the harp, which adds a distinctly pastoral fl avour to the movement, placing into relief the gentle cooing of the birds. In complete contrast, Respighi cleverly depicts the incessant scratching, clucking and squawking of birds of a more domestic variety in the third movement, The Hen, based on music of Jean-Philippe Rameau (1683–1764). Jokingly, Respighi allows a vociferous and defi ant fowl to have the last word! The Nightingale provides another striking contrast – based on music by an anonymous 17th-century English composer, the beautiful song of this bird can be heard above the tranquil atmosphere created by the strings. Perhaps as a device of pictorial association, the bell-like celesta appears for the fi rst time in this movement. The fi nal movement incorporates both harp and celesta and concludes with an emphatic statement of the original theme of the Prelude, neatly rounding off this charming suite.


The Birds calls for a small orchestra of two fl utes (one doubling piccolo), one oboe, two clarinets and two bassoons; two horns and two trumpets; harp, celesta and strings.

The Sydney Symphony fi rst performed The Birds in 1953 in a concert conducted by Eugene Goossens, and most recently in 1996, conducted by Ron Spigelman.

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THINGS YOU NEED TO KNOW: BigPond® is a registered trade mark of Telstra Corporation Limited ABN 33 051 775 556 BWMTEL11407

You can enjoy ten selected live performances of the Sydney Symphony during its 2011 season in the

comfort of your own home, only at BigPond® Music online. Visit bigpondmusic.com/sydneysymphony

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Born Hamburg, 1809Died Leipzig, 1847

The son of a banker and grandson of one of Europe’s most famous philosophers, Mendelssohn enjoyed both fi nancial and cultural privileges, and as a young man he took a three-year Grand Tour of Britain and Europe. His travels inspired his two most popular symphonies: the Scottish (No.3) and the Italian (No.4), as well as works such as The Hebrides (Fingal’s Cave).


The Italian Symphony was begun around 1830 in Italy, and completed in 1833 in Berlin, the ‘blue skies’ of the music banishing the grey ones of Germany. The symphony is like a picture postcard, evoking the atmosphere of the Roman carnival, sombre religious processions, tourist nostalgia and the vitality of peasant dancers. The Italian Symphony received its premiere in London in 1833.

Felix MendelssohnSymphony No.4 in A, Op.90 Italian

Allegro vivaceAndante con motoCon moto moderatoSaltarello (Presto)

For once a subtitle seems apt: Mendelssohn’s Italian Symphony expresses a northern European’s love of the sun-drenched south. ‘Blue sky in A major’, it has been called. The ideas for the symphony came to Mendelssohn as he spent the winter of 1830–31 in Italy, and he wrote to his parents that Naples ‘must play a part in it’. Indeed it did, in the leaping dance of the Saltarello fi nale. Mendelssohn was in his early 20s, and in this symphony ‘there stands the eager youth who looks out with bright eyes upon the world, and, behold, all is very good’ (Ernest Walker).

Fresh and youthful, this symphony is at the same time one of Mendelssohn’s supreme achievements. He himself considered it ‘the most mature thing I have ever done’. For some reason, he was dissatisfi ed with this symphony, and always intended to revise it. He never got around to doing so, and it was published only after his death, edited by his friend Ignaz Moscheles. Meanwhile, Mendelssohn had submitted this symphony in response to a request from the London Philharmonic Society for ‘a symphony, an overture, and a vocal piece’ (along with the concert aria Infelice, the overture The Hebrides and perhaps the Trumpet Overture). The Italian Symphony was performed in a concert of the Society in London, in which Mendelssohn also played Mozart’s Piano Concerto in D minor, K466, on 13 May 1833.

Mendelssohn’s anxiety about his symphonies had a lot to do with his sense of responsibility, imposed by what Beethoven had done. An energetic symphony in A major was bound to put listeners in mind of Beethoven’s Seventh, and the processional character of Mendelssohn’s second movement inevitably recalls the same movement in Beethoven’s symphony. Perhaps also Mendelssohn was bothered by the challenge which faces interpreters of his Italian Symphony: how to avoid making each of the four movements sound like a moto perpetuo. The great English musicologist Sir Donald Tovey thought that if he wanted to change anything, Mendelssohn could have wished to broaden the design of the last movement towards the end. That is what he did in the symphony he was working on concurrently, the Scottish Symphony (No.3).

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Posterity considers that Mendelssohn should have remained satisfi ed with a masterpiece. Far from being a pale refl ection of Beethoven, he was entirely himself in the lightness of touch, the polished elegance of scoring, and the sureness of form which mark every movement of the Italian Symphony. Mendelssohn sometimes spoke convincingly of weightier things, but it is no accident that along with the Violin Concerto, the Midsummer Night’s Dream music, several overtures and the Octet for Strings, the Italian Symphony is among those works of his which have never gone out of fashion. Here, it has always been agreed, is a large-scale work which in every bar brings Mendelssohn’s distinctive contribution to music.

The opening of the symphony, like much of what follows, is notable for its brilliant and imaginative scoring. Here the bounding theme for the violins is presented to the accompaniment of repeated chords for the woodwinds, which at least doubles its eff ect of almost breathless energy. The string theme migrates to the winds in a masterly preparation of the second subject, in which the fi rst subject returns, fortissimo. The second subject is a rocking fi gure for clarinets and bassoons, which, as Tovey says, is obviously in no hurry. After further development of the opening theme, a quiet close leads back to the beginning. The important material this contains is present only in the ‘fi rst time bars’, so the repeat of the exposition should really not be omitted. The development soon presents a fugato on a wholly new theme, then the two main subjects are elaborately worked out, and the recapitulation is approached through a long crescendo beginning under a long-held tonic A for the fi rst oboe – another memorably original idea.

The second movement may have been suggested by a religious procession Mendelssohn is known to have seen in Naples (though Moscheles claimed that it was based on a Czech pilgrims’ song). It begins with plainchant-like intonation, then the ‘marching’ starts in the cellos and basses, over which the cantus fi rmus is sounded by oboes, bassoons and violas. One particularly delightful instance of the many felicitous instrumental combinations here is the weaving in counterpoint between fl utes and violins. The chromatic subsidiary theme is a development of the opening intonation.

Although not called a minuet and trio, this is in eff ect what the third movement is. There is little suggestion of the dance in this graceful music, which is more like a song

Fresh and youthful, this symphony is at the same time one of Mendelssohn’s supreme achievements. He himself considered it ‘the most mature thing I have ever done’.

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The Spanish Steps, Rome. This drawing, made by Mendelssohn in February 1831, is one of his best topographical studies.

without words, and the trio, with its solemn horns and bassoons (a low note for the second of which is tricky to balance audibly) sounds a deeply Romantic, poetic note.

Pedants point out that one of the rhythms of the movement Mendelssohn calls Saltarello is that of the even more furious tarantella – the victims of tarantula bite, Tovey wittily observes, cannot even stop to jump in their dance! The energy here is even more irresistible than in the fi rst movement, so much so that it may pass unnoticed that the movement remains in A minor until the end. Mendelssohn said this symphony was composed at one of the bitterest moments of his life, when he was most troubled by his hypercritical attitude towards his own music. It is good to be reminded of this artistic struggle by a ‘driven’ personality, because his art so transcends the struggle that we can hardly guess that it ever existed.


Mendelssohn’s Italian Symphony calls for pairs of fl utes, oboes, clarinets, bassoons, horns and trumpets; timpani and strings.

The Sydney Symphony fi rst performed the symphony in 1945 in a concert conducted by Percy Code, and most recently in 2007, conducted by Hubert Soudant.

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Mezzo-soprano Anne Sofie von Otter makes her Australian debut performances performing Songs of the Auvergne and Broadway melodies with the Sydney Symphony.

KRÁSA Overture for small orchestraRAVEL Tzigane for violin and orchestraCANTELOUBE Songs of the Auvergne: HighlightsMILHAUD The Creation of the WorldBroadway Melodies – including songs by George Gershwin, Jerome Kern and Kurt Weill

Thu 3 Nov 8pmPremier Partner Credit Suisse

Anne Sofie von Otter mezzo-sopranoPekka Kuusisto violinBengt Forsberg pianoNicholas Carter conductor

*Selected performances. Booking fees of $7-$8.95 may apply.Free programs and pre-concert talks 45 mins before selected concerts.Listen to audio clips and read programs at sydneysymphony.com Sydney symphony concerts on demand at bigpond/sydneysymphony



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6/8 – a musical metre in which six quick notes are grouped in two lots of three: 1–2–3 4–5–6. The musical result is two main beats to the bar with distinctive skipping or galloping rhythms.

CANTILENA – a song-like melody.

CANTUS FIRMUS – literally ‘fi xed song’; a given melody used as the basis for counterpoint.

CHROMATIC – in tonal music, the use of foreign notes and harmonies that do not belong to the key, together with frequent modulation to other keys. The impression is one of harmonic richness.

COUNTERPOINT – two or more independent musical lines or melodies played at the same time; a singing round or fugue would also be described as contrapuntal.

FUGATO – in the style of a fugue, characterised by imitation between diff erent parts or instruments, which enter one after the other. The Latin word fuga suggests both ‘fl eeing’ and ‘chasing’.

MINUET AND TRIO – a French baroque court dance. During the 18th century it became a dance-like movement in a moderately fast triple time and a regular element in the four-movement symphony.

ORCHESTRATION – the way in which an orchestral work employs the diff erent instruments and sections of the ensemble (also known as ‘scoring’); it provides the musical equivalent of colour.

PIZZICATO – a technique for stringed instruments in which the strings are plucked rather than bowed.

RITORNELLO – literally ‘a little return’, in a baroque concerto this is a recurring section of music which alternates with passages for a soloist or solo group.

RONDO – a musical form in which a main idea (refrain) alternates with a series of musical episodes.

SONATA FORM – this term was conceived in the 19th century to describe the harmonically

based structure most classical composers had adopted for the fi rst movements of their sonatas and symphonies. It involves the EXPOSITION, or presentation of themes and subjects: the fi rst in the tonic or home key, the second in a contrasting key. Themes are manipulated and varied in the DEVELOPMENT and tension builds as the music moves further and further away from the home key. The tension is resolved in the RECAPITULATION, where both subjects are restated in the tonic.

SYMPHONIC POEM – (also ‘tone poem’) a genre of orchestral music that is symphonic in scope but adopts a freer structure in service of an extra-musical ‘program’ that provides the narrative or scene. Liszt was the fi rst to use the term.

TONIC – in the system of major and minor keys that dominates in Western tonal music, the main note of a key (the note after which it is named) is the tonic.

TRIPLET – a rhythmic gesture, in which three notes are played in the time of two of the same kind. Continuous use of triplets, especially at a fast tempo, can create an exhilarating ‘skipping’ eff ect, because each beat is eff ectively divided into three.

In much of the classical repertoire, names of movements and major sections of music are taken from the Italian words that indicate the tempo and mood. Examples of terms from this program are included here.

Allegro – fast Allegro vivace – fast and livelyAndante – an easy walking paceAndante con moto – an easy walking pace, with movementMoto perpetuo – perpetual motion Con moto moderato – moderately, with movementPresto – as fast as possible

This glossary is intended only as a quick and easy guide, not as a set of comprehensive and absolute defi nitions. Most of these terms have many subtle shades of meaning which cannot be included for reasons of space.


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MENDELSSOHN OVERTURESFor an overview of all the Mendelssohn overtures, including the much-loved Hebrides and Midsummer Night’s Dream overtures, look for Claudio Abbado conducting the London Symphony Orchestra.DEUTSCHE GRAMMOPHON 423 1041

STRAUSS HORN CONCERTO NO.1When asked for his favourite recordings of the Strauss Horn Concerto No.1, Ben Jacks names Hermann Baumann with the Leipzig Gewandhaus Orchestra (Mendelssohn’s band, incidentally) and conductor Kurt Masur. Hear it on the Hermann Baumann: Perspectives 2-CD set, which also include Mozart’s Horn Concerto, K447. PHILIPS 476 9590

And there’s Australian Barry Tuckwell, probably the world’s most renowned horn player, in a recording of both the Strauss concertos as well as chamber pieces, with Vladimir Ashkenazy at the piano and conducting the Royal Philharmonic Orchestra.ELOQUENCE 476 2699

Nicholas McGegan was a big fan of Dennis Brain growing up and recommends the 4-CD set Icon: Dennis Brain, which assembles great performances of nearly all the major horn concerto and chamber repertoire, as well as orchestral solos such as the Nocturne from Mendelssohn’s Midsummer Night’s Dream.EMI CLASSICS 06010

THE BIRDS For an excellent survey of Respighi’s orchestral works, try The Essential Respighi, a value 2-CD set offering the Roman trilogy (Fountains, Festivals and Pines), Botticelli Triptych and The Birds. The Birds is performed by the London Symphony Orchestra and István Kertész.DECCA 4437592

For a taste of Respighi’s inspiration, try Harpsichord Greatest Hits, featuring Igor Kipnis, Thurston Dart and Anthony Newman in a lively program of miniatures that includes Rameau’s hen, cuckoos by Daquin and Pasquini and an anonymous nightingale.SONY 68458

MENDELSSOHN’S ITALIANNicholas McGegan brings a distinctive ‘early music’ approach to 19th-century repertoire even when working with modern symphony orchestras, and he recommends seeking out a recording by Roger Norrington, a conductor who does something similar. Norrington’s recording with the SWR Symphony Orchestra of Mendelssohn’s Italian Symphony is paired with the Scottish Symphony (No.3) and includes his spoken introductions.HÄNSSLER CLASSIC 93133

NICHOLAS McGEGANNicholas McGegan’s most recent recording with the Philharmonia Baroque Orchestra brings together three fi ne Haydn symphonies: No.88, No.101 (Clock) and No.104 (London).PHILHARMONIA BAROQUE 02

He also conducts, and plays harpsichord, in a newly released 2-CD tribute to the late mezzo-soprano Lorraine Hunt Lieberson. A wealth of Handel arias, with numbers by

Selected Discography

Selected Sydney Symphony concerts are webcast live on BigPond and made available for later viewing On Demand. Next webcast: Beethoven’s Egmont (Thursday 20 October, 6.30pm)Visit: bigpondmusic.com/sydneysymphony


2MBS-FM 102.5SYDNEY SYMPHONY 2011Tuesday 13 September, 6pm Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Broadcast Diary


Wednesday 5 October, 8pmYOUNG GUNS (MEET THE MUSIC)Thomas Dausgaard conductorDene Olding violinAustralian Youth OrchestraDebussy, Vine and Nielsen

Friday 14 October, 8pmDVORÁK’S NEW WORLD SYMPHONYMark Wigglesworth conductorStephen Hough pianoLutoslawski, Mozart, Dvorák

Thursday 20 October, 6.30pmBEETHOVEN’S EGMONTRichard Gill, Nigel Westlake conductorsEddie Perfect narratorwith vocal soloists and Cantillation Ives, Westlake, Beethoven

Saturday 22 October, 8pmFREDDY KEMPF IN RECITALBeethoven, Liszt

Bach and Purcell. The Philharmonia and Freiburg baroque orchestras provide the accompaniment.HARMONIA MUNDI 907471

BEN JACKSBen Jacks has released Rhapsodie: Fantasie: Poème, a disc of mostly French music for horn and orchestra, performed with the Queensland Symphony Orchestra and Barry Tuckwell conducting. Highlights on the program are the premiere recordings of two works by Jean-Michel Damase, including his Rhapsodie, commissioned by Barry Humphries.MELBA 301117

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One of the leading conductors of baroque repertoire, Nicholas McGegan brings to his performances an engaging combination of authority and enthusiasm, scholarship and joy, curatorial responsibility and evangelical exuberance.

For the past 25 years he has been music director of the San Francisco-based Philharmonia Baroque Orchestra, establishing it as the leading period performance band in America with appearances at Carnegie Hall, the BBC Proms, and the International Handel Festival, Göttingen, where he has been artistic director since 1991. He has defi ned an approach to period style that is serious and probing but undogmatic, recognising that music of the past doesn’t belong in a museum but in the concert hall for pleasure and delight on both sides of the platform edge.

He has also been a pioneer in bringing historically informed practice beyond the world of period instruments to the modern symphony orchestra. To this end he has worked with (or, as he might say it, ‘had fun with’) orchestras such as the Chicago Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, St Louis Symphony Orchestra, New York Philharmonic, Los Angeles Philharmonic, Toronto Symphony Orchestra, Hong Kong Philharmonic, Northern Sinfonia and Scottish Chamber Orchestra, as well as several of the Australian symphony orchestras.

Nicholas McGegan is also active in opera. He was principal conductor of Sweden’s perfectly preserved 18th-century theatre in Drottningholm (1993–1996), and has conducted at Covent Garden, San Francisco, Santa Fe and Washington. He has also enjoyed dance collaborations with Mark Morris, including Rameau’s Platée at the Edinburgh Festival.

Born in England, Nicholas McGegan was educated at Cambridge and Oxford. Last year he was made an Offi cer of the British Empire (OBE) in the Queen’s Birthday Honours ‘for services to music overseas’. Other awards include the Halle Handel Prize, an honorary professorship at Göttingen University, and an offi cial Nicholas McGegan Day, declared by the Mayor of San Francisco in recognition of two decades’ distinguished work with the PBO.

His most recent appearance with the Sydney Symphony was in 2000, when he conducted a program of Schubert, Tchaikovsky and Haydn.

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Nicholas McGegan conductor

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Ben Jacks horn

Ben Jacks was born in Hobart in 1975, and, after studying with Heidi Kepper at the University of Western Australia, he travelled to the United States and Europe, where he studied with Dale Clevenger and Gail Williams in Chicago, Stefan Dohr in Berlin, Erich Penzel in Cologne and Hector McDonald in Vienna.

He joined the Sydney Symphony as Principal Third Horn in 1998, and in 2001 was appointed Principal Horn. He has performed with every professional orchestra in Australia, appearing as a guest principal with the Tasmanian, Adelaide, Queensland, West Australian and Melbourne symphony orchestras and the Australian Opera and Ballet Orchestra in Sydney. A player of international repute, he has also performed with the Academy of Vienna – a period instrument ensemble – and regularly appears as guest principal with the Malaysian Philharmonic Orchestra and Ensemble Kanazawa in Japan.

Ben Jacks has performed as a concerto soloist throughout Australia. In 2003 he played Britten’s Serenade for tenor, horn and strings with the Sydney Symphony (also performing the same work with the West Australian Symphony Orchestra). Since then he has appeared as a soloist with the orchestra on a number of occasions, including performances of Mozart’s Horn Concerto No.2, K417, and of Schumann’s Konzertstück for four horns. He is also a founding member of the Australian Brass Quintet, and maintains a busy recital schedule as a soloist and chamber musician. His debut recording, Rhapsodie: Fantasie: Poème, featured Barry Tuckwell as conductor in a program that included previously unrecorded works for horn and orchestra by Jean-Michel Damase.

He is also in demand as a teacher, has tutored for the Australian Youth Orchestra, and lectures in horn at the Sydney Conservatorium of Music.

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

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

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse

Performing in this concert…

FIRST VIOLINS Michael Dauth Concertmaster

Sun Yi Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Brielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Nicole Masters

SECOND VIOLINSKirsty Hilton Marina Marsden Simeon Broom*Emma Hayes Shuti Huang Emily Long Philippa Paige Biyana Rozenblit Freya Franzen†

Emily Qin#

VIOLASRoger Benedict Anne-Louise ComerfordRobyn Brookfi eld Graham Hennings Stuart Johnson Justine Marsden Leonid Volovelsky Rosemary Curtin#

CELLOSCatherine Hewgill Teije Hylkema*Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

Rachael Tobin#

DOUBLE BASSESAlex Henery David Campbell Steven Larson Richard Lynn David Murray Hugh Kluger†

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOESShefali Pryor David Papp

CLARINETSFrancesco Celata Craig Wernicke Principal Bass Clarinet

BASSOONSMatthew Wilkie Fiona McNamara

HORNSRobert Johnson Euan Harvey

TRUMPETSPaul Goodchild Anthony Heinrichs

TIMPANIMark Robinson Assistant Principal

HARP Clare McDonogh*

CELESTA Josephine Allan#

Bold = PrincipalItalic= Associate Principal* = Guest Musician # = Contract Musician† = Sydney Symphony Fellow

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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 a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

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, most recently, Gianluigi Gelmetti. 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 Sydney Symphony 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 a 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. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

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

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The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body




EmanateBTA Vantage

2MBS 102.5 Sydney’s Fine Music Station




Television - Audio

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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. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff Ainsworth AM & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTerrey Arcus AM & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegThe Estate of Mrs E HerrmanJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Dr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopThe Estate of Ruth M DavidsonPaul R. EspieFerris Family FoundationDr Bruno & Mrs Rhonda GiuffreRoss GrantMr David Greatorex AO & Mrs Deirdre GreatorexHelen Lynch AM & Helen BauerMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Robert BrakspearMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie ClampettMrs Gretchen M DechertIan Dickson & Reg HollowayJames & Leonie FurberMichelle HiltonStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneMr David LivingstoneWilliam McIlrath Charitable FoundationEva & Timothy PascoeRodney Rosenblum AM & Sylvia Rosenblum

Sherry-Hogan FoundationDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustDr Richard WingateJill WranAnonymous (2)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleHoward ConnorsEwen & Catherine CrouchDr Michael FieldMr Erich GockelMr James Graham AM & Mrs Helen GrahamKylie GreenJanette HamiltonAnn HobanIrwin Imhof in memory of Herta ImhofR & S Maple-BrownMora MaxwellJ A McKernanJustice George Palmer AM QC

James & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsAndrew Andersons AO

Mr Henri W Aram OAM

Claire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesMichael Baume AO & Toni BaumePhil & Elese BennettNicole BergerMrs Jan BiberJulie BlighColin Draper & Mary Jane BrodribbM BulmerIn memory of RW BurleyEric & Rosemary CampbellDr John H CaseyDr Diana Choquette & Mr Robert MillinerJoan Connery OAM & Maxwell Connery OAM

Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyJohn FavaloroMr Edward FedermanMr Ian Fenwicke & Prof N R WillsFirehold Pty LtdMr James Graham AM & Mrs Helen GrahamWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of the late Dora & Oscar Grynberg

Janette HamiltonMrs Jennifer HershonBarbara & John HirstPaul & Susan HotzBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterDr Michael Joel AM & Mrs Anna JoelThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergJustin LamWendy LapointeMacquarie Group FoundationMr Robert & Mrs Renee MarkovicKevin & Deidre McCannRobert McDougallIan & Pam McGawMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMiss An NhanMrs Rachel O’ConorMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeeKenneth R. ReedPatricia H Reid Endowment Pty LtdMr M D SalamonJohn SaundersJuliana SchaefferMr & Mrs Jean-Marie SimartCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully QC

Mildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonIn memory of Dr Reg WalkerHenry & Ruth WeinbergThe Hon. Justice A G WhealyMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMr Peter J ArmstrongMs Baiba B. Berzins & Dr Peter LovedayDr & Mrs Hannes Boshoff Minnie BriggsDr Miles BurgessPat & Jenny BurnettIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellMrs Catherine J ClarkMr Charles Curran AC & Mrs Eva CurranGreta DavisElizabeth DonatiDr & Dr Nita DurhamGreg Earl & Debbie CameronMr & Mrs FarrellRobert Gelling

Dr & Mrs C GoldschmidtVivienne GoldschmidtMr Robert GreenMr Richard Griffi n AM

Jules & Tanya HallMr Hugh HallardRoger HenningRev Harry & Mrs Meg HerbertSue HewittDorothy Hoddinott AO

Mr Joerg HofmannDominique Hogan-DoranAlex HoughtonBill & Pam HughesGeoff & Susie IsraelIven & Sylvia KlinebergMr & Mrs Gilles T KrygerDr & Mrs Leo LeaderMargaret LedermanMartine LettsAnita & Chris LevyErna & Gerry Levy AM

Dr Winston LiauwMrs Helen LittleSydney & Airdrie LloydMrs A LohanCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Melvyn MadiganDr Jean MalcolmAlan & Joy MartinGeoff & Jane McClellanMrs Helen MeddingsMrs Inara MerrickDavid & Andree MilmanKenneth N MitchellHelen MorganChris Morgan-HunnMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

A Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersAgnes RossIn memory of H.St.P ScarlettDr Mark & Mrs Gillian SelikowitzCaroline SharpenMrs Diane Shteinman AM

Robyn SmilesDoug & Judy SotherenMrs Elsie StaffordMr D M SwanMr Norman TaylorDr Heng & Mrs Cilla TeyMs Wendy ThompsonKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopMr Robert & Mrs Rosemary WalshRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonDr Richard WingMr Robert WoodsMr & Mrs Glenn WyssAnonymous (17)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]

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Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO, Credit Suisse, AustraliaAlan Fang, Chairman, Tianda GroupMacquarie Group Foundation

John Morschel, Chairman, ANZAndrew Kaldor, Chairman, Pelikan ArtlineLynn Krause, Sydney Offi ce Managing Partner, Ernst & Young

We also gratefully acknowledge the following patrons: Ruth & Bob Magid – supporting the position of Elizabeth Neville, cello Justice Jane Mathews AO – supporting the position of Colin Piper, percussion.

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

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Jane HazelwoodViolaVeolia Environmental Services Chair

03Nick ByrneTromboneRogenSi Chair

04Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

05Shefali Pryor Associate Principal OboeRose Herceg Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet Constable Chair

09 Lawrence DobellPrincipal ClarinetAnne & Terrey Arcus Chair


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Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Gabrielle TrainorIvan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

Sydney Symphony Board


Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory Jeffes

Andrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

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SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas (Tom) Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

EXECUTIVE MANAGEMENTChief Executive Offi cer Richard Evans Chief Operating Offi cer David Antaw Chief Financial Offi cer Claire Spencer Director, Building Development & Maintenance Greg McTaggart Director, Marketing Communications & Customer Services Victoria Doidge Director, Venue Partners & Safety Julia Pucci Executive Producer, SOH Presents Jonathan Bielski

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


All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. 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 16543 — 1/090911 — 26TH/E/G/MO S73/76

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.

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This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.auChairman Brian Nebenzahl OAM, RFD

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Education ProgramsHEAD OF EDUCATION


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Georgia StamatopoulosOPERATIONS MANAGER





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Ruth TolentinoACCOUNTANT



Usef Hoosney


Anna Kearsley

Sydney Symphony Staff