just like the sydney symphony which has been the sound · working full-time. if that sounds like...

Trust is proud of its long standing partnership with theSydney Symphony and is delighted to bring you theThursday Afternoon Symphony Series in 2007.

In this 75th anniversary season, the Series offers perfectafternoons with some of the best-loved composers – from Beethoven to Wagner. With these concerts bringingtogether leading conductors and soloists, you’re in for atruly delightful experience.

Just like the Sydney Symphony which has been the soundof the city for 75 years, entertaining hundreds of thousandsof people each year, Trust has been supporting publicworks for over 120 years.

Whether it be in administering an estate or charity,managing someone’s affairs or looking after their interestsvia financial planning, superannuation or fundsmanagement, people come to Trust because of ourindependence, personalised service and commitment to ensuring their interests are being looked after.

We hope that you enjoy a delightful Thursday afternoonwith the Sydney Symphony.

Jonathan SweeneyManaging DirectorTrust Company Limited

SEASON 2007

THURSDAY AFTERNOON SYMPHONY

PRESENTED BY TRUST

SIR CHARLES MACKERRASRETURNS

Thursday 11 October | 1.30pm

Sydney Opera House Concert Hall

Charles Mackerras conductor

ANTONÍN DVORÁK (1841–1904)

Symphony No.7 in D minor, B141 (Op.70)

Allegro maestosoPoco adagioScherzo (Vivace) – Trio (Poco meno mosso)Finale (Allegro)

INTERVAL

BEDRICH SMETANA (1824–1884)

Vltava (The Moldau)

LEOS JANÁCEK (1854–1928)

Sinfonietta

Allegretto Andante Moderato Allegretto Andante con moto

This concert will be broadcast live across Australia on ABC Classic FM 92.9 on Friday 12 October at 8pm.

PRESENTING PARTNER

This program will be webcast byBigPond. View live online on Friday 12 October at 8pm and On Demand from later in themonth. Visit: sydneysymphony.bigpondmusic.com

Pre-concert talk by Tony Cane at12.45pm in the Northern Foyer.

Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

Estimated timings:35 minutes, 20-minute interval, 12 minutes, 23 minutes.The performance will conclude at approximately 3.10pm.

Cover images: see page 30 for captions

Artist biography on page 21

Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and allowing people from avariety of cultures and communities to come together. It is forthese reasons that the Sydney Symphony – a first class orchestrain one of the world’s most diverse and beautiful cities – is an idealpartner for Emirates Airline.

Emirates has developed an international reputation for providing a standard of service and an inflight experience to which otherairlines aspire, with more than 300 major international awards forexcellence.

We are one of the world’s fastest growing airlines, flying to around 90 destinations in Europe, North America, the Middle East, Africa, the Indian subcontinent and the Asia-Pacific. Emirates also operates 28 flights every week into New Zealand.

Emirates continues to take great pleasure in supporting theSydney Symphony and fostering the growth of arts in thecommunity.

We look forward to an exciting and memorable 2007.

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

SEASON 2007

EMIRATES METRO SERIES


Friday 12 October | 8pm






INTERVAL


Vltava (The Moldau)


Sinfonietta


Tonight’s performance will bebroadcast live across Australia on ABC Classic FM 92.9.

Tonight’s performance will be webcast by BigPond. View On Demand from later in the month. Visit: sydneysymphony.bigpondmusic.com






Welcome to the concert

Apia is pleased to bring you this performance in the GreatClassics series for 2007.

Like you, we’re an enthusiastic supporter of the SydneySymphony. We understand that a world-class performance canonly be assured when people work in a concerted effort.

It’s this understanding that’s at the heart of all of ourendeavours. It enables us to deliver a range of insuranceproducts specifically designed for people over 50 and notworking full-time.

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We hope you enjoy the upcoming performance. We’ve certainlyenjoyed bringing it to you.

Graeme BrowneState Manager, NSW

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

SEASON 2007

GREAT CLASSICS

PRESENTED BY APIA


Saturday 13 October | 2pm






INTERVAL


Vltava (The Moldau)


Sinfonietta


This concert has been recorded for broadcast across Australia on ABC Classic FM 92.9.

PRESENTING PARTNER

This concert will be webcast by BigPond. View On Demand from later in the month. Visit: sydneysymphony.bigpondmusic.com






INTRODUCTION

Sir Charles Mackerras Returns

Since his period as Chief Conductor of the SydneySymphony Orchestra (1982–1985), Charles Mackerras has returned to Sydney on several occasions, conductingprograms that have highlighted his musical passions: the voice and great choral works such as Haydn’s Creation,and the Slavonic composers who formed the meat of hisearly training.

On this visit, Australia’s most distinguished conductoragain brings these musical passions to Sydney. Later thismonth we’ll get to hear Mozart’s Great C Minor Mass;next week an opera that he revived; meanwhile, in thisconcert, three great Czech composers.

In 1947, the 22-year-old Mackerras travelled to Pragueto study conducting with Václav Talich at the Academyof Music. In those years Czech composers were preferredover the German concert hall staples (Mozart was theexception). Talich introduced Mackerras to the music of Janácek in particular and his experiences in Pragueproved to be revelatory as well as pivotal.

Mackerras soon became an advocate for Czech music,especially opera. Within three years of first hearing itin Prague, he had conducted the British premiere ofJanácek’s Kátya Kabanová; in the late 1970s he recordedthe Janácek operas with the Vienna Philharmonic. His attention to detail and search for authenticity senthim back to Janácek’s autograph scores – often difficultto read because the composer would draw his own stavesfreehand. The results can be heard in the performance of the Sinfonietta in this concert.

The oldest music on the program is Smetana’s mostfamous orchestral work, Vltava. It is Talich’s edition thatMackerras uses here, perhaps a tribute to his mentor. In his Seventh Symphony, Dvorák was paying tribute tohis own mentor, Brahms, and so the concert begins withmusic inspired by the strength and beauty of Brahms’Third Symphony. It follows with a profound expressionof the love of country and concludes with the jubilationand optimism of a newly independent state.

5 | Sydney Symphony

Mackerras in Sydney

In recent years Sir Charleshas made three return visitsto the Sydney Symphony.

In 1992 he conducted an allBeethoven program featuringthe Missa solemnis

In 1995 he conducted twomore choral programs:Carl Orff’s Carmina Buranawith Beethoven’s SeventhSymphony; and Haydn’sCreation

Most recently, in 2003, hepresented, as he does in thisconcert, a Czech program:Dvorák’s New WorldSymphony and Janácek’sGlagolitic Mass

7 | Sydney Symphony

Keynotes

DVORÁK

Born Nelahozeves, Bohemia, 1841Died Prague, 1904

In 1878 Dvorák went from

being a struggling young

artist – getting by on a state

grant – to a composer with

burgeoning international

fame. He found a publisher,

had his first real success as

an opera composer, and his

Slavonic Dances for piano

duet caused a run on the

music shops. By the end

of the year his music could

be heard in international

concert halls and he was

well on the way to becoming

known as one of the great

Czech composers of the

19th century

SYMPHONY NO.7

Dvorák’s recognition as a

composer was helped along

by Brahms, who became a

staunch advocate. In 1883

Dvorák heard the premiere

of Brahms’ Third Symphony,

which stimulated him to

create similar strength

and beauty in his own

Seventh Symphony.

In this symphony Dvorák

sets a mood of gloomy

power and grandeur, often

brooding, sometimes tender.

This is combined with

a classical tautness of

construction, surprisingly

compact for a 19th-century

symphony. Dvorák is

speaking to the world, but

even so national colouring

slips into the finale as it

makes its way to an exultant

conclusion.

Antonín Dvorák (1841–1904)



From out of the darkness of a deep tonic pedal, violas andcellos wind their way ominously towards the light, risingto a peremptory three-note tattoo, repeated, each timemore insistently, till it ends without hope on a stabbingchord (identifiable for the technically minded as adiminished seventh).

Thus, in a mere six bars, Dvorák sets the mood atthe outset for the most powerful and serious of his ninesymphonies. Already, in the darkly groping melody, wehave the main subject of his first movement. From this he will go on to derive variants obliquely related to hisown Hussite Overture of a few years earlier – onereminiscent of the defiant main theme of the overture,others recalling a melody derived from the 13th-centurySt Wenceslas plainchant. Although Dvorák draws moraland emotional sustenance from these allusions to Czech history, he speaks not to his countrymen: in thissymphony, rather, he makes a determined effort to expresshimself resoundingly to the world.

It cost the composer greater effort than any of his other symphonies. In December 1884 he wrote to a friend:‘…wherever I go I have nothing else in mind but [my newsymphony], which must be capable of stirring the world,and God grant that it may!’

On one hand, he wished to impress the PhilharmonicSociety of London (which had commissioned it on hisfirst visit to England in March 1884 and since elected himto honorary membership). On the other, he frankly soughtto create a work which emulated the strength and beautyhe had admired in the Third Symphony of his greatfriend and mentor Brahms on its premiere at the end of 1883.

Dvorák keenly sought unqualified commendation from Brahms, for the latter was not only a staunchadvocate, but also a stern critic of any carelessness hefound in the younger composer’s work. Brahms had toldDvorák he looked forward to the new symphony being‘quite different’ from its predecessor, No.6 in D.

ABOUT THE MUSIC

Dvorák wrestled besides with a spiritual strugglestemming from his failure to win recognition at home asa composer of Czech operas and from his acute artisticneed, love of country notwithstanding, to win recognitionand success internationally. In the defiant tone of theSeventh Symphony we sense the composer choosingdeterminedly to strike out on his own. In its gloomypower and grandeur, Karel Hoffmeister (a student, laterprofessor, in the Prague Conservatorium of which Dvorákhimself was successively Professor and Director) finds the composer ‘at his loftiest, and yet most remote fromhis truest and most characteristic self ’. Today’s listener,however, with the benefit of greater distance thanHoffmeister enjoyed, readily recognises in the Seventh a characteristic profile of the composer’s largest self.

Listening Guide

The grimness of Dvorák’s main first movement subjectand its related ideas is moderated by a gentle, conciliatorysecond subject introduced by flute and clarinet. In buta few bars, however, seething undercurrents of passionupset its calm.

As the exposition ends with tragic vehemence, thegentle second theme tentatively initiates the development.Again, however, it is overtaken, and dominated, by themain idea. This is one of Dvorák’s shortest developmentsections, but also one of his tautest – indeed one of hisfinest. In the restatement, the movement bids boldly toattain and hold a position of strength, but collapses atits climax, is suddenly engulfed in despair, and ends inbrooding resignation.

To the slow movement Dvorák brings a prayer forserenity and consolation, in the course of which the pent-up anguish of all his doubts and uncertainties burstsforth. It becomes, in Otakar Sourek’s words, ‘the intimateand passionate confession of a soul consumed withlonging to be delivered’ – unrestrained in the centralsection which the horn introduces ‘as through a mistof tears’, to be answered by the clarinet in pathetic tones. Yet from the catharsis of anguish comes an elevated calmwhich lifts the heart and brings the movement to a tenderconclusion.

The Scherzo has much of the character of a furiant,with conflicting 3/2 and 3/4 rhythms. Yet, far from being a simple and sunny Czech dance, this Scherzo soon becomes

8 | Sydney Symphony

…we sense the

composer choosing

determinedly to strike

out on his own.

dour, its rhythms pounding aggressively. The dreamlikecentral Trio evokes a pastoral scene, with trilling birdsongand distant hunting horns. But the return of the Scherzojolts us back to reality. The movement progresses to anextended coda which raises all sorts of questions andleaves us with a forthright reminder of the real businesswe are about.

The finale expresses a poignant cry for help. Searchingfor direction, we gradually find ourselves swept up in theirresistible propulsion of a surging march. As a sense of real confidence develops, cellos and decorative violinsintroduce a broad, warm-hearted second subject – the firstsign of happiness in the symphony and also, as Soureksuggests, Dvorák’s first use of a melody with nationalcolouring. All now sweeps forward to a solemnly exultantconclusion in the major mode.

The composer personally conducted the firstperformance of his Seventh Symphony in St James’ Hall,London, on 22 April 1885. (It is actually numbered ‘6’ onthe autograph score, presumably because Dvorák didn’tcount his first essay in the form, The Bells of Zlonice.)Public and critics gave it a more mixed reaction than itsimmediately attractive predecessor (No.6 in D), whichDvorák had conducted there the previous year. But thisdid not dampen his habitual self-confidence as he wrotehome: ‘The Symphony was immensely successful, and at the next performance will be a still greater success.’ Infact, the turning point with the Seventh Symphony seemsto have been a pair of performances which Hans von Bülowconducted in Berlin in 1889, at which the composer waspresent. So ecstatic was Dvorák that he pasted a portrait ofvon Bülow on the title page of the score above an inscription:‘Slava! – Glory be to you! You brought this work to life!’That admiration was reciprocated. Bülow is known tohave expressed the view that ‘the most importantcomposer for me, apart from Brahms, is Dvorák.’

ANTHONY CANE © 1996

Dvorák’s Seventh Symphony calls for two flutes (one doublingpiccolo) and pairs of oboes, clarinets and bassoons; four horns, two trumpets and three trombones; timpani and strings.

The Sydney Symphony first performed Dvorák’s Seventh Symphonyin a concert in Tamworth in 1950 with conductor Eugene Goossens,and most recently in the 2004 Sydney season under Jiri Belohlávek.Charles Mackerras last conducted the Orchestra in this work in1971.

9 | Sydney Symphony

It cost Dvorák greater

effort than any of his

other symphonies.

Bedrich Smetana (1824–1884)

Vltava (The Moldau)

from Má vlast (My Country)

Bedrich Smetana began his musical career as a virtuosopianist. It was only when a growing popular movementfor the establishment of a national theatre in Praguepromised real opportunities to foster a sense of nationalidentity and purpose through music, that he was able to turn to composing and conducting opera. This, hebelieved, was the greatest mission he could undertake for his people. However, given his deep admiration forLiszt, and his gratitude for the older composer’s support,no wonder he also found inspiration in the Lisztiansymphonic poem.

Smetana’s three earlier orchestral poems, Richard III(1858), Wallenstein’s Camp (1859), and Hakon Jarl (1861),on the whole adopt Liszt’s approach to the literalrepresentation in music of literary ideas and action. The concept of a monumental cycle of symphonic poems in honour of his homeland grew only slowly inSmetana’s mind. The first seeds of the idea seem to havebeen planted by contemplation of the Vltava, the greatestriver of Bohemia.

By the time he began serious work on the symphonicpoems Vysehrad and Vltava, in September 1874, Smetanawas within a few weeks of facing a musician’s greatesttragedy: total deafness, which struck on 20 October. Thedisaster seemed to spur on his work. A month later henoted that he had completed Vysehrad and begun Vltava,which he was to complete in a mere 19 days. Soon he was working on a further two symphonic poems, Sárkaand From Bohemia’s Woods and Fields, which he intendedshould complete what he envisaged at this stage as a cycleof four. Both were completed in 1875. In 1878, Smetanadecided to expand the cycle from four poems to six.

When My Country (Má vlast) was finally performed as a complete cycle for the first time on 5 November 1882,the occasion, according to one eyewitness, was one ‘which the Czech musical world counts among its greatestcelebrations…Never has there been such an exalted moodin any Czech assembly.’ Today, My Country is no longer the exclusive property of the Czechs. Reaching beyond thepurely programmatic confines of its Lisztian precursors,exploring universal wellsprings of national sentiment,

Keynotes

SMETANA

Born Litomysl, Bohemia, 1824Died Prague, 1884

Smetana was ‘the father of

Bohemian music’. He wrote

mainly operas on national

themes and was a driving force

behind the establishment of

a national theatre in Prague.

Of the operas only one, TheBartered Bride, is well-known

in English-speaking countries,

but it enjoys genuine popularity.

Smetana acknowledged Liszt

as an important musical

influence, and in particular

he admired the genre that

Liszt helped create: the

symphonic poem.

VLTAVA

The cycle of symphonic poems

call Má vlast (premiered in

1882) is Smetana’s best-

known orchestral work.

Australian audiences rarely

hear it in its entirety, but

complete performances

are regularly given as

special events in the Czech

Republic. Two of the poems,

independently, have enjoyed

outstanding success: FromBohemia’s Woods and Fieldsand Vltava (also known in

German-speaking countries

as The Moldau).

Vltava traces the course of

the great river that flows

through Prague, from its

source, through the Bohemian

countryside and the city

itself, and finally sweeping

away into the distance.

Listen for the majestic ‘Vltava

theme’, which is first played

by the strings and which

continually returns through

the music.

10 | Sydney Symphony


it transcends the narrow limits of a particular patriotismand becomes an archetypal hymn of love for one’scountry.

Vltava (Moldau for German speakers) depicts thecourse of the river, beginning from its first small sources,where two springs, one cold and one warm, join into astream. It flows through forests and meadows, throughcountryside where festivals are being celebrated, aroundwater nymphs; proud castles – mansions and ruins – rise up from nearby cliffs. The Vltava swirls through theRapids of St John, then flows in a broad stream towardsPrague, where the historic fortress Vysehrad comes intosight. It finally disappears in the distance as it sweepsmajestically on to join the Elbe.

Listening Guide

The two sources of the Vltava are represented by flutesand clarinets respectively; strings introduce the Vltavatheme proper in E minor, a key which will be constantvirtually throughout the piece as the theme recurs in themanner of a rondo, though even now there is a brief hintof E major, suggestive of grandeur to come. Horns andtrumpets suggest a hunt in the forest through which the river flows; from a village festival – perhaps a wedding – come the strains of a polka; against a delicatelyshimmering orchestration, the water nymphs dance by moonlight. The Vltava theme returns, growing inconfidence, before suddenly plunging into the rapids,where cymbals and piccolo vividly highlight its giddyand turbulent passage. From this challenge, however,the stream emerges as a powerful river, striking outproudly and powerfully in E major to meet its destiny –Vysehrad and Prague, and thence to diminuendo into the distance.

ANTHONY CANE ©1990

Vltava calls for piccolo and pairs of flutes, oboes, clarinets andbassoons; four horns, two trumpets, three trombones and tuba;timpani and percussion (triangle, bass drum, cymbal); harp andstrings.

The Sydney Symphony first performed Vltava in 1939 under George Szell, and most recently in 1996 (with Sárka) under LiborPesek. Charles Mackerras last conducted the Orchestra in this workin 1984.

…exploring universal

wellsprings of national

sentiment, it…becomes

an archetypal hymn of

love for one’s country.

Leos Janácek (1854–1928)

Sinfonietta


Janácek’s last and greatest instrumental work grew fromunpromising origins – a military band concert in a parkand an invitation to write some music for a gymnasticsfestival. And although the Sinfonietta calls for a massivebattery of brass and timpani, it contains no element ofmilitarism or aggression: it expresses rather the exaltationof fulfilment and, born of a transcending love of a country,an ultimate faith in, and love of, mankind. In Janácek’sown words – and it may well be felt that the Sinfonietta is even more all-embracing than the composer believed –it represents ‘contemporary free man, his spiritual beautyand joy, his strength, courage and determination to fightfor victory’.

The band concert took place in the park of the 13th-century town of Písek on the Otava River, south ofPrague, in 1925. The 70-year-old composer was deeplyimpressed by some of the fanfares the bandsmen played,the historical uniform they wore, and the way the playersstood for solos. The invitation in the following year tocompose music for a gymnastics festival of the patrioticSokol movement (of which Janácek was an enthusiasticmember from 1876 until his death) offered him theopportunity to create his own fanfares and, by extension, toexpress his own nationalistic joy at the hope and promise ofthe newly independent state of Czechoslovakia, born out ofthe Peace of Versailles. The festival fanfares, solemnly jubilant,provided the frame within which his ideas expanded toform a five-movement work. No sooner was the Sinfoniettafirst performed in Prague on 26 June 1926 (under thebaton of Václav Talich) than it began to travel around theworld: before the end of 1927 Otto Klemperer had conductedit four times, in Wiesbaden, Berlin and New York.

It was a gesture of homage and gratitude, not a warlikeprogram, that caused Janácek to dedicate his Sinfonietta ‘to the Czechoslovak Armed Forces’ and to insist on its being called ‘Military Sinfonietta’. He felt in Brno,the capital of Moravia, a miraculous transformation from


Keynotes

JANÁCEK

Born Hukvaldy, Moravia,1854Died Ostrava, 1928

Leos Janácek had the

misfortune to go largely

unrecognised until quite

late in his life, when his

opera Jen °ufa found success

in 1916, and his last decade

was his most prolific, with

major operas such as KátyaKabanová, the Glagolitic

Mass, Sinfonietta and

many other works. He

took even longer to gain

proper recognition outside

Czechoslovakia; this

came after his death with

conductors such as Charles

Mackerras becoming

advocates for his work in

the 1950s.

SINFONIETTA

The Sinfonietta emerged

from a plan to write music

for a gymnastics festival in

Prague in 1926. But it grew

from a simple festive fanfare

to a much more ambitious

symphonic work in five

movements. The origins

are still there, however:

the fanfare begins and ends

the Sinfonietta, and the

orchestra includes an awe-

inspiring 12 trumpets.

The emphasis on the brass

choirs in the music also

gives the Sinfonietta an

‘outdoor’ character. The

three central movements

adopt distinctive

combinations of

instrumental colours,

and the overall effect is

brilliant, vigorous and

unforgettable.


a gloomy, inhospitable town of the Austro-HungarianEmpire into a radiant and liberated city of the newCzechoslovakia, a transformation which for himsymbolised the new face of the whole country. Although thePrague audience at the first performance must have beenpuzzled, a series of enigmatic movement headings whichJanácek appended to the program were inspired by Brno:1. Fanfares2. The Castle3. The Queen’s Monastery4. The Street5. The Town Hall

All were made clear in an article Janácek published thefollowing year under the title My Town:

I saw the town change miraculously. I lost my dislike ofthe forbidding town hall, my hatred of the hill whose bowelsscreamed with pain, my loathing of the street and everythingcrawling in it. By some miracle the resurrection of 28 October1918 spread a radiant light of freedom over the town. I sawmyself there. I belonged. And the brazen, victorious trumpets,the holy peace of the Queen’s Monastery, shadows at night, liferestored to the green hill, and a vision of the town’s futuregreatness – all these gave birth to my Sinfonietta.

It is thus suddenly clear that the ‘castle’ of the secondmovement is not the splendid Prague Castle, as its firsthearers must have imagined, but the notorious Spilberk of Brno, with its underground dungeons – the ‘hill whosebowels screamed with pain’. But this and all that Janácekhad hated in Brno – above all, its Germanness – weretransformed by its becoming Czech. The Queen’sMonastery is obviously the Augustinian school in OldBrno where Janácek had been a chorister – a ‘Blue Boy’as the lads were known from their uniform; the streets of the new Brno are alive with the bustle of people goingfreely about their business, and the Town Hall is a symbolnot of oppression but of self-determination.

Although these ideas can be observed in the Sinfoniettain a general way, the music is as absolute as anythingJanácek ever wrote. It makes no attempt at being asymphony, yet it is far more than a mere suite ofpicturesque cameos. Despite the huge forces called for(including additional trumpets), each movement is scoredwith characteristic individuality and the ultimate effect isone of considerable lightness, even delicacy, offset againstthe moments of great power.

And the brazen,

victorious trumpets,

the holy peace of the

Queen’s Monastery,

shadows at night, life

restored to the green

hill, and a vision of the

town’s future greatness

– all these gave birth to

my Sinfonietta.


Listening Guide

The fanfares of the opening movement are, as Czechconductor and Janácek biographer Jaroslav Vogel points out,essentially an intrada to the four main movements whichfollow. The burden of this solemn festivity is borne by thenine extra trumpets that augment the basic three in theorchestra, plus bass trumpets and tenor tubas. Apart from anappearance by the trumpets in the second movement (whichMackerras has introduced from his study of Janácek’s autographscore), all these ‘extra’ instruments will henceforth remainsilent until the fanfares return at the end of the last movement.

The Andante is built on two themes, the first describedby Vogel as a ‘burlesque dance motif ’ and the second morelyrical although, as Vogel demonstrates, it is actually askilfully derived variant of the first. There is a hint ofmelancholy, even tragedy, about the nocturnal serenityof the third movement. However, the mood is disrupted byan extraordinary central section which becomes for Vogel a‘wild ride’ building to a frenzied climax. After this a return tothe preceding serenity can only seem somewhat ambivalent.

With bright-eyed innocence the Allegretto presents awelcome contrast. The movement is based on the singleopening theme, and its 14 repetitions are in the nature ofa set of tiny variations, in which one or two small musicaljokes are masked by a disarmingly straight face. The themewith which flutes launch the finale is, as Vogel once moreindicates, a nostalgic minor variant of the theme of thepreceding movement: when clarinets take over, it becomesslightly grotesque; as the movement progresses, it becomesincreasingly macabre until, following a squeal almost ofanguish from the E flat clarinet, the additional brass re-emerge and all 12 trumpets play together for the first timein the exultant fanfares of the opening movement. Thefanfares now are heard with the support of the full orchestra,embellished by penetrating trills in the strings and wind asthey move irrepressibly forward to a short, impelling coda.

ANTHONY CANE ©1995

The Sinfonietta calls for four flutes (one doubling piccolo), two oboes(one doubling cor anglais), two clarinets (one doubling E flat clarinet),bass clarinet and two bassoons; four horns, 12 trumpets, two basstrumpets, four trombones, two tenor tubas and tuba; timpani andpercussion (cymbal, chimes, glockenspiel, suspended cymbal), harpand strings.

The Sydney Symphony first performed the Sinfonietta in 1958 underKurt Woess, and most recently in 2002 under Emmanuel Villaume.Charles Mackerras last conducted the Orchestra in this work in 1963.

The Sinfonietta

expresses the exaltation

of fulfilment and, born

of a transcending love

of a country, an ultimate

faith in, and love of,

mankind.

Sir Charles Mackerras, aformer student of VáclavTalich, who conducted thefirst performance of theSinfonietta, departs frompublished editions of the workin a number of interestingdetails, based on his study of Janácek’s autograph. In the second movement, all thetrumpets play the fanfarestogether; piccolo arabesquesin the fourth movement whichwere considered unplayableare performed an octavehigher, as Janácek originallywrote them; and a cymbalclash which occurs in thefinale before the restatementof the fanfares (the onlycymbal clash in the work) is played one bar earlier. Inthe third movement, whereJanácek initially wrote a high-lying part for violad’amore, normal violas areretained in order to achieve a more satisfactory balance.


GLOSSARY

ABSOLUTE – ‘absolute’ music is the oppositeof ‘program music’, i.e. it is music with nodescriptive title or narrative or apparentextra-musical inspiration. Most symphonieswould be considered ‘absolute’, with strikingexceptions in works such as Beethoven’sPastoral Symphony and Berlioz’s Symphoniefantastique, both of which are programmatic.

DIMINISHED SEVENTH – (for the technicallyminded…) a chord formed from a diminishedtriad with an added diminished seventh. It isdistinctive because the interval between eachnote in the chord is always the same: a minorthird (e.g. B–D–F–Aflat), and because it containstwo tritones (the ‘devil in music’!, e.g. B–Fand D–Aflat) making it harmonically unstable.

DIMINUENDO – becoming gradually softer.

FURIANT – a lively Czech couple dance intriple time, traditionally characterised bychanging rhythms (nothing to do with ‘fury’;in Czech the word refers to a ‘proud,swaggering, conceited man’).

INTRADA – from a Spanish word meaning‘entry’, an introductory movement with asense of arrival.

RONDO – a musical form in which a mainidea (refrain) alternates with a series ofmusical episodes.

SCHERZO – literally, a joke; generally referringto a movement in a fast, light triple time, withwhimsical, startling or playful elements anda contrasting central section called a TRIO.

SINFONIETTA – a little sinfonia (from theItalian word for ‘symphony’), suggestingbrevity and a light character.

SONATA FORM – this term was conceived inthe 19th century to describe the harmonicallybased structure most classical composershad adopted for the first movements of theirsonatas and symphonies. It involves theEXPOSITION, or presentation of themes andsubjects: the first in the tonic or home key,the second in a contrasting key. The tensionbetween the two keys is intensified in

the DEVELOPMENT, where the themes aremanipulated and varied as the music movesfurther and further away from the ultimategoal of the home key. Tension is resolved inthe RECAPITULATION, where both subjects arerestated in the tonic.

SYMPHONIC POEM – (also ‘tone poem’) a genreof orchestral music that is symphonic inscope but adopts a freer structure in serviceof an extra-musical ‘program’ that providesthe narrative or scene. Liszt was the first touse the term. Dvorák wrote a number oftone poems based on folk ballads and nextyear the Sydney Symphony plays one ofthese, The Noon Witch.

TONIC PEDAL – a single low note sustained or reiterated below (‘at the foot of ’) changingharmonies in the upper voices; for a tonicpedal the note is the tonic or main note ofthe home key, e.g. the note D for music inthe key of D minor.

PLAINCHANT – a style of Western ecclesiasticalchanting, and still used in services of theRoman Catholic Church as well as someAnglican traditions. Also known as Gregorianchant through its association with PopeGregory (the Great).

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

Allegretto – fast and lively, not so fast as AllegroAllegro – fastAllegro maestoso – fast, majesticallyAndante – at a walking paceAndante con moto – walking pace, with

movementModerato – moderatelyPoco adagio – somewhat slowlyPoco meno mosso – a little less movementVivace – lively

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


Bohemian Tramps

It was the simple pleasure of a walking tour that sealed thefriendship between Dvorák and Janácek, Anthony Canewrites…

One summer morning in July 1877 an early trainnorthbound out of Prague took Leos Janácek, justturned 23, and Antonín Dvorák, 35, on the first stage ofa 50-kilometre journey to Ríp. They went only part of theway by train. This was a walking tour, and over the nextthree days (as Janácek would later recall) they trampedover central and southern Bohemia visiting sites ofhistorical importance to Czechs.

Dvorák already knew Ríp Hill as an everyday sightfrom the little market town of Zlonice, where he hadbeen sent as a lad to learn the butcher’s trade and polishhis German. This 460-metre basalt monolith of Uluru-like prominence had long been shrouded in legends ofthe coming of the Czech people. In artist’s oils it wouldone day grace the Presidential box of the NationalTheatre in Prague.

But it was all new to Janácek, the Moravian country boywho was already making his presence felt in musical andSlav cultural circles in the provincial capital, Brno. It waswhilst he was visiting Prague for a few weeks’ intensivestudy of musical form that the idea of the walking tourcame up. He must have jumped at the opportunity, notonly to commune with the young Czech composer healready revered above all others but also to drink at thefountains of national heritage they were to visit.

Janácek had been acquainted with Dvorák since he hadfrequented Prague’s Church of St Adalbert (Sv Vojtech),where the latter was organist. He had recently (22 April1877) conducted Dvorák’s Serenade for Strings in Brnoand thereby sown the seed of future support for Dvorákin that city – or, as some accused, a Dvorák cult. This wasthe holiday that would seal their friendship.

From Ríp the two musicians tramped the countrysidefrom the Vltava plain of central Bohemia back south ofPrague to the conifered Sumava foothills. They visited the ancient towns of Strakonice, founded by the MalteseKnights of the Cross; Husinec, birthplace in 1369 of JanHus, the religious reformer revered as a national hero byall Czechs, Catholic and Protestant alike; and Prachatice,the 14th-century royal town that once commanded the trade route between Bavaria and Bohemia.

INTERLUDE

Janácek must have

jumped at the

opportunity to

commune with the

young Czech composer

he revered above all

others…


Further downstream on the Vltava they visited Orlíkcastle, with its Napoleonic souvenirs.

All this on foot (except for ‘a bit of the way back’ toPrague by train) – and in only three days, if Janácek’sreminiscences of three decades later are to be believed!Most probably, the composer’s unreliable memoryincluded a few day trips they made together six summerslater, starting out from Dvorák’s summer retreat atVysoká, south of Prague, whilst Janácek was flat-sittingfor him in the capital.

Although distanced by almost 13 years’ seniority,Dvorák obviously warmed to the pugnacious ardour ofthe young Janácek. Both came from humble, ruralbackgrounds and both had two languages in common –music and Czech. Each in his own way resented theGerman language imposed by the nation’s Habsburgoverlords – Dvorák pragmatically (until the crunch camewith his Berlin publisher and he felt able to insist thathis name and the titles of his works be printed in Czech);Janácek dogmatically (confronted, as he was, by theperception that his own Moravian capital, known to itsGerman-speaking majority as Brünn rather than Brno,was a sort of suburb of Vienna). No sooner was hemarried into a German-speaking family in Brno thanJanácek flatly forbade the use of German in the home.

Dvorák enjoyed no such rapport with his oldercompatriot Bedrich Smetana as he did with Janácek. The 17 years between Dvorák and Smetana and the factthat their relationship was from the beginning at aprofessional arm’s length – one the conductor and theother a mere violist in the orchestra for Smetana’s firstopera, The Brandenburgers in Bohemia – were a deepenough divide. But even more important, perhaps, wasSmetana’s middle-class background and the fact that hewas a German-speaker. The father of Czech nationalmusic, whose symphonic cycle My Country solemnlyinaugurates the Prague Spring every year on theanniversary of his death, was obliged to learn his mothertongue – the debased vernacular of country folk and theworking classes – in order to compose the eight enduringoperas which dramatically raised the status of Czechculture and changed the course of Czech musical history.

Dvorák owed much to Smetana and remembered to send him a telegram of deep reverence on his 60thbirthday, only weeks before he died, in 1884. Janácek, themusical realist, on the other hand, never understood –

…both had two

languages in common –

music and Czech.


perhaps for most of his life chose not to understand – the intellectual basis of Smetana’s neo-Romantic style.Swayed by his own pan-Slav idealism, he was impressedby the composer of two wide-ranging sets of SlavonicDances rather than the creator of a brilliant series forpiano of purely Czech Dances and Polkas. And he wasguilty as a young man of a notoriously dismissivedeclaration, albeit probably a mere throwaway line,‘Dvorák is the only Czech national composer.’

Janácek met his friend for the last time in Prague in1904, when the dress rehearsal of Dvorák’s last opera,Armida, was aborted in disarray. Weeks previously, hisown Jen°ufa had at last given him his long-awaitedoperatic breakthrough in Brno.

It was more than 20 years since the two had trampedthe Bohemian countryside. Then – in 1883 – Dvorákreceived his first invitation to visit England. The worldbeckoned. Opportunities for such simple sharedpleasures dried up. Although theirs was, as JarmilBurghauser puts it, a ‘peculiar, taciturn’ friendship,nevertheless their attitudes rubbed off on each other,Dvorák increasingly interested in Moravian and otherSlavonic music, and Janácek captivated by the folk-ballad basis of Dvorák’s late symphonic poems, lendingimpetus to his own theories of speech-derived melody.

ANTHONY CANE ©2003

…a ‘peculiar, taciturn’

friendship…

Walking Itineraries

After their walking tour in 1877, Dvorák wrote at leasttwice from Vysoká to Prague, inviting Janácek to join himon walking trips in July and August 1883 – once to Orlíkand later to Prachatice. And although Janácek wenthome to Brno at the beginning of September that year,more rambles appear to have followed. Otakar Sourek,dean of Dvorák scholars, speaks of ‘wanderings[together] through the south of Bohemia betweenSeptember 1883 and January 12th 1884’. And in 1881,following a street encounter in Prague, Dvorák evenjoined Janácek and his teenage bride on a honeymoonexcursion to Karlstejn.


75 YEARS: HISTORICAL SNAPSHOT

The glint in a young Mackerras’ eye:

Sydney and the world

resumed search for an import, fulfilled inGoossens with impressive results.

Heinze himself never seems to havedone any conductor training, or suggestedany, in his role as the ABC’s main musicadviser. Whether any of the Australianconductors of that time could have beennurtured into the post is doubtful – JosephPost is said to have lacked necessaryqualities, for all his musical talent and finetechnique. What was needed, clearly, inaddition, was drive and initiative. A youngoboe player in the orchestra of the 1940shad those, even though he may have wishedat times that less patience was required. His nephew, and a cohort of youngconductors, some of them trained in theprograms instituted by the ABC thenSymphony Australia, since the 1980s, maybe a sign of the future. Whether the chiefis Australian matters less because of themusical results than as a sign of the healthand vitality of Australia’s musical culture.

David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studying the history of the ABC as a musical organisation.

Batons and knapsacks?

The return of Sir Charles Mackerras toconduct in the orchestra’s 75th anniversaryyear, under the banner ‘Australia’s mostdistinguished conductor’, prompts thequestion why there have been so fewAustralians among the Sydney Symphony’schief conductors. Mackerras was the first,and since then only Stuart Challender. That still puts the Sydney orchestra twoAustralians ahead of Melbourne!

Charles Mackerras’ career path, fromoboist in the Sydney Symphony, throughstudies in Prague and extensive experiencein Britain and Europe, especially in theopera house, resembles Challender’s insome ways, and suggests part of the answer: it is difficult to get the rightexperience here in Australia, and enough of it. Apart from Challender, and perhapsMoshe Atzmon (aged 36 when he took overthe Sydney Symphony in 1967), the Sydneyorchestra has never had a chief near theoutset of a career, and for several it was,sadly, the end: Nicolai Malko and Willemvan Otterloo died here, and Goossens never recovered from the mode of hisgoing from Sydney.

Some say the ‘cultural cringe’ madeimports more acceptable, to audiences atleast, than natives. But one would havethought the ABC’s network of 6 full-timesymphony orchestras could have been anideal training ground for local conductors.Some ABC music officials pointed to thepotential, near the beginning in the 1930s.Then the war-time cancellation of plannedvisits by overseas conductors was given a positive spin, as an opportunity for the residents. The main beneficiary was Sir Bernard Heinze, who conducted here,there and everywhere during the war years. Audiences for music grew, the localconductors and soloists were acknowledgedto have done well, yet the upshot was a


MORE MUSIC

SIR CHARLES CONDUCTS…

DVORÁK

Dvorák’s Symphonies 7, 8 and 9 (From the New World)and the Symphonic Variations; performed by theLondon Philharmonic Orchestra, in a 2-CD set.

CLASSICS FOR PLEASURE 75761

Symphonies 8 and 9 are also available in an impressive performance with the Prague SymphonyOrchestra.

SUPRAPHON 3848

SMETANA

The complete set of tone poems that make up Má vlast (My Country) with the Czech PhilharmonicOrchestra, in a live recording from the 1999 PragueSpring Festival.

SUPRAPHON 3465

JANÁCEK

From Mackerras’s most recent group of Janácekrecordings comes a 2-CD set that includes an excitingperformance of the Sinfonietta as well as the suitefrom The Cunning Little Vixen, and other pieces,performed by the Czech Philharmonic Orchestra.

SUPRAPHON 3739

Those interested in Janácek’s music for the stageshould seek out the 9-CD collection “Janácek: TheOperas”, with the Vienna Philharmonic Orchestra andState Opera Chorus and Bratislava Children’s Choir.On offer: The Cunning Little Vixen, From the House ofthe Dead, Jen °ufa, Kátya Kabanová, and The MakropulosAffair. The Vixen suite, Taras Bulba, Jealousy, and theSinfonietta round out the set.

DECCA 723702

THE SYDNEY SYMPHONY

Beethoven’s Missa Solemnis with soloists RosamundIlling, Elizabeth Campbell, Christopher Dolg, andRodney Macann, and the Sydney Philharmonia Choir.

ABC CLASSICS 434722

‘Brünnhilde’s Immolation Scene’ from Wagner’sGötterdämmerung, sung by Birgit Nilsson in thehistoric concert for the opening of the Sydney OperaHouse in 1973. In the 75th Anniversary Collectionfeaturing the Sydney Symphony’s recording heritage.

ABC CLASSICS 476 5957

OCTOBER–NOVEMBER

24 October, 8pmMOZART’S GREAT C MINOR MASS

Charles Mackerras conductorEmma Matthews, Yvonne Kenny sopranosSteve Davislim tenorPaul Whelan bassSydney Philharmonia Choirs

R Strauss, Mozart

3 November, 8pmROMEO AND JULIET

Tugan Sokhiev conductorTchaikovsky, Rimsky-Korsakov, Prokofiev

10 November, 8pmDON JOHN OF AUSTRIA

Alexander Briger conductorCheryl Barker, Steve Davislim, Grant Doyle,

Sally-Anne Russell, Paul Whelan vocal soloistsSydney Philharmonia Choirs

The first Australian opera, by Isaac Nathan

And beginning 12 November, 7pm:Broadcasts from the Sydney Symphony’sRACHMANINOV FESTIVAL

Vladimir Ashkenazy conductor

Broadcast Diary

Selected Sydney Symphony concerts are recorded forwebcast by BigPond. Visit sydneysymphony.bigpondmusic.com

October webcasts:SIR CHARLES MACKERRAS RETURNS

Live on 12 October at 8pm On Demand from later in the month.

MOZART’S GREAT C MINOR MASS

Live on 24 October at 8pm On Demand from November.

sydneysymphony.com

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

Selected Discography

2MBS-FM 102.5SYDNEY SYMPHONY 2007

Tue 13 November, 6pmWhat’s on in concerts, with interviews and music.

Webcast Diary


ABOUT THE ARTIST

Sir Charles Mackerras was born to Australian parents in the USA, and is a former Principal Oboe and ChiefConductor of the Sydney Symphony. He conducted thefirst concert in the Concert Hall of the Sydney OperaHouse, an all-Wagner program, part of which is nowon CD.

Sir Charles is Principal Guest Conductor of thePhilharmonia Orchestra, Conductor Laureate of theScottish Chamber Orchestra, Conductor Emeritus ofWelsh National Opera, Principal Guest ConductorEmeritus of the San Francisco Opera, and ConductorEmeritus of the Orchestra of the Age of Enlightenment. A specialist in Czech repertoire, he was Principal GuestConductor of the Czech Philharmonic from 1997 to 2003.

His discography includes a cycle of Janácek operas with the Vienna Philharmonic (he has conducted theseoperas in New York, Paris, Sydney and London) andaward-winning recordings of Britten’s Gloriana andDvorák’s Rusalka. He has also recorded symphonies of Mahler and Brahms, eight Mozart piano concertos(with Alfred Brendel), Mozart operas and works bySmetana and Martin°u.

Sir Charles has undertaken much research into 18th- and 19th-century performance. In 1991 he conducteda new production of Don Giovanni at the re-opening ofPrague’s Estates Theatre, scene of its original premiere,to mark the bicentenary of Mozart’s death.

In 2005 Sir Charles celebrated a 50-year association with the Royal Opera House, Covent Garden conductingVerdi’s A Masked Ball, and recently at Covent Garden,conducted Kátya Kabanová, a work he first presented atSadler’s Wells in 1951, introducing Janácek to UK operaaudiences. He marked his 55th year at the Edinburgh Festivalin 2006, conducting all the Beethoven symphonies.

In the 2007–08 season Sir Charles also conducts theRoyal Liverpool Philharmonic, Vienna Philharmonic,Leipzig Gewandhaus Orchester and Dresden StateOrchestra.

Sir Charles was made a Commander of the BritishEmpire in 1974 and in 1979 was knighted for his servicesto music. In 1997 he was made a Companion of the Orderof Australia. In 2005 he was the first recipient of theQueen’s Medal for Music.

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Sir Charles Mackerras conductor


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Resident at theiconic Sydney Opera House where theSydney Symphony gives more than 100performances each year, the Orchestra alsoperforms concerts in a variety of venuesaround Sydney and regional New SouthWales. International tours to Europe, Asiaand the USA have earned the Orchestraworld-wide recognition for artisticexcellence.

Critical to the success of the SydneySymphony has been the leadership given by its former Chief Conductors including:Sir Eugene Goossens, Nikolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, Stuart

Challender 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 fourth year asChief Conductor and Artistic Director ofthe Sydney Symphony, a position he holdsin tandem with that of Music Director at the prestigious Rome Opera.

The Sydney Symphony is reaping therewards of Maestro Gelmetti’s directorshipthrough the quality of sound, intensityof playing and flexibility between styles. His particularly strong rapport withFrench and German repertoire iscomplemented by his innovativeprogramming in the Shock of the New concerts and performances ofcontemporary Australian music.

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 Symphonymaintains an active commissioningprogram promoting the work of Australiancomposers and in 2005 Liza Lim wasappointed Composer-in-Residence forthree years.

In 2007, the Orchestra celebrates its 75th anniversary and the milestoneachievements during its distinguishedhistory.

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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

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

Kirsty HiltonAssistant Concertmaster

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate Concertmaster

03 Fiona ZieglerIan & Jennifer Burton Chair of Assistant Concertmaster

04 Julie Batty05 Gu Chen06 Amber Davis07 Rosalind Horton08 Jennifer Hoy09 Jennifer Johnson10 Georges Lentz11 Nicola Lewis12 Alexandra Mitchell

Moon Design Chair of Violin13 Léone Ziegler

Sophie Cole

Second Violins

01 Marina MarsdenPrincipal

02 Susan DobbieAssociate Principal

03 Emma WestAssistant Principal

04 Pieter Bersée05 Maria Durek06 Emma Hayes07 Shuti Huang08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Emily Qin First Violin#

Victoria Jacono First Violin†

Alexandra D’Elia Second Violin#

Alexander Norton Second Violin#

Jacqueline Cronin Viola#

Jennifer Curl Viola#

Joanna Tobin Viola†

Rosemary Curtin Viola

Vera Marcu Viola

Janine Ryan Cello#

Martin Penicka Cello†

Nicholas Metcalfe Cello

Jennifer Druery Double Bass#

Ngaire de Korte Oboe

Alexandra Carson Clarinet

Casey Rippon Horn#

Alexandra Bieri Trumpet

Julian Brun Trumpet

Brenton Burley Trumpet

Matthew Dempsey Trumpet

Andrew Evans Trumpet

Leann Kemp Trumpet

James Polack Trumpet

Leanne Sullivan Trumpet

Todd Burke Bass Trumpet

Neill Ryan Bass Trumpet

Joshua Davis Trombone#

James Campbell Trombone

Matthew Van Emmerick

Euphonium

Key:

# Contract Musician† Sydney Symphony

Fellowship

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

09 10 11 01 02 03

01Violas

02 03 04 05 06 07

04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

08Harp

01Flutes

02 03Piccolo

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 Principal

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 Andrew RacitiAssociate Principal

04 Neil BrawleyPrincipal Emeritus

05 David Campbell06 Steven Larson07 Richard Lynn08 David Murray

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

01 Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild Associate Principal

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 MillerPrincipalAdam 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 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

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

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 06

07 08 09 10 11 12

DIRECTORS’ CHAIRS

01Mulpha Australia Chair ofPrincipal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul Salteri Chair ofArtistic Director Education,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 Double Bass,Kees Boersma

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

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

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

10Ian and Jennifer Burton Chair of Assistant Concertmaster,Fiona Ziegler

11Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

12Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict

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Mr Paul Espie °Anthony Gregg & Deanne

Whittleston ‡Dr & Mrs C GoldschmidtBeth Harpley *Rev H & Mrs M Herbert °*Ms Michelle Hilton-Vernon Dr & Mrs Michael Hunter §Mr Stephen Jenkins *Professor Faith M JonesMr Noel Keen *Mrs Margaret Keogh °*Miss Anna-Lisa Klettenberg °§Iven & Sylvia Klineberg *Dr Barry Landa Mrs Joan Langley °Dr & Mrs Leo LeaderMs A Le Marchant *Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Mrs Anita Levy °Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthyMr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesMr & Mrs Tony Meagher Ms J Millard *‡Mr Andrew Nobbs Mr Stuart O’Brien Miss C O’Connor *Mrs R H O’Conor *Mrs Jill Pain °‡Dr Kevin PedemontMr Adrian & Mrs Dairneen

PittonMr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs Caroline Ralphsmith Mr John Reid AO Mr John & Mrs Lynn Carol

Reid §Mr Brian Russell & Mrs Irina

SinglemanIn memory of H St P Scarlett °*Dr Agnes E SinclairDr John Sivewright & Ms

Kerrie Kemp ‡Mr Ezekiel Solomon Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mrs Merle Turkington °Ronald Walledge °Louise Walsh & David JordanDr Thomas Wenkart Dr Richard Wing §Mr Geoff Wood & Ms Melissa

WaitesMr Robert Woods *Mrs Lucille WrathMrs R Yabsley °Anonymous (12)

PLAYING YOUR PART

Maestri

Brian Abel & the late Ben Gannon AO °

Geoff & Vicki Ainsworth *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 Greg Daniel AMPenny Edwards *Mr J O Fairfax AO *Dr Bruno & Mrs Rhonda Giuffre*Mr Harcourt Gough §Mr David Greatorex AO &

Mrs Deirdre Greatorex §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mr B G O’Conor §The Paramor Family *The Ian Potter FoundationDr John Roarty in memory of

Mrs June RoartyMr Paul & Mrs Sandra Salteri°Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (1) *

Virtuosi

Mrs Antoinette Albert §Mr Roger Allen & Mrs Maggie

GrayMr John Curtis §Mr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mrs Margaret Jack Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM Mr E J Merewether & Mrs T

Merewether OAM *Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Rodney Rosenblum AM &

Sylvia Rosenblum *Mrs Helen Selle §

David Smithers AM & Family §Dr William & Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1) §

SoliMr Anthony Berg AMMs Jan Bowen §Mr Robert & Mrs L Alison Carr §Mr Chum Darvall §Hilmer Family Trust Ms Ann Hoban °Mr Paul Hotz §Mr Rory Jeffes Mrs Joan MacKenzie §Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mr James & Mrs Elsie Moore °Ms Elizabeth ProustMr & Mrs Ernest Rapee §Ms Gabrielle Trainor Ms Deborah WilsonDr Richard Wingate §Mr Geoff Wood & Ms Melissa

Waites Anonymous (5) §

Tutti

Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J BellMr Alexander & Mrs Vera

Boyarsky §Mr Maximo Buch *Mrs F M Buckle °Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &

Mrs Margaret Cunningham§Mr & Mrs J B Fairfax AM §Mr Russell Farr Mr & Mrs David Feetham Mr Ian Fenwicke & Prof Neville

Wills §Mrs Dorit & Mr William

Franken °§Mr & Mrs J R W Furber §Mr Arshak & Ms Sophie

Galstaun §In memory of Hetty Gordon §Mrs Akiko Gregory §Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski°Mr Philip Isaacs OAM §Ms Judy Joye Mr & Mrs E Katz §Mr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §Dr Paul A L Lancaster &

Dr Raema ProwseDr Garth Leslie °*Mr Gary Linnane §Ms Karen Loblay §

Mr Bob Longwell Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAMMr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic §Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Justice Jane Mathews §Mrs Mora Maxwell °§Wendy McCarthy AO °Mrs Barbara McNulty OBE °§Ms Margaret Moore & Dr Paul

Hutchins *Mr R A Oppen §Mr Robert Orrell §Mr Arti Ortis & Mrs Belinda

Lim §Ms Kathleen ParerTimothy & Eva Pascoe §Ms Patricia Payn §Mr Adrian & Mrs Dairneen

Pilton Ms Robin Potter §Dr K D Reeve AM °Mrs Patricia H Reid °Mr Brian Russell & Ms Irina

Singleman Ms Juliana Schaeffer §Derek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Mr Stephen Thatcher Ms Gabrielle TrainorMr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Kathleen Tutton °Ms Mary Vallentine AO §Henry & Ruth Weinberg §Audrey & Michael Wilson °Jill Wran §Anonymous (9)

Supporters over $500

Ms Madeleine Adams Mr C R Adamson °§Mr Lachlan Astle Doug & Alison Battersby °Mr Marco Belgiorno-Zegna AM Mr Phil Bennett Mr G D Bolton °Mr David S Brett *A I Butchart °*Mrs B E Cary §Mr B & Mrs M Coles §Mrs Catherine Gaskin

Cornberg§Mr Stan Costigan AO & Mrs

Mary Costigan *Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Lisa & Miro Davis *Mrs Patricia Davis §

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

What’s on the cover?During the 2007 season Sydney Symphony program covers will feature photos that celebrate the Orchestra’s history over the past 75 years. The photographs on the covers will change approximately once a month, and if you subscribe to one of our concert series you will be able to collect a set over the course of the year.

COVER PHOTOGRAPHS (clockwise from top left): Little girl with SSO violinist at an Infants’ Concert (1965); Charles Mackerrasacknowledges applause at the opening of the Sydney Opera House (1973); SydneySymphony Brass Ensemble at the Parkes Radio Telescope; painting and performingmusic of Nigel Butterley in the Cell Block Theatre, a project with the artist John Peart(1967); Kees Boersma, Principal Double Bass; reading at an SSO Prom Concert (1965).


Sydney Symphony Staff

MANAGING DIRECTOR

Libby Christie

EXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON

Ilmar Leetberg

PERSONAL ASSISTANT TO THE

CHIEF CONDUCTOR

Lisa Davies-Galli

ADMINISTRATION ASSISTANT,

ARTISTIC OPERATIONS

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret Moore

EDUCATION CO-ORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Rory Jeffes

CORPORATE RELATIONS MANAGER

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Julia Owens

PHILANTHROPY MANAGER

Alan Watt

MARKETING AND

CUSTOMER RELATIONS

DIRECTOR OF MARKETING AND

CUSTOMER RELATIONS

Julian Boram

Publicity

PUBLIC RELATIONS MANAGER

Yvonne Zammit

PUBLICIST

Stuart Fyfe

Customer Relationship

Management

MARKETING MANAGER – CRM

Rebecca MacFarling

ONLINE & PUBLICATIONS MANAGER

Robert Murray

DATABASE ANALYST

Marko Lång

Marketing Communications

MULTICULTURAL MARKETING

MANAGER

Xing Jin

CONCERT PROGRAM EDITOR

Yvonne Frindle

MARKETING COORDINATOR

Antonia Farrugia

Corporate & Tourism

NETWORK GROUP–SALES MANAGER

Simon Crossley-Meates

Box Office

BOX OFFICE MANAGER

Lynn McLaughlin

BOX OFFICE CO-ORDINATOR

Anna Fraser

CUSTOMER SERVICE

REPRESENTATIVES

Wendy AugustineMichael Dowling

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA

MANAGEMENT

Aernout Kerbert

ACTING DEPUTY ORCHESTRA

MANAGER

Greg Low

ORCHESTRAL ASSISTANT

Angela Chilcott

OPERATIONS MANAGER

John Glenn

TECHNICAL MANAGER

Derek Coutts

PRODUCTION CO-ORDINATOR

Tim Dayman

PRODUCTION ASSISTANT

Ian Spence

STAGE MANAGER

Marrianne Carter

COMMERCIAL PROGRAMS

DIRECTOR OF COMMERCIAL

PROGRAMMING

Baz Archer

RECORDING ENTERPRISES

RECORDING ENTERPRISES MANAGER

Aimee Paret

BUSINESS SERVICES

DIRECTOR OF FINANCE

David O’Kane

EXECUTIVE PROJECT MANAGER

Rachel Hadfield

FINANCE MANAGER

Samuel Li

OFFICE ADMINISTRATOR

Shelley Salmon

INFORMATION TECHNOLOGY

MANAGER

Tim Graham

PAYROLL AND ACCOUNTS

PAYABLE OFFICER

Caroline Hall

HUMAN RESOURCES

Ian Arnold

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise 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 other than that in which it waspublished.

This is a /SHOWBILL publication.

Publisher

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Head Office:

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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 AND ADVERTISEMENT DIRECTOR

Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR

Michael Nebenzahl

EDITORIAL DIRECTOR

Jocelyn Nebenzahl

DIRECTOR – PRODUCTION

Chris Breeze

Overseas Operations:

New Zealand: Playbill (N.Z.) Limited, Level 5, 94 Dixon Street, PO Box 11-755, Wellington, New Zealand; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose,Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148,Email: [email protected] London: Playbill UK Limited, C/- Everett Baldwin BarclayConsultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill (Malaysia) Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3)7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum ConsultantsPte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett ChownInc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should bedirected to the above company and address.

Entire concept copyright. Reproduction without permission inwhole 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 ProprietaryLimited.

Additional copies of this publication are available by post from thepublisher; please write for details.

14986 – 1/111007 – 40TH/S/G S80/82

SYMPHONY SERVICES 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 Concert Program 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 (leave)Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

ACTING CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . .Sue Nattrass AO

DIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . .David Antaw DIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . .Naomi GrabelDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, 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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