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WELCOME TO THE AUSGRID MASTER SERIES

Welcome to this Ausgrid Master Series concert at the Sydney Opera House. Tonight we’re delighted to be welcoming former chief conductor Edo de Waart back to the stage of the Concert Hall. In his fi rst concert here in fi ve years, he will be conducting music by two composers close to his heart.

Beethoven represents the core Romantic repertoire with which Edo de Waart distinguished himself during his tenure at the Sydney Symphony. John Adams is a composer with whom he has had a long personal association and in these concerts we celebrate the 30th anniversary of Harmonium, which was dedicated to de Waart.

The Ausgrid network includes the poles, wires and substations that deliver electricity to more than 1.6 million homes and businesses in New South Wales. Ausgrid is transforming the traditional electricity network into a grid that is smarter, greener, more reliable and more interactive – something we are very proud of.

We’re also extremely proud of our partnership with the Sydney Symphony and our support of the orchestra’s fl agship Master Series

We trust that you will enjoy tonight’s performance and we look forward to seeing you at the Ausgrid Master Series concerts throughout 2011.

George MaltabarowManaging Director

2011 SEASON

AUSGRID MASTER SERIESWednesday 30 March | 8pmFriday 1 April | 8pmSaturday 2 April | 8pm

Sydney Opera House Concert Hall

THE VOICE OF ECSTASYEdo de Waart conductorSydney Philharmonia Choirs Brett Weymark chorusmaster

LUDWIG VAN BEETHOVEN (1770–1827)Symphony No.7 in A, Op.92

Poco sostenuto – VivaceAllegrettoPrestoAllegro con brio

INTERVAL

SAMUEL BARBER (1910–1981)Adagio for Strings

JOHN ADAMS (born 1947)Harmonium for chorus and large orchestra

Part 1. Negative LovePart 2. Because I could not stop for Death – Wild Nights

Wednesday’s performance will be recorded by ABC Classic FM for later broadcast across Australia.

Pre-concert talk by Robert Murray at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 36 minutes, 20-minute interval, 8 minutes, 33 minutes

The concert will conclude at approximately 9.50pm.

PRESENTING PARTNER

Portrait of Beethoven from 1804 by Willibrord Joseph Mähler (1778–1860)

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7 | Sydney Symphony

INTRODUCTION

The Voice of EcstasyBeethoven, Barber and Adams

In 1804, a new acquaintance of Beethoven’s, Willibrord Joseph Mähler, painted the composer’s portrait. He is posed in an Arcadian landscape, a lyre in his left hand and a temple of Apollo just visible in the background near his right. The 34-year-old gazes calmly out at us, a model of classical serenity.

The portrait provides a marked contrast to the popular image of Beethoven – all wild hair and scowling looks – but it’s an apt choice for a concert with his Seventh Symphony. Of all Beethoven’s symphonies, the Seventh is the most ‘classical’ in spirit. Just as Mähler includes the temple and the lyre to align his subject with Apollo, the god of music and poetry, so Beethoven’s use of Greek poetic metres would have evoked for his Romantic audience an impression of the ancient world.

But with metre comes rhythm and in this respect the Seventh Symphony of 1814 departs completely from the calm and idyllic scenario of Mähler’s portrait. It may be the most classical of Beethoven’s symphonies, but it is also the most energetic, the most compelling, the most ecstatic – Dionysus as well as Apollo.

Samuel Barber’s Adagio for Strings brings ecstasy of a diff erent kind. Its seamless line and satisfying arc, combined with its unabashed sincerity, make for music that is deeply satisfying and emotionally wrenching. The popularity of the Adagio outside the concert hall says as much.

John Adams, through his minimalist style, takes the concert back into the realm of ecstasy through rhythm. Harmonium introduces poetry as well – not of the ancient Greeks but of John Donne and Emily Dickinson. This thrilling work for chorus and orchestra derives its energy partly from its shifting (tonal) harmonies, partly from the intricacies of its irresistible rhythms. And when the music reaches the third movement, Wild Nights, there is a wildness to rival the untamed delirium of Beethoven’s whirling fi nale.

8 | Sydney Symphony

ABOUT THE MUSIC

Keynotes

BEETHOVEN

Born Bonn, 1770Died Vienna, 1827

Beethoven’s work is traditionally divided into three periods – often disputed in detail, but prevailing as a way of tracing the progress of his life and musical style. The Seventh Symphony represents the middle ‘Heroic’ period (beginning in 1803 with the completion of the Eroica Symphony and ending in 1812 with the composition of the Seventh and Eighth symphonies). This was the period in which Beethoven, devastated by irreversible deafness but ‘saved’ by his art, produced six of his nine symphonies and three of his fi ve piano concertos.

SEVENTH SYMPHONY

Rhythm is the heart and essence of Beethoven’s Seventh Symphony. Each of its four movements, whether fast or slow, is shaped by the rhetoric of repeated rhythmic patterns and a propelling energy. The Seventh Symphony has a pulse; more than that, it moves. There is the skipping of the fi rst movement, the throbbing tread of the second, a relentless scherzo, and a whirling and delirious fi nale. The most famous part of the Seventh Symphony is the Allegretto second movement. Hypnotic and irresistible, the Allegretto was encored – right then and there, between movements! – at the premiere in 1813.

Ludwig van BeethovenSymphony No.7 in A, Op.92

Poco sostenuto – VivaceAllegrettoPrestoAllegro con brio

Beethoven’s Seventh Symphony received its fi rst performances in December 1813 in an atmosphere of triumph and euphoria: Napoleon’s imperial ambitions had been squashed; the composer was at the height of his popularity. The symphony had been completed in the summer of 1812 so its joyous spirit had nothing to do with liberation or military victory, but nonetheless audiences heard in it the enthusiastic mood of the ‘battle symphony’ that Beethoven had composed for the occasion. One critic went so far as to describe the symphony as a ‘companion piece’ to the overwhelmingly popular Wellington’s Victory.

Despite the competition, the Seventh Symphony made a genuine impression of its own. Louis Spohr, assistant concertmaster for the premiere, noted that the symphony was exceptionally well received and that the ‘wonderful second movement had to be repeated’.

The key to the symphony’s direct appeal – then and now – lies in a single musical element: rhythm. Never before had rhythm been given such a fundamental role in Beethoven’s music. It generates the symphony’s structure, its melodic and harmonic gestures, and ultimately its powerful rhetoric. But unlike the Fifth Symphony, where the opening rhythmic motif is developed, fragmented and expanded, the Seventh Symphony adopts a treatment of rhythm and pulse that emphasises obsessive repetition of distinctive patterns.

Rhythm – and the gesture of the repeated note – defi nes the Seventh Symphony from the outset. After an imposing slow introduction, almost a movement in itself, Beethoven spins his fi rst main theme from a skipping rhythm on a single note, at once relentless and static. At least, most listeners today are likely to hear it as a ‘skipping rhythm’, complicit in Wagner’s description of the symphony as the ‘apotheosis of the dance’. For us, as for Wagner, the experience of Beethoven’s Seventh is a kinetic one.

But Beethoven’s listeners, Romantics all and therefore attuned to the niceties of classicism, would also have recognised the dactylic metre of classical Greek poetry. Beethoven’s student Carl Czerny was among the fi rst to detail the extensive use of poetic metres in the

9 | Sydney Symphony

Beethoven, 1814

symphony. Czerny points out the ‘weighty spondees’ of the introduction, the dactylic fi gures in the fi rst movement, the combination of these two patterns in the Allegretto, and other poetic foundations for the musical content, concluding: ‘It isn’t improbable that Beethoven…was thinking about the forms of heroic poetry and must have deliberately turned toward the same in his musical epic.’

Other writers of Beethoven’s generation interpreted the conspicuous use of poetic metre as deliberate evocation of Greek music and poetry, and of the ancient world in general. Henri de Castil-Blaze, for example, heard in the much-loved Allegretto ‘an antique physiognomy’. A.B. Marx described the massive opening of the fi rst movement as ‘the kind of invocation with which we are particularly familiar in epic poets’, and the fi nale as a ‘Bacchic ecstasy’ – this last interpretation given the seal of approval by Wagner (who also recognised an ‘orgiastic’ character in the music), and in the 20th century by Donald Tovey.

Beethoven himself is silent on the Seventh Symphony. We don’t know whether he was trying to evoke the ancient world, but such an aim would have been in keeping with

the ‘apotheosis of the dance’WAGNER

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11 | Sydney Symphony

‘Music is the wine which inspires us to new acts of generation…’BEETHOVEN

the spirit of Romanticism, which sought the fusion of the Modern and the Antique, the simultaneous stewardship and redefi nition of classicism.

Nowhere is this more strikingly conveyed than in the hypnotic second movement, ‘the menacing chorus of ancient tragedy’. Not a true slow movement but a more animated Allegretto, its point of departure – and indeed its point of return – is uncertainty, with harmonically unstable chords that draw us forward from stasis to metamorphosis. The movement proper adopts the simplest of means: the throbbing tread of an austerely repeated pattern (ostinato) and the piling on of instrumental weight and transforming woodwind colour for ever-increasing intensity.

The dazzling scherzo shows Beethoven at play: setting his basic rhythms against each other, inverting and varying them, and cultivating ambiguity within a relentless pulse. The vehemence of this Presto comes from repeated notes that subdivide the melody into its most basic rhythmic unit; in the trio these repeated notes join to create a sustained fi gure, more expansive and lyrical but equally insistent.

For his fi nale, Beethoven compresses the contrasts of the fi rst movement into the opening bars: two explosive gestures unleash whirling fi gurations above unremitting syncopation in the bass. Once more he spins a web of interlocking rhythms, ensnaring us in what his contemporaries described as ‘absurd, untamed music’ and a ‘delirium’. As Beethoven himself claimed: ‘Music is the wine which inspires us to new acts of generation, and I am Bacchus who presses out this glorious wine to make mankind spiritually drunk.’

On its surface, this symphony conforms to classical structure, but underneath the Apollonian equilibrium of a four-movement symphony Beethoven creates a feeling of spontaneity, motion and Dionysian vitality. The introspective moments of the introduction, the central part of the scherzo, and the second movement only highlight the irrepressible brilliance of the symphony over all. Whether we attribute its magic to Terpsichore, the muse of the dance, or to Clio, the muse of epic poetry, Beethoven’s Seventh Symphony is an inspired invention.

YVONNE FRINDLE ©2004

Beethoven’s Seventh 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 1939 under Malcolm Sargent and most recently in the Gianluigi Gelmetti farewell concert in 2008.

Further reading: Maynard Solomon’s essay ‘The Seventh Symphony and the Rhythms of Antiquity’ (in Late Beethoven, University of California Press, 2003) examines Beethoven’s deployment of Greek poetic metres and the infl uence of classicism on Romantic creative thought.


Keynotes

BARBER

Born West Chester, PA, 1910Died New York City, 1981

Samuel Barber was a child prodigy who enrolled in the newly founded Curtis Institute, Philadelphia, at the age of 14 and was winning major prizes in his teens. His overture to The School for Scandal, written in 1931, was his fi rst large-scale orchestral work to be published and won him a Bearns Award. He came to international attention in 1938 when Toscanini programmed the First Essay and the Adagio for Strings in one of his famous orchestral broadcasts. Barber was also a singer – a fi ne baritone – something that emerges in the lyricism of the Adagio and his luminous writing for the voice.

ADAGIO FOR STRINGS

The Adagio for Strings is possibly Barber’s most famous music, in part because of its powerful use in fi lm and as an accompaniment to times of national mourning in the United States. But it is also extraordinarily effective music in its own right.

Its name is simple, referring to the tempo of the music (slow) and the instrumental forces required (a string orchestra). The music itself has a simplicity of gesture, which contributes greatly to its emotional intensity. Most striking, though, is the long-breathed line of the melody.

Samuel Barber Adagio for Strings, Op.11

On completing the second movement of his String Quartet, Opus 11 in 1936, Samuel Barber knew that he had created something special. ‘It’s a knockout!’ he declared with all the verve of a potential game-show host. What Barber had intuitively recognised was the special quality of this slow movement which – in an arrangement for string orchestra – was one day to make the Adagio into his most resoundingly successful and popular work.

Barber’s personal belief in the Adagio led him to present the string orchestra arrangement along with his First Essay for orchestra for the perusal of the great conductor Arturo Toscanini. Departing America for Italy in the summer, Toscanini sent back the scores to Barber without comment. Distressed and ‘annoyed’ at the lack of response, Barber sent his composer-friend Gian Carlo Menotti on a pre-arranged visit to Toscanini’s summer house without him, apologising that he was not feeling well. Toscanini is reported to have told Menotti: ‘I don’t believe that. He’s mad at me. Tell him not to be mad. I’m not going to play one of his pieces, I’m going to play both!’

Toscanini’s regular orchestral broadcasts in many ways defi ned American musical taste during the 1930s and so it was of the utmost signifi cance that the Italian conductor recognised the American composer. The broadcast on 5 November 1938 brought Barber’s music to the attention of a national audience. A subsequent review by Olin Downes in The New York Times included the comment: ‘This is the product of a musically creative nature…who leaves nothing undone to achieve something as perfect in mass and detail as his craftsmanship permits.’

Downes alludes to one of the great appeals of this work. By no means is it an ‘intellectual exercise’; there is something in the shape and simple truth of the Adagio that is emotionally satisfying. It is written in a language that enables it to speak to the most diverse cross-section of society and this has ensured its popularity. Barber’s Adagio gives voice to otherwise inexpressible human emotions.

Modern perceptions of the Adagio have been coloured, in some ways to the detriment of the music, by its frequent use in advertising and fi lms – in particular the Vietnam war saga Platoon. In a calculated exploitation of the music’s natural expressive qualities, these media have invested the Adagio with over-sentimental and emotion-packed visual images. Furthermore, through its association with the


…there is something in the shape and simple truth of the Adagio that is emotionally satisfying…

deaths of prominent American personalities the Adagio has also acquired the unfortunate reputation of ‘national funeral music’ in the United States, having been performed at the funerals of President Franklin D. Roosevelt, Albert Einstein and Princess Grace of Monaco, among others.

The Adagio for Strings has its own innate intensity which in many ways is generated by the seamless line of its structure. This is most obvious in the original version for string quartet, but which is also apparent in the string orchestra arrangement, and Barber’s subsequent setting of the work as a choral ‘Agnus Dei’. Any added emphasis in performance is in danger of distorting the Adagio and corrupting its graceful simplicity. The extra weight of the orchestral version is already enough to encourage most conductors to a slower, more extended reading – the additional resonance of the full string sections can make the Adagio up to three minutes longer than the quartet version, while still making musical sense.

Perhaps Aaron Copland best captured the essence of the Adagio when he commented:

It’s really well felt, it’s believable you see, it’s not phoney. He’s not just making it up because he thinks that it would sound well. It comes straight from the heart…The sense of continuity, the steadiness of the fl ow, the satisfaction of the arch that it creates from beginning to end – they’re all very gratifying, satisfying, and it makes you believe in the sincerity which he obviously put into it.

KYLIE BURTLANDSYMPHONY AUSTRALIA ©1996

The Adagio originally formed the second movement of a string quartet (two violins, viola and cello), and was subsequently arranged as a standalone work scored for a fi ve-part string orchestra (fi rst and second violins, violas, cellos and double basses).

The Sydney Symphony was the fi rst ABC orchestra to perform the Adagio for Strings, in a concert conducted by Percy Code in 1941, just a few years after the premiere. The orchestra’s most recent performance of the Adagio was in the Master Series in 1995, conducted by Gilbert Varga. It was also played in the 2000 Symphony in the Domain, conducted by Lawrence Renes.


Keynotes

ADAMS

Born Worcester, Massachusetts, 1947

John Adams’ best-known piece is Short Ride in a Fast Machine – the kind of exhilarating music that’s as welcome in popular concerts under the stars as it is in concert halls. It carries all the trademarks that reveal Adams as a minimalist composer: hypnotic repetition; the energy of a steady beat; and a familiar harmonic language emphasising consonance, and coloured by late-Romanticism. The result is a style that’s mesmerising and stirring.

HARMONIUM

John Adams describes Harmonium (1981) as one of two works that represent his fi rst mature statements in a language that was born out of his initial exposure to minimalism. (The other was Shaker Loops.) He also admits to pushing the minimalist envelope, even at this stage: ‘What was orderly and patiently evolving in the works of Reich or Glass was in my works already subject to violent changes in gesture and mood.’

The title is all that remains from Adams’ initial intention to set poems from a collection by Wallace Stevens. Ultimately, he says, he settled on three poems of ‘transcendental vision’ – by John Donne and Emily Dickinson. The music is cast in three movements over two parts, corresponding to the selected texts (see page 18).

John AdamsHarmonium

Part 1. Negative LovePart 2. Because I could not stop for Death – Wild Nights

Sydney Philharmonia Choirs

What a revelation it was to encounter this music in the early 1980s. Contemporary music of the ‘classical’ variety had been in crisis since the mid-1970s, as composers searched for ways to break out of the confi ning aesthetic dogmas of the ‘High Modernist’ era. Harmonium burst through the veil of dominating academic propriety to present a startling new conception of contemporary music, one that was fresh, engaging and exhilarating.

Adams himself had been in search of alternatives to European notions of modernity for some time. The shaping of his musical identity is typical of the experiences of his generation: having grown up in a New England household fi lled with the sounds of the swing bands and the popular classics, Adams fell under the spell of academic modernism and its heroic aura when he was a student at Harvard. At the start of the 1970s, though, Adams discovered John Cage’s radical philosophy with its promise of unlimited creative freedom, and at 24 he moved to California in enactment of its infl uence, joining the liberated West Coast new music scene. Although he gained local renown as an experimentalist composer, Adams still felt he had not found the kind of musical language he could pursue for a lifetime.

Minimalism gave him the way forward. The movement was just emerging from its underground art-world niche at the time, and the radical simplicity of the music of Steve Reich, with its emphasis on transparent musical processes that unfold gradually, gave Adams carte blanche to explore tonality again. It was a return to the musical language that felt natural to him, and towards the end of the 1970s, Adams was forging a personal style in which he brought his intuitive feeling for the musical ‘vernacular’ of tonality to the methods and style of minimalist music in a marvellous marriage.

This development in Adams’ musical life coincided with the arrival of Edo de Waart as Chief Conductor of the San Francisco Symphony, the beginning of an era of exciting development for the orchestra. At de Waart’s instigation, Adams was commissioned to provide a major work, a choral


symphony in eff ect, for the orchestra’s fi rst season in the new Louise M. Davies Symphony Hall.

It was a daunting prospect: ‘I puzzled,’ admits Adams in his autobiography, ‘over how I might put my newly discovered musical language to use for such grand forces and how to fi ll a hall of more than 3,000 seats with sound.’ A long search for suitable texts resulted in the selection of a poem by the English metaphysical poet John Donne (1572–1631) and two by the American poet Emily Dickinson (1830–86). The poems provided powerful imagery to give motion to Adams’ musical invention, each guiding the progress of the piece’s three movements.

Harmonium opens with a gesture that Adams conceived from the outset: a ‘mental image…of a single tone emerging out of a vast, empty space and, by means of a gentle unfolding, evolving into a rich, pulsating fabric of sound.’ In Donne’s poem, Adams found a matching content for this germinal idea, evoking a sense of trajectory rising ‘heavenward’ to an ecstatic climax, before the oceanic waves of sound recede to the point where they’d begun.

The opening of Part 2 – consisting of two joined movements based on the Dickinson poems – continues the hushed atmosphere. The images of the poem ‘Because I could not stop for Death’ took Adams back to the world of his New England upbringing, here perceived in a dreamlike

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‘…a single tone emerging out of a vast, empty space…’JOHN ADAMS


state: ‘I treated the poem as if the images – the dignifi ed grace of the horses, the school where children played, the fi elds of grain, the setting sun – were passing before the mind’s eye as a vastly slowed-down fi lm sequence.’ A bridging passage eventually emerges from the tranquil washes of sound, building to a state of brilliant ecstasy. Adams describes this moment: ‘The orchestra, heaving and surging from its very depths, gradually erupts… hurling itself out of the darkness onto a new vista of “Wild Nights” with its bright and clangorous vibrations. At the climactic point…the conductor drives the pulse faster and faster, forcing it virtually to the brink of chaos, at which point the entire ensemble comes together for two gigantic, spasmodic swells, only to leave the chorus hanging, pianissimo, over empty space.’

JAMES KOEHNE ©2011

In addition to the four-part chorus (for which Adams specifi es a minimum of 90 voices), Harmonium calls for a large orchestra of four fl utes (three doubling piccolo), three oboes, two clarinets, bass clarinet, three bassoons (one doubling contrabassoon); four horns, four trumpets, three trombones and tuba; timpani and percussion; harp, celesta and piano (doubling synthesizer) and strings.

The Sydney Symphony and Sydney Philharmonia Choir performed the Australian premiere of Harmonium in a 1986 Meet the Music concert conducted by Hiroyuki Iwaki. Edo de Waart conducted the orchestra’s most recent performance of the work in 2001 in the World Orchestra series (Sydney Town Hall) with Cantillation.

Harmonium was commissioned by the San Francisco Symphony to celebrate the inaugural season of the Louise M. Davies Hall and dedicated to Edo de Waart, who had suggested the piece and who conducted its fi rst performance on 15 April 1981. These performances in Sydney celebrate the 30th anniversary of the work.

John Adams in Sydney

The Sydney Symphony gave the fi rst Australian performances of…

1986 Shaker Loops Patrick Thomas

1986 Harmonium Hiroyuki Iwaki with Sydney Philharmonia Choir

1988 Short Ride in a Fast Machine John Hopkins

1990 The Wound Dresser Dobbs Franks with John Pringle (baritone)

2000 Naïve and Sentimental Music Edo de Waart*

2001 Century Rolls Peter McCoppin with Peter Waters (piano)

2003 Guide to Strange Places Edo de Waart*

2004 On the Transmigration of Souls Antonino Fogliani with Sydney Children’s Choir, Gondwana Voices and Cantillation

2010 Doctor Atomic Symphony David Robertson

*Sydney Symphony co-commission


Wild Nights

Wild Nights – Wild Nights!Were I with theeWild Nights should beOur Luxury!Futile – the winds –To a Heart in port –Done with the Compass –Done with the Chart!Rowing in Eden –Ah, the sea!Might I but moor – Tonight –In thee!

Emily Dickinson

Negative Love or The Nothing

I never stoop’d so low, as theyWhich on an eye, cheek, lip can prey.Seldom to them, which soar no higherThan virtue or the mind to admire.For sense, and understanding mayKnow what gives fuel to their fi re:My love, though silly, is more brave,For may I miss, when’er I crave,If I know yet, what I would have.If that be simply perfectestWhich can by no way be express’dBut Negatives, my love is so.To All, which all love, I say no.If any who deciphers best,What we know not, our selves, can know,Let him teach me that nothing; thisAs yet my ease and comfort is,Though I speed not, I cannot miss.

John Donne (1572–1631)

Because I could not stop for Death

Because I could not stop for Death,He kindly stopped for me;The carriage held but just ourselvesAnd Immortality.We slowly drove, he knew no haste,And I put awayMy labor, and my leisure too,For his civility.We passed the school where children playedAt wrestling in a ring;We passed the fi elds of gazing grain,We passed the setting sun.We paused before a house that seemedA swelling of the ground:The roof was scarcely visible,The cornice but a mound.Since then ’tis centuries; but eachFeels shorter than the dayI fi rst surmised the horses’ headsWere toward eternity.

Emily Dickinson (1830–1886)


Early editors of Dickinson dropped the fourth stanza of Because I could not stop for Death and Adams used this shorter version in composing Harmonium. Below is the original, longer version of the poem.

Because I could not stop for Death –He kindly stopped for me –The carriage held but just Ourselves –And Immortality.

We slowly drove – He knew no hasteAnd I had put awayMy labor and my leisure too,For His Civility –

We passed the School where Children stroveAt Recess – in the Ring –We passed the Fields of Gazing Grain –We passed the Setting Sun.

Or rather – He passed Us –The Dews drew quivering and chill –For only Gossamer, my Gown –My Tippet – only Tulle –

We paused before a House that seemedA Swelling of the Ground –The Roof was scarcely visible –The Cornice – in the Ground –

Since then – ’tis centuries – and yetFeels shorter than the DayI fi rst surmised the Horses’ HeadsWere toward Eternity –

Emily Dickinson

GLOSSARYBATTLE SYMPHONY – an old, but enduring musical genre. Biber’s Battalia of 1673 presents ten string instruments holding forth as trumpets, drums, and fi fes, drunken soldiers and the wounded, and an extremely convincing artillery. Beethoven was following in Biber’s footsteps with Wellington’s Victory (1813), and in the same tradition, the fashionable London pianist Daniel Steibelt off ered Brittania, an Allegorical Overture in Commemoration of the Signal Naval Victory obtained by Admiral Duncan over the Dutch Fleet the 11th of October 1797 – an explicitly programmatic piece complete with captions, from the ‘Falling of the Mast’ to the ‘Distress of the Vanquished’. Perhaps the most famous work in this tradition is Tchaikovsky’s 1812 Overture.

DITHYRAMB – a passionate choral hymn to Dionysus, the Greek god of wine and wine-making (Bacchus in Roman mythology); any Bacchanalian song.

OSTINATO – a short musical pattern that is repeated many times in succession, while other elements in the music change. An ostinato can be a melody, a chord pattern, a rhythm, or a combination of these.

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

episodes. In Beethoven’s day rondo form was a common structure for the fi nales of concertos and symphonies.

SCHERZO – literally, a joke; the term generally refers to a movement in a fast, light triple time, which may involve whimsical, startling or playful elements.

SYNCOPATION – accents falling against the prevailing beat.

METRICAL FEET:

SPONDEE – two long, or stressed, syllablesDACTYL – one long syllable followed by two short (unstressed) syllables.

In much of the classical repertoire, movement titles are taken from the Italian words that indicate the tempo and mood. A selection of terms from this program is included here.Adagio – slow Allegretto – fast and lively, not so fast as AllegroAllegro con brio – fast, with lifePoco sostenuto – a little sustainedPresto – as fast as possibleVivace – lively

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.


MORE MUSIC MORE MUSIC

BEETHOVEN 7

For a phenomenal recording of Beethoven’s Seventh Symphony, look for Carlos Kleiber with the Vienna Philharmonic Orchestra. Available in the recent 12-CD set of Kleiber’s complete recordings for Deutsche Grammophon and on a single disc, coupled with his recording of Beethoven’s Fifth.DEUTSCHE GRAMMOPHON 477 8826 (12-CD set)DEUTSCHE GRAMMOPHON 471 6302 or 447 4002 (5 and 7)

Also recommended is Osmo Vänskä’s recording of the complete Beethoven symphonies with the Minnesota Orchestra. The Seventh Symphony is available in a pairing with the Second.BIS 1825/6 (complete)BIS 1816 (2 and 7)

BARBER ADAGIO

It’s worth seeking out Barber’s Adagio for Strings in its original string quartet form, and a 2-CD release from 2010, celebrating the 100th anniversary of Barber’s birth, sets it alongside the version for string orchestra. The Berlin Philharmonic and Simon Rattle perform the Adagio for Strings, the Endellion Quartet perform the original String Quartet in B minor, Op.11.EMI CLASSICS 87286

HARMONIUM

Edo de Waart has recorded Harmonium with the San Francisco Symphony and the San Francisco Symphony Chorus.ECM 821465

EDO DE WAART CONDUCTS ADAMS

Edo de Waart has recorded a number of other works by John Adams, including Shaker Loops, the opera Nixon in China and The Chairman Dances, which is derived from the opera’s musical material. The Chairman Dances (a foxtrot for orchestra) can be found on a disc of shorter Adams works, including the popular Short Ride in a Fast Machine, recorded with the San Francisco Symphony.NONESUCH 79144

His recording of Shaker Loops is available in a pairing with Steve Reich’s Variations for winds, strings and keyboard – again, the San Francisco Symphony.PHILIPS 701302

Selected Discography

Selected Sydney Symphony concerts are webcast live on BigPond and made available for later viewing On Demand. Next on BigPond:The Last Romantic (11 April at 7pm)

Visit: bigpondmusic.com/sydneysymphony

Webcasts

2MBS-FM 102.5SYDNEY SYMPHONY 2011

Tuesday 12 April, 6pm Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Broadcast Diary

APRIL

Saturday 9 April, 1pmROMANTIC RAPTURE (2010)

Simone Young conductorBaiba Skride violinWagner, Szymanowski, Bruckner 7

Monday 11 April, 7pmTHE LAST ROMANTIC

Edo de Waart conductorJoyce Yang pianoRautavaara, Rachmaninoff

Saturday 23 April, 8pmMAHLER 7

Vladimir Ashkenazy conductorSayaka Shoji violinMendelssohn, Mahler

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ABOUT THE ARTISTS

Edo de Waart conductor

Edo de Waart was the Chief Conductor and Artistic Director of the Sydney Symphony from 1992 till 2003. He is currently Chief Conductor and Artistic Director of the Hong Kong Philharmonic Orchestra, Music Director of the Milwaukee Symphony Orchestra and Conductor Laureate of the Netherlands Radio Philharmonic Orchestra, and from 2012 he will be Chief Conductor of the Royal Flemish Philharmonic.

Born in Holland, he studied oboe, piano and conducting before taking up the position of Associate Principal Oboe in the Royal Concertgebouw Orchestra. Two years later, at 23, he won the Dimitri Mitropoulos Conducting Competition in New York, resulting in his appointment as Assistant Conductor to Leonard Bernstein at the New York Philharmonic. On his return to Holland he was appointed Assistant Conductor to Bernard Haitink at the Royal Concertgebouw Orchestra, and in 1967 the Rotterdam Philharmonic Orchestra appointed him Guest Conductor and subsequently Chief Conductor and Artistic Director. Since then, he has also been Music Director of the San Francisco Symphony and the Minnesota Orchestra and Chief Conductor of Netherlands Opera. He continues to appear as a guest conductor with leading orchestras throughout the United States and Europe.

As an opera conductor, he has enjoyed success in a large repertoire in many of the world’s greatest opera houses. He has conducted The Flying Dutchman ( Nikikai Opera), Boris Godunov (Geneva Opera), Der Rosenkavalier (Opéra Bastille), Billy Budd (Santa Fe Opera) and The Magic Flute and The Marriage of Figaro (Metropolitan Opera). Recent semi-staged and concert performances of opera include Duke Bluebeard’s Castle, Pelléas et Mélisande and The Rake’s Progress.

His extensive discography includes a recording of all the orchestral works of Rachmaninoff with the Netherlands Radio Philharmonic Orchestra and the overtures of Wagner.

In 2004 he was made a Knight in the Order of the Dutch Lion, and in 2005 he was appointed an Honorary Offi cer in the General Division of the Order of Australia, in recognition of his contribution to Australian cultural life during his decade at the Sydney Symphony.

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Formed in 1920, Sydney Philharmonia Choirs is Australia’s largest choral organisation. With four main choirs – the 40-voice Chamber Singers, 100-voice Symphony Chorus, the youth-focused 50- voice Vox and 300-voice Festival Chorus – Sydney Philharmonia presents an annual concert series, as well as appearing with the Sydney Symphony. In 2002, Sydney Philharmonia was the fi rst Australian choir to sing at the BBC Proms, performing Mahler’s Eighth Symphony under Simon Rattle. Other highlights have included Beethoven’s Ninth for the Nagano Winter Olympics, concerts with Barbra Streisand, Britten’s War Requiem at the 2007 Perth Festival, Mahler’s Eighth for the Olympic Arts Festival in 2000, and a Helpmann Award-winning performance of Stravinsky’s Oedipus Rex and Symphony of Psalms for the 2010 Sydney Festival. Last year, Sydney Philharmonia celebrated 90 years of music-making and made a return appearance at the Proms. In February Vox made its fi rst independent appearance with the Sydney Symphony, performing in Grieg’s Peer Gynt. The Symphony Chorus and Chamber Singers also appeared with the orchestra in Mahler’s Third and Eighth symphonies under Vladimir Ashkenazy in 2010.

www.sydneyphilharmonia.com.au

Brett Weymark Artistic and Musical Director

Brett Weymark studied conducting at the Sydney Conservatorium. In 2001 he was awarded a Centenary Medal for services to choral music and in 2002 he received a grant from the NSW Ministry for the Arts to study conducting in Europe and America. In 2003 he was appointed Musical Director of Sydney Philharmonia Choirs, and recent highlights have included Dawn Chorus for the 2009 Sydney Festival and a concert celebration of Amadeus. He has worked with Australia’s fi nest orchestras and choral organisations over the past ten years, including the Sydney Symphony, conducted fi lm scores for Happy Feet and Australia, and was Musical Director of Pacifi c Opera (2004–2006). As Artistic Director, he is passionate about new Australian compositions, baroque masterworks, music education and access to the art of choral singing.


SOPRANOS

Shelley Andrews*Ruth BeecherJacqui BinetskyGeorgina BitconAnne BlakeJodie BoehmeClaire Burrell- McDonaldElizabeth CartmerPam CunninghamRouna DaleyCatherine De LucaShamistha De Soysa*Soline Epain-MarzacKarina FallandNatalie FisherLinda GerrytsBelinda Griffi thsCaroline GudeSusan HartGillian Haslehust- SmithRebecca HowardClaire JordanSue JusticeVictoria LaverickYvette LeonardCarolyn LowryLyanne MacfarlaneGillian MarkhamJayne OishiLindsey Paget-CookeSarah ParkerDympna PatersonGeorgia RiversSusie RobertsMeg ShawRachel SibleyAmy SmithNarelle VanceJessica Veliscek Carolan

Karen WalmsleySara WattsCaroline Woolias

ALTOS

Katie BlakeJan BorrieGae BristowHelen CameronKate ClowesRuth CollersonAnne CookeCatriona DebelleClaire DuffyRuth EdenboroughHelen EsmondJessica Farrell*Phoebe FergusonNadia FriedPenny GayJennifer GillmanRebecca Gladys-LeeJemma GoldingTracy HallSue HarrisJenny HarryKathryn HarwoodVesna Hatezic Margaret HofmanPia KostiainenRachel MaidenHannah Mason*Donna McIntoshTijana MiljovskaPenny MorrisSusie NorthHelen PedersenJudith PickeringBeverley PriceClodagh ReidJan ShawMegan SolomonVanessa South*

Erica SvampaSarah ThompsonRobyn TupmanMaree TyrrellCatherine WilsonPriscilla Yuen

TENORS

Matthew AllchurchKen BerryPatrick BlakeMichael Butchard†Michael ClarkDaniel ComarmondMalcolm DayRobert ElliottNathan Gilkes†Simon Gilkes†Denys Gillespie*Steven HankeyDouglas Hansell†Jude HoldsworthMichael KerteszDavid LarkinSelwyn LemosVincent LoBen Loomes†Frank MaioTim MatthiesBrian MoloneyPhil Pratt†Joel RoastRajah Selvarajah†Daniel Sloman*Paul SoperRobert ThomsonBruce TurnerAlex Walter*

BASSES

Simon BoileauWilliam BondPeter CallaghanEdwin CarterHubert Chan*Gordon ChengJulian CoghlanDaryl ColquhounPaul CouvretPhilip Crenigan*Paul CunninghamRobert CunninghamIan Davies*Nicholas Davison†Tom Forrester-PatonTom FrithAshley Giles†Paul GreenRobert GreenMatthew GytonEric HansenRobin Hilliard†Timothy JenkinsMartin KuskisChristopher Matthies†Sebastien Maury†Mark McGoldrickPeter PooleMichael RyanAntony StrongNicholas TongRobert WilliamsArthur WincklerDavid WoodKen Zhang

* = Section Leader† = Member of SPVoices

Sydney Philharmonia Choirs

Brett Weymark Artistic and Musical Director Lisa Nolan General Manager Josephine Allan, Mic hael Curtain, Catherine Davis Rehearsal pianists


MUSICIANS

Performing in this concert…

FIRST VIOLINS Dene Olding Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootSophie Cole Amber Davis Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Anthea Hetherington*Emily Qin#

SECOND VIOLINS Kirsty Hilton Marina Marsden Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Shuti Huang Stan W Kornel Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D’Elia#

Belinda Jezek*

VIOLASTobias Breider Jane Hazelwood Robyn Brookfi eld Graham Hennings Stuart Johnson Justine Marsden Leonid Volovelsky Arabella Bozic*Rosemary Curtin#

Tara Houghton†

David Wicks#

CELLOSCatherine Hewgill Emma-Jane Murphy*Leah Lynn Assistant Principal

Kristy ConrauTimothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

Rachael Tobin#

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Janet Webb Emma Sholl Rosamund Plummer Principal Piccolo

Katie Zagorski†

OBOESDiana Doherty David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSLawrence Dobell Christopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONSMatthew Wilkie Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSRobert Johnson Geoffrey O’Reilly Principal 3rd

Lee BracegirdleMarnie Sebire Euan Harvey

TRUMPETSDaniel Mendelow Paul Goodchild John FosterAnthony Heinrichs

TROMBONESRonald Prussing Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Mark Robinson Colin Piper Claire Edwardes*

HARP Louise Johnson

KEYBOARDS Josephine Allan#

Catherine Davis*

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

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 in association with Symphony Services International & Premier Partner Credit Suisse


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THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

Founded in 1932 by the Australian Broadcasting Corporation, 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 and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. 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.


SALUTE

SILVER PARTNERS

REGIONAL TOUR PARTNERS

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

BRONZE PARTNER MARKETING PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station

GOLD PARTNERS


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. 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 & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Greg & Kerry Paramor & Equity Real Estate PartnersDr 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 DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreMr David Greatorex AO & Mrs Deirdre GreatorexMrs 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 Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie ClampettMrs Gretchen M DechertIan Dickson & Reg HollowayJames & Leonie Furber

Mr James Graham AM & Mrs Helen GrahamStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationEva & Timothy PascoeRodney Rosenblum AM & Sylvia RosenblumDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleKylie GreenJanette HamiltonAnn HobanPaul & Susan HotzIrwin Imhof in memory of Herta ImhofMr Justin LamR & S Maple-BrownMora MaxwellJudith 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 AbramsMr Henri W Aram OAM

Terrey Arcus am & Anne ArcusClaire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesPhil & Elese BennettColin Draper & Mary Jane BrodribbM BulmerPat & Jenny BurnettDebby Cramer & Bill CaukillEwen & Catherine CrouchMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisJohn FavaloroMr Ian Fenwicke & Prof Neville Wills

Firehold Pty LtdAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergMrs E HerrmanMrs Jennifer HershonBarbara & John HirstBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergWendy LapointeMacquarie Group FoundationMelvyn MadiganMr Robert & Mrs Renee MarkovicKevin & Deidre McCannMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeePatricia H ReidMr M D SalamonJohn SaundersJuliana SchaefferCaroline SharpenMr & Mrs Jean-Marie SimartCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMs Baiba B. Berzins & Dr Peter LovedayMrs Jan BiberDr & Mrs Hannes Boshoff Dr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellMrs Catherine J Clark

Joan Connery OAM & Maxwell Connery OAM

Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie CameronRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n AM

Jules & Tanya HallMr Hugh HallardDr Heng & Mrs Cilla TeyRoger HenningRev Harry & Mrs Meg HerbertMichelle Hilton-VernonMr Joerg HofmannDominique Hogan-DoranMr Brian Horsfi eldGreta JamesIven & Sylvia KlinebergDr & Mrs Leo LeaderMargaret LedermanMartine LettsErna & Gerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mrs Silvana MantellatoGeoff & Jane McClellanIan & Pam McGrawMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

Mrs Rachel O’ConorA Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersDr Mark & Mrs Gillian SelikowitzMrs Diane Shteinman AM

Robyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMr D M SwanMs Wendy ThompsonProf Gordon E WallRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsMr & Mrs Glenn WyssAnonymous (11)

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]


MAESTRO’S CIRCLE

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 Group

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

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

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg & Neil LawrenceChair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

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DIRECTORS’ CHAIRS

BEHIND THE SCENES

Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Gabrielle Trainor

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

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

EVERYONE HAS A STORY

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MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

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ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

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COMMUNICATIONSHEAD OF COMMUNICATIONS

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PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

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Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

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Minerva PrescottACCOUNTS ASSISTANT

Li LiPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

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Sydney Symphony Staff

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