hh sheikh ahmed bin saeed al-maktoum · pdf filegianluigi gelmetti conductor louis lortie...

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 2008.

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

SEASON 2007

EMIRATES METRO SERIES

A TCHAIKOVSKY FANTASY

Friday 14 December | 8pm

Saturday 15 December | 2pm

Sydney Opera House Concert Hall

Gianluigi Gelmetti conductorLouis Lortie piano

PETER ILYICH TCHAIKOVSKY (1840–1893)

Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – AndantinoAllegro con fuoco

INTERVAL

Romeo and Juliet – Fantasy Overture

Nutcracker – Suite No.1, Op.71a

Miniature OvertureCharacter Dances:

MarchDance of the Sugar Plum FairyTrépak (Russian Dance)Coffee (Arabian Dance)Tea (Chinese Dance)Dance of the Mirlitons

Waltz of the Flowers

Friday night’s performance willbroadcast across Australia on ABC Classic FM 92.9.

Friday night’s performance will be webcast by BigPond. Available On Demand from mid-December. Visit:sydneysymphony.bigpondmusic.com

Pre-concert talk by Felicity Glennie-Holmes 45 minutes before theperformance, in the Northern Foyer.Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

Estimated timings:32 minutes, 20-minute interval, 19 minutes, 24 minutesThe performance will conclude at approximately 9.55pm (3.55pmon Saturday).

Cover images: see page 30 forcaptions

Artist biographies begin page 20

sUPPORTING PARTNER

Dear concertgoer,

During 2007 the Sydney Symphony hascelebrated its 75th Anniversary year and themilestone achievement that this represents.From its humble beginnings in 1932 as anABC studio orchestra performing for radioplays, dinner hour and concert broadcasts,the Sydney Symphony has grown intoAustralia’s premier orchestra with its 90musicians acclaimed around the world.

Throughout this special anniversary yearthe Sydney Symphony has continued tooffer its audiences an artistically vibrantarray of music: from our three composerfestivals celebrating Brahms, Beethoven and Rachmaninov, to collaborations withtop jazz artists Chick Corea and GaryBurton, there has been something for allmusical tastes.

The success which the Sydney Symphonyhas experienced over the past 75 years could not have been achieved without thegenerous support of government, sponsors,and of course, you, our audiences. As our 75th Anniversary year draws to aclose, I would like to pay tribute to yoursupport and thank you for embracing theSydney Symphony as your orchestra; wecould not achieve our level of successwithout you.

As we move into 2008 and beyond, themusicians and staff of the Sydney Symphonywill continue to deliver excellence in theperformance of live symphonic music forthe enjoyment of audiences throughoutAustralia and the world.

Yours sincerely,

Libby Christie

Managing DirectorSydney Symphony

1. 2007 Season Opening Gala performance of Brahms

German Requiem conducted by Maestro Gianluigi Gelmetti

2. Sydney Symphony 75th Anniversary concert at

Parramatta Park

3. Sir Charles Mackerras takes a bow

2

1

3

5 | Sydney Symphony

INTRODUCTION

A Tchaikovsky Fantasy

Two nationalities seem to hold the monopoly on fantasyin music. One is France; the other is Russia, giving uswater nymphs, firebirds, swan queens, duck-eatingwolves, doomed lovers, fairytale characters and themother of all storytellers, Scheherazade. Even when themusic is for the concert hall – ‘straight’ symphonies orconcertos – there’s a sense that Russian fantasy is neververy far away.

Rimsky-Korsakov and Stravinsky notwithstanding,Tchaikovsky is the greatest of the Russian fantasists. His melodic instincts and unerring dramatic sensebrought magical life to his ballet masterpieces and tomusic like his Romeo and Juliet overture. The samequalities make it into his extraordinarily effective (and outrageously popular) First Piano Concerto.

This program is a Tchaikovsky extravaganza. It bringstogether three kinds of music: the abstract concertowhere the drama is between the soloist and the orchestra; the fantasy overture (a symphonic poem byanother name) that uses instruments to tell a storywithout words; and the dramatic ballet score. All threeworks inspire the imagination to take flight for a musicalfantasy – a Tchaikovsky fantasy.

7 | Sydney Symphony

Peter Ilyich Tchaikovsky (1840–1893)

Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – Andantino sempliceAllegro con fuoco

Louis Lortie piano

After completing the opera Vakula the Smith in September1874, Tchaikovsky had good reason to bask in encouragingcircumstances. His First Symphony was soon to beprinted, there was interest in the forthcomingperformance of his symphonic fantasia The Tempest,and by the end of the year, his two quartets were to beperformed at Russian Musical Society concerts in St Petersburg. It is not clear why he decided that his nextmajor work would be a piano concerto. He had previouslyconfessed to disliking the combination of piano andorchestra. But after telling his brother Modest inNovember that he had turned his attention to a pianoconcerto, he finished the work in seven weeks, fired bythe dramatic possibilities of the confrontation betweenheroic soloist and eloquent orchestra.

Tchaikovsky showed the completed work to NikolaiRubinstein on 5 January 1875, hoping to get advice fromthe virtuoso on the effectiveness of the piano writing. As he was to describe the circumstances three years laterin a letter to his patron Nadezhda von Meck, Rubinstein’sresponse was devastating:

I played the first movement. Not a single word, not a singlecomment! … It was as though he was saying to me: ‘My friend,how can I talk about details when the very essence of the thingdisgusts me?’ I … played on to the end … There began to flowfrom [Rubinstein]’s mouth a stream of words … my concerto was worthless, it was unplayable, passages were trite, awkward,and so clumsy that it was impossible to put them right … I leftthe room silently and went upstairs … Rubinstein soon appearedand … told me again that my concerto was worthless, and afterpointing out a lot of places that needed radical change, said thatif his suggested changes were made by such-and-such a date he would honour me by playing the piece in a concert of his. ‘I won’t change a single note,’ I replied, ‘and I’ll publish it justas it is now!’

It is difficult to be sure, however, that Rubinstein’scriticism was quite as drastic as Tchaikovsky made out.Rubinstein conducted the Moscow premiere with Sergei

ABOUT THE MUSIC

Keynotes

TCHAIKOVSKY

Born Kamsko-Votkinsk, 1840Died St Petersburg, 1893

Tchaikovsky represented a

new direction for Russian

music in the late 19th

century: fully professional

and cosmopolitan in outlook.

He embraced the genres and

forms of Western European

tradition – symphonies,

concertos and overtures –

bringing to them his

extraordinary dramatic sense

and an unrivalled gift for

melody. But many music

lovers would argue that it’s

his ballets that count among

his masterpieces.

PIANO CONCERTO NO.1

This is one of the most

popular of concertos (ABC

Classic FM listeners recently

voted it into their top ten).

One of the reasons is the

impressive way it begins

and ends: piano and

orchestra at full strength

for maximum sonority and

excitement. And in between

Tchaikovsky supplies a

glorious mine of melodic

invention and piano

virtuosity. The concerto

appears to follow the

traditional three-movement

structure, but the middle

movement is like a

symphonic slow movement

and scherzo blended

together. The exhilarating

finale has a Cossack dance

as its theme. It was first

performed, by Hans von

Bülow in Boston, in 1875

and has held its place in

listeners’ hearts ever since.

8 | Sydney Symphony

Taneyev at the piano in December that year, andTchaikovsky said on that occasion: ‘The present writercould not wish to hear a better performance of the piecethan this one.’ By 1878 Rubinstein had become one of thework’s most persuasive advocates.

But perhaps Rubinstein was puzzled not by therelationship between orchestra and soloist, which ismostly well-handled, but by the work’s unusual structure.

The second and third movements are both fairlystraightforward. The second movement really requireslittle more than a simple flow of melody such asTchaikovsky was uniquely able to supply. The form is asimple ternary, but with the contrasting middle sectiondisplaying a playful, scherzo character. In the third

movement Tchaikovsky alternates two blocks of thematicmaterial. They are supplemented, as David Brown notesin Tchaikovsky: The Early Years, ‘by brief self-containedchunks of transition containing only the lightest hint ofquasi-developmental intent’. Tchaikovsky disdainedthematic development, which he derided as ‘working out’,though there is some telling use of counterpoint to buildthe tension just before the final ‘titanic’ delivery of thebroad second theme which concludes the concerto.

But it is the first movement which is most interestingfrom a structural point of view. The sinuous weavingtheme introduced by the strings has become one of thebest-loved melodies in the classical music repertoire.Anyone hearing this concerto complete for the first timeexpects to hear this impressive melody again at somestage – but it never reappears. Why? Because Tchaikovskythe melodist doesn’t have enough structural sense? Or because Tchaikovsky the great melodist knows thatthe high charge of this melody will keep it memorable for the duration of the work? Or…something else?

That Tchaikovsky originally intended this introductionto be a slow introduction in the manner of a Haydnsymphony is indicated by the original tempo indicationAndante non troppo e molto maestoso (at a walking pace,not too much and very majestically). But Brown pointsout that the apparently self-contained nature of thisintroduction is deceptive: this melody has implicationsfor the rest of the movement. Its underlying harmony,for example, is invested in the chromatic sighing secondsubject introduced later by the winds.

The main body of the movement is introduced by thepiano in fast two-note groups. Tchaikovsky avoids his

The sinuous weaving

theme introduced by

the strings has become

one of the best-loved

melodies in the classical

music repertoire.

Tchaikovsky, 1888

9 | Sydney Symphony

detested thematic development by dovetailing the sighingsecond subject directly into the end of this principalmaterial. Muted strings then introduce the second partof the second subject, and it is the muted string themewhich begins the development section, the winds addingthe two-note skipping material of the first subject,until the muted string theme is pumped out forcefullyby brass. Tchaikovsky fulfils the demands of sonata form by character transformation, not thematictransformation.

In the recapitulation, quick doubled notes in the pianosignal the return of the main material. The sighingsecond subject appears in turn as the doubled notes ofthe first subject fragment and grumble away in the bass of the piano. But then, instead of the muted string theme,Tchaikovsky interpolates the high drama of a cadenza.Only after this does the muted string theme reappear and bring the movement to its conclusion.

Brown believes that ‘the frankness and force withwhich Tchaikovsky declared himself in this work’ haveembarrassed many critics, and ‘deafened many to its finer qualities’, not least of which is the composer’s boldanswer to the questions of organic growth in the firstmovement. Too many have assumed that Tchaikovsky’semotional candour and melodic strengths obscuredstructural weaknesses.

Perhaps the question for an audience member,however, is simply this: do you miss not hearing the bold opening theme again? Or, at work’s end, particularlywith Tchaikovsky providing you with yet anotherwonderful melody (the second subject of the finale),are you satisfied with the surfeit of riches? Would youcriticise the work as scathingly as Rubinstein is alleged to have done?

GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©1999/2002

The orchestra for Tchaikovsky’s First Piano Concerto calls for pairsof flutes, oboes, clarinets and bassoons; four horns, two trumpetsand three trombones; timpani and strings.

The Sydney Symphony first performed this concerto in 1938 withsoloist Allen McCristal and conductor George Szell, and mostrecently in the 2005 Master Series with Gianluigi Gelmetti andpianist Joaquín Achúcarro.

Too many have assumed

that Tchaikovsky’s

emotional candour and

melodic strengths

obscured structural

weaknesses.

Tchaikovsky

Romeo and Juliet – Fantasy Overture

Among the sketches found after Tchaikovsky’s deathwas a love-duet for singers, a scene from Romeo and Juliet in which Romeo sings the words ‘Oh tarry, nightof ecstasy! Oh night of love, stretch thy dark veil over us!’ to a musical phrase from his Romeo and Julietfantasy overture. This duet, which was orchestrated byTaneyev and has been recorded, is all that exists of aRomeo and Juliet opera that Tchaikovsky contemplatedwriting in 1878, after reading the play for the firsttime.

‘Since I read Romeo and Juliet,’ he wrote to his brotherin a flush of enthusiasm, ‘Undine, Berthalda, Huldbrand[characters in his other operatic endeavours] seem to me the most childish nonsense. Of course I’ll composeRomeo and Juliet … It will be my most monumental work.It now seems to be absurd that I couldn’t see earlier thatI was predestined, as it were, to set this drama to music.’

What might seem absurd to us is that Tchaikovskyhad set the drama to music after a fashion, in his fantasyoverture composed nearly ten years earlier, and that hehad done so without reading or seeing the play!

The motivation if not the inspiration for the overturehad been the composer and conductor Balakirev. At 28,Tchaikovsky was young, and Balakirev’s influence wasstrong. He not only advised Tchaikovsky that he shouldadopt a Shakespearean subject for his next orchestralwork, but provided him with a detailed program andmusical outline (going so far as to indicate what keysTchaikovsky should adopt) and offered critiques on thework in progress. As a result, Balakirev’s presence can befelt in the symphonic structure of the music as well as inspecific details.

In particular, Balakirev had objected to Tchaikovsky’soriginal introduction – he said it lacked beauty of powerand that it needed to introduce the character of FriarLaurence: ‘Here ought to be something like Liszt’schorales…with an ancient Catholic character resemblingthat of Orthodox [church music].’ In his reworkingTchaikovsky created the sombre introduction with itsprayerful mood and the organ-like effect created by thewoodwinds. This leads to what is essentially a sonata-form movement for orchestra.

10 | Sydney Symphony

Keynotes

FANTASY OVERTURE

Tchaikovsky called his

Romeo and Juliet music a

‘fantasy-overture’ but it is

really a symphonic poem,

smelling as sweet as it

would by any other name.

The music adopts a

conservative symphonic

form and does not follow

a strict narrative. At the

same time, the form

dovetails with the dramatic

elements of the play: the

kindly optimism of Friar

Laurence in a chorale-like

introduction; the brawling

feud of the Montagues and

Capulets, fiery and

tumultuous; and the ill-fated

passion of Romeo and Juliet

portrayed with muted and

intertwining melodies. The

traditional ‘development’

section combines and

opposes these elements –

creating musical tensions

to mirror those of the play –

before bringing the music

to a tragic climax.


At this point it’s worth observing that the fantasyoverture is not program music in the sense of following a strict narrative – in this respect it’s quite differentfrom Berlioz’ Symphonie fantastique, for example. All thesame, the conservative form dovetails with the variouselements of the play, the important characters and theoverall dramatic arc.

Listening guide

After the slow introduction, Tchaikovsky presents a fieryAllegro – the feuding Montagues and Capulets providingthe ‘first subject’ – and then the lyrical music for the twolovers as the ‘second subject’. This second theme hadreceived Balakirev’s near-complete endorsement: ‘the D flat tune is simply delightful. I play it often, and I wantvery much to kiss you for it. Here is tenderness and thesweetness of love…There’s just one thing I’ll say againstthis theme; there’s little in it of inner, spiritual love, andonly a passionate physical languor (with even a slightlyItalian hue) – whereas Romeo and Juliet were decidedlynot Persian lovers, but Europeans.’

The passionate melodies for the lovers are memorableeven by Tchaikovsky’s standards: one for cor anglais and muted violas to an accompaniment of horns andbassoons; another for muted strings, suggesting,perhaps, the garden beneath the balcony at night. The‘development’ of the overture then amplifies the lovers’music, struggling with the brawling families and FriarLaurence’s theme. The furious climax may be the death of Tybalt at the hand of Romeo, but the love musicdominates the ending, turning gradually to lament andtragic despair.

SYDNEY SYMPHONY ©2007

Tchaikovsky’s Romeo and Juliet fantasy overture calls for piccolo,two flutes, two oboes, two clarinets, cor anglais and two bassoons;four horns, two trumpets, three trombones and tuba; timpani andpercussion (cymbals, bass drum); harp and strings.

The Romeo and Juliet fantasy overture was first performed inMoscow on 16 March 1870, conducted by Nikolai Rubinstein. The Sydney Symphony first performed it in 1940 under ThomasBeecham, and most recently in 2004 under Jirí Belohlávek. Earlierthis year the overture was heard in the Thursday AfternoonSymphony series, conducted by Tugan Sokhiev.

‘Oh tarry, night of

ecstasy! Oh night of

love, stretch thy dark

veil over us’

Tchaikovsky, 1870s


Tchaikovsky

Nutcracker – Suite No.1, Op.71a

Miniature OvertureCharacter Dances:

MarchDance of the Sugar Plum FairyTrépak (Russian Dance)Coffee (Arabian Dance)Tea (Chinese Dance)Dance of the Mirlitons

Waltz of the Flowers

It may seem strange to be listening to ballet musicwithout the dancing, but truly great ballet music losesnothing when transferred to the concert hall. Indeed,some of the most famous ballets in the repertoire owetheir enduring popularity to the magnificent music thathas been composed for them: Swan Lake, Sleeping Beauty,and Prokofiev’s Romeo and Juliet are just a few.

But we shouldn’t take great ballet music for granted.After a golden era during the French baroque period(Louis XIV, the Sun King, liked to dance and lookedrather fine in tights), ballet music slumped in reputationand quality. It took a 19th-century Frenchman, LéoDelibes, to lift ballet from its musical doldrums withSylvia and the more famous Coppélia, and it was a RussianFrancophile who followed his lead and became one ofthe first composers to write ballet music that was trulysymphonic.

Tchaikovsky took ballet very seriously (he loved todance too). No wonder then that his three ballet scores – Swan Lake, Sleeping Beauty, and his last, Nutcracker – are as popular as concert suites as they are on the stage.

Unusually, it was as a concert suite that some of theNutcracker music was first presented to the public in 1892 – in effect a 19th-century ‘trailer’ for the ballet inpreparation. This suite of musical highlights was sosuccessful that most of the numbers – which includedthe Dance of the Sugar Plum Fairy and the Waltz of theFlowers – were encored.

Nutcracker is loosely based on a ‘fairytale’ for grown-ups by E.T.A. Hoffmann. In its translation to dance the tale lost some of its dark and mysterious qualities and nowadays the ballet is entrenched as a Christmasentertainment for children of all ages. The ballet itself

Keynotes

NUTCRACKER SUITE

Some of Tchaikovsky’s

greatest music can be found

in his ballets: Swan Lake,

Sleeping Beauty and

Nutcracker. Not only are

these scores filled with

his wonderful, spinning

melodies, but he uses all

the strategies of symphonic

composition to bring

tremendous drama and

intensity to the music. Of

the three, Nutcracker suffers

from a weak libretto, but

this only serves to focus

attention on the brilliant

colour and characterisation

of the dance numbers.

In fact the music was

premiered before the ballet

itself, and established its

appeal in the concert hall

from the outset. The first

suite includes the glorious

Waltz of the Flowers,

perhaps Tchaikovsky’s

greatest waltz, and the

sparkling bell tones of the

Dance of the Sugar PlumFairy.


is a lopsided affair – the first act carries virtually all theaction of the Christmas Eve party and Clara’s dream (in which the Nutcracker Prince does battle withoversized rats and mice), while the second is a pureconfection of no significance to the plot.

Tchaikovsky himself felt unhappy with the libretto and of all his ballets it is the one that has responded best to new interpretations of its themes. One of themost interesting of these in past years has been GraemeMurphy’s inspired interpretation, the tender anddramatic reverie of a former Russian ballerina with aHills hoist in her backyard, while the Australian Ballet’scurrent production by Sir Peter Wright brings new magicto the old traditions. But whether the production istraditional or revisionist, Tchaikovsky’s music shines. He skilfully evokes a world of childlike wonder andshimmering fantasy.

Listening guide

The suite, like the ballet, begins with the Miniature

Overture, which achieves its bright character through the featured use of the piccolo – the tiniest of theinstruments in the orchestra. The March, also from Act I, maintains the playful mood as it accompanies Clara and her friends in a parade around the Christmastree (they are waiting for their presents!).

Act II, in the Kingdom of Sweets, owes something tothe tradition of court galas instituted by Louis XIV. A flimsy scenario is sufficient pretext for glorious music – the Sugar Plum Fairy, Queen of the Kingdom,celebrates the bravery of 12-year-old Clara and herNutcracker Prince with a festival in the Magic Castle. All pretence of storytelling over, the core of the actis a sequence of characterful divertissements andTchaikovsky’s genius for national colour and jewel-likedivertissements emerges.

Here Tchaikovsky’s choreographer Marius Petipa had a vision of the confections of the day, each associatedwith a different country (chocolate for Spain and so on).The coffee is evidently Arabian (‘Café mocca’, to quotePetipa’s instructions), although its convincingly Orientalmusic with droning accompaniment is actually based on a Georgian lullaby. Chinese tea makes a fleetingappearance, a jogging number with jingling bells and anacrobatic flute.

Clara looking for the nutcracker

… a 19th-century ‘trailer’

for the ballet in

preparation.


The Trépak, a Russian dance, begins ‘molto vivace’(very lively) and accelerates from there. Following itsrumbustious finish, the music immediately assumes adeft and dainty character for the Dance of the Mirlitons.(The mirliton is a reed pipe, or, more familiarly, a kazoo.)A trio of flutes play perfectly coordinated arabesqueswhile the cor anglais offers its poignant view of affairs.

The Waltz of Flowers is perhaps Tchaikovsky’s mostfamous waltz of all and in its traditional choreography itfills the stage with a cast of thousands, including childrencarrying garlands. An effusion of melody and impetuousgrace reveal Tchaikovsky in his element.

But Tchaikovsky’s real coup is to be heard in the Dance of the Sugar Plum Fairy. While visiting Paris thecomposer was seduced by the ‘glistering tones’ of amarvellous new instrument ‘something between a smallpiano and a glockenspiel’. Determined to surpriseRussian audiences (and his composer colleagues!) he hadone shipped secretly to St Petersburg. The heavenly bell-like sound of the ‘céleste’ worked its magic in the Danceof the Sugar Plum Fairy – a distillation of the delicateeffects, exotic colour and lyricism that makeTchaikovsky’s Nutcracker so irresistible.

ADAPTED FROM A NOTE BY YVONNE FRINDLE ©2000

The first Nutcracker suite calls for three flutes (one doublingpiccolo), two oboes, cor anglais, two clarinets, bass clarinet andtwo bassoons; four horns, two trumpets, three trombones and tuba;timpani and percussion (glockenspiel, tambourine, triangle andcymbals); harp, celesta and strings.

The Sydney Symphony first performed this suite in 1938 underPercy Code, and most recently in 2000 with Edo de Waart.

While visiting Paris the

composer was seduced

by the ‘glistering tones’

of a marvellous new

instrument …

Mice and toys, from an early production of Nutcracker


GLOSSARY

CELESTA – (also French, céleste) a keyboardinstrument, looking like a small uprightpiano, in which the hammers strike metalplates instead of strings, creating a bell-like effect. It was invented by AugusteMustel in 1886. In addition to itsdistinctive role in Tchaikovsky’s Nutcracker(1892), it is featured in Bartók’s Music for Strings, Percussion and Celesta (1936).

CHROMATIC – in tonal music, the use offoreign notes and harmonies that do notbelong to the key, together with frequentmodulation to other keys. The impressionis one of harmonic richness and whilechromaticism has been used as anexpressive effect since the 16th century,it is most strongly associated with theRomantic style of the 19th century.

COUNTERPOINT – two or more differentmusical lines or melodies played at thesame time; also the technique ofcomposing music in this way, oftenstudied as a subject in itself.

SONATA FORM – this term was conceived in the 19th century to describe theharmonically based structure mostClassical composers had adopted for thefirst movements of their sonatas andsymphonies. It involves the EXPOSITION,or presentation of themes and subjects:the first in the tonic or home key, thesecond in a contrasting key. The tensionbetween the two keys is intensified in theDEVELOPMENT, where the themes aremanipulated and varied as the musicmoves further and further away from theultimate goal of the home key. Tension is resolved in the RECAPITULATION, whereboth subjects are restated in the tonic.Sometimes a CODA (‘tail’) is added toenhance the sense of finality.

PROGRAM MUSIC– music that is inspired by and claims to express a non-musical idea, usually with a descriptive title andsometimes with a literary narrative, or‘program’ as well. Program music has been known in some form since at leastthe 16th century, but flourished in the 19th century, with works such as Berlioz’sSymphonie fantastique.

SYMPHONIC POEM – a genre of orchestralmusic that is symphonic in scope butadopts a freer structure in service of anextra-musical ‘program’ that provides thenarrative or scene. Liszt was the first to use the term and Richard Strauss alsochampioned the symphonic poem inpreference to writing regular symphonies.

TERNARY FORM – a more or lesssymmetrical three-part structure in whichthe material of the first section returnsafter a contrasting middle section.

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

Allegro – fastAllegro con fuoco – fast, with fireAllegro con spirito – fast, with spiritAllegro non troppo e molto maestoso –

fast, not too much and very majesticallyAndantino – a little faster than walking

paceAndantino semplice – a little faster than

walking pace, simplyPrestissimo – even faster than as fast as

possible

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


75 YEARS: HISTORICAL SNAPSHOT

Eugene Goossens conducting a recording session in 1952. Fifty-five years on, the Sydney

Symphony continues to realise the importance of plans and relationships that will keep

permanent its sound in recordings.

was remembered as treasure measures up. Butthat shouldn’t worry anyone – the nexus betweenan orchestra and its public lies in things morefundamental than whether a standard worthyof repeated listening is always achieved.

Above all, an orchestra’s life is theexploration of one of the supremeachievements of our culture, an exploration itmakes in a kind of dialogue with its audiences.Both parties have needs, not least of which arethe orchestra’s need for a supportive public and the public’s need to discover both old andnew music performed live. If we listened to the Beethoven Festival concerts given in World War II under Bernard Heinze, to large andgrateful audiences, we might find the sound of little more than curiosity value, and theProms concerts under John Hopkins, in the1960s and ’70s, surely would be heard as surveysof a great deal of music new to orchestra andaudience, under the pressures of short rehearsaltime – a condition of their happening at all.This writer’s memory stretches that far back,but the microphone can still bring surprises.

What can’t change is ‘that’s the first time I was there when that music was played’ –‘that’s when I first played that music’. We trusteach other – orchestra and audience – and thehistory tells us that there is a future.

David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studying the history of the ABC as a musical organisation.The complete nine-part series of snapshots can beread at sydneysymphony.com/history

History records, music flows on

As Sydney Symphony’s 75th Anniversary yearcomes to a close, it’s time to look both forwardand backward. How will history remember theorchestra? Every concertgoer will have memoriesof wonderful events. An orchestra is a complexbeast, in peak form as often as possible, but, let’sadmit it, not always. There can be a downside,but that’s part of what makes the concertexperience a ‘live’ one. Will the recording angeldetermine what is remembered? Those whoattended the composer festivals this year will nodoubt have been encouraged to note that all theconcerts were recorded for CD, and the printedprograms remind us that the Sydney Symphonyhas started its own label, documenting some ofthe orchestra’s best performances.

It was high time, since the most importantrecord of an orchestra is the sound of its music-making. The orchestra’s recently issued five-CDretrospective [see page 6] brings the frustratingrealisation that in addition to the manywonderful things it includes – such as Mahler’sResurrection Symphony conducted byKlemperer, or the orchestra at the newly openedSydney Opera House with Birgit Nilsson and SirCharles Mackerras – many other thingsremembered fondly and with excitement havebeen lost. Especially disappointing is theknowledge that so many musical highlights wereindeed recorded, but not kept.

It’s true that memory can play tricks: trawlingsuch aural trove as has survived, it can bedisconcerting to discover that not everything that


MORE MUSIC

Selected Discography

GIANLUIGI GELMETTI

Nino Rota Film Music

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

Rossini Overtures and highlights from The

Barber of Seville

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

LOUIS LORTIE

Liszt – Works for Piano and Orchestra

with the Hague Residentie Orchestra and conductorGeorge Pehlivanian.CHANDOS 10371

Beethoven Piano Sonatas

Seven releases on the Chandos label:CHANDOS 9842, 9101, 9435, 9212, 9024, 9736, 9347

TCHAIKOVSKY PIANO CONCERTO NO.1

Sviatoslav Richter performs the first twoTchaikovsky piano concertos on a DG The Originalsrelease – No.1 with the Vienna Symphony Orchestraand Herbert von Karajan, No.2 with Stanislaw Wislockiand the Warsaw Philharmonic.DEUTSCHE GRAMMOPHON 447420

For all the Tchaikovsky works for piano and orchestratry Mihkail Pletnev with Vladimir Fedoseyev and thePhilharmonia Orchestra (a 2-CD set).VIRGIN CLASSICS VERITAS 61463

ROMEO & JULIET

For a comprehensive collection of Tchaikovsky’sshorter orchestral works there is Mikhail Pletnev withthe Russian National Orchestra on a 3-CD set thatincludes Romeo and Juliet alongside otherShakespeare-inspired music: The Tempest and Hamlet.DEUTSCHE GRAMMOPHON TRIO 477 053-2

NUTCRACKER

The first Nutcracker suite is coupled with the Romeoand Juliet fantasy overture in a recording by LorinMaazel and the Cleveland Orchestra.TELARC 80068

For a recording of the complete Nutcracker ballet youcan’t go past Valery Gergiev’s magical and vibrantrecording with the Kirov Theatre Orchestra.PHILIPS 462114

DECEMBER/JANUARY

19 December, 1.05pmIMAGES FOR ORCHESTRA

Yannick Nézet-Séguin conductorHaydn, Meale, Debussy

26 December, 9amSSO BRASS ENSEMBLE

Colin Piper conductorLully, G Gabrieli, Holly, Stanhope, Handel, Premru,Previn, Bizet, Khachaturian

28 December, 9amROGER MURARO IN RECITAL

Ravel, Albeniz, Debussy, Messiaen

31 December, 9amCÉDRIC TIBERGHIEN IN RECITAL

Brahms, Chopin, Ravel

5 January, 8pmGUIDE TO THE ORCHESTRA

Martyn Brabbins conductorStephanie McCallum pianoBritten, Kats-Chernin, Stravinsky

23 January, 1pmTURANGALÎLA-SYMPHONIE

Simone Young conductorCédric Tiberghien pianoCynthia Millar ondes martenot

Broadcast Diary

Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: www.sydneysymphony.bigpondmusic.comDecember webcast:A TCHAIKOVSKY FANTASY

Live on Friday 14 December at 8pmAvailable On Demand from late December

sydneysymphony.com

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

2MBS-FM 102.5SYDNEY SYMPHONY 2008

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

Webcast Diary


ABOUT THE ARTISTS

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

Highlights of past seasons include engagements inFrance, Germany, Great Britain, America, Australia, Japan,Switzerland and Italy, where he conducted Mascagni’s Irisand Respighi’s La fiamma at the Teatro dell’Opera di Romaand William Tell at the Rossini Opera Festival. In 1999 hewas awarded the Rossini d’Oro Prize. Gianluigi Gelmettihas also worked regularly at the Royal Opera House,Covent Garden.

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

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

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

Since summer 1997 he has been teaching at theAccademia Chigiana in Siena.

Gianluigi Gelmetti

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR


Louis Lortie piano

PH

OTO

:ELI

ASCanadian pianist Louis Lortie studied in Montreal with

Yvonne Hubert (a pupil of French pianist Alfred Cortot),in Vienna with the Beethoven specialist Dieter Weber,and with Schnabel disciple Leon Fleisher. He made hisconcerto debut with the Montreal Symphony Orchestra at the age of 13 and with the Toronto SymphonyOrchestra three years later. In 1984 he won First Prize inthe Busoni Competition and was a prize-winner at theLeeds Competition.

In recent seasons he has been playing and directing the Mozart piano concertos with the Montreal SymphonyOrchestra, a project that will culminate in three concertsin 2008. He has also performed the complete Beethovensonatas at Wigmore Hall as well as in Toronto, Berlin and Milan, and he has performed and conducted all fiveBeethoven piano concertos with the Montreal andQuebec symphony orchestras.

Louis Lortie has performed under the baton ofconductors such as Lorin Maazel, Seiji Ozawa, CharlesDutoit, Kurt Sanderling, Neeme Järvi, Andrew Davis,Wolfgang Sawallisch, and Osmo Vänskä. He hasestablished a fruitful partnership with Kurt Masur,and they have performed together with the New YorkPhilharmonic and the Orchestre National de France.Other engagement highlights include performances with the San Francisco Symphony, City of BirminghamSymphony Orchestra, the Orchestre National de Paris,Rotterdam Philharmonic, the National Symphony, andthe Royal Scottish National Orchestra.

As a recitalist he has performed in Philadelphia,Florence, Toronto, Milan, San Francisco, Ottawa andLondon, and he recently gave his third recital in CarnegieHall’s Great Artists series. His extensive discographyincludes Ravel’s complete piano works, the ChopinEtudes, and a nearly completed Beethoven sonatas set.Most recently he has completed a three-CD set of Liszt’sworks for piano and orchestra.

His most recent appearance with the Sydney Symphonywas in 2005 when he performed Schumann’s PianoConcerto in A minor with Gianluigi Gelmetti, and playedand directed Mozart concertos and chamber music in the Mozart in the City series.


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, Nicolai 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.

JOH

N M

AR

MA

RA

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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

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate ConcertmasterKirsty HiltonAssistant Concertmaster

03 Fiona ZieglerIan & Jennifer Burton Chair of Assistant Concertmaster

04 Julie Batty05 Gu Chen06 Amber Gunther07 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

Martin Silverton First Violin#

Emily Qin First Violin#

Chia-Nan Hung First Violin

Leigh Middenway First Violin

Michelle O’Young First Violin

Alexandra D’Elia Second Violin#

Alexander Norton Second Violin#

Victoria Jacono Second Violin†

Manu Berkeljon Second Violin

Jacqueline Cronin Viola#

Jennifer Curl Viola#

Rosemary Curtin Viola

Rowena Crouch Cello#

Janine Ryan Cello#

Martin Penicka Cello†

Josephine Costantino Cello

Patrick Suthers Cello

Max McBride Principal Double Bass

Jennifer Druery Double Bass#

Lauren Brandon Double Bass

Hayley Clare Double Bass

Jill Griffiths Double Bass

Ann Peck Oboe

Casey Rippon Horn#

Saul Lewis Horn*

Alexandra Bieri Trumpet

Thomas Allely Tuba°

Key:

# = Contract Musician† = Sydney Symphony

Fellow* = Courtesy of the

Australian Opera and Ballet Orchestra

° = Courtesy of the Queensland Orchestra

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

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

GR

EG B

AR

RET

T


Rev H & Mrs M Herbert °*Mr John R HoggDr & Mrs Michael Hunter §Intertravel Lindfield °Mrs Greta JamesMr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Professor Faith M JonesMs Judy JoyeMr Noel Keen *Mrs Margaret Keogh °*Iven & Sylvia Klineberg *Mrs Joan Langley °Mr & Mrs Pierre LastelleDr & Mrs Leo LeaderMs A Le Marchant *Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthyMr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesKate & Peter Mason °Ms J Millard *‡Mr Andrew Nobbs Mr Walter B Norris °Mr Graham NorthMr Stuart O’Brien Miss C O’Connor *Mrs Rachel O’Conor °Mr R A OppenMrs Roslyn Packer AO °Mrs Jill Pain °‡Dr Kevin PedemontMr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol

Reid §Mr Brian Russell & Mrs Irina

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

Kerrie Kemp ‡Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mrs Merle Turkington °Ronald Walledge °Louise Walsh & David JordanMrs Christine WenkartDr Richard Wing §Mr Robert Woods *Jill WranMrs Lucille Wrath ‡Mrs R Yabsley °Anonymous (12)

PLAYING YOUR PART

MaestriBrian 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 John Curtis §Mr Greg Daniel AMPenny Edwards *Mr J O Fairfax AO *Fred P Archer Charitable TrustDr 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) *

VirtuosiMrs Antoinette Albert §Mr Roger Allen & Mrs Maggie

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

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

Merewether OAM *Mr & Mrs David MilmanMiss 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 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 ProustMs Gabrielle Trainor Mr Geoff Wood & Ms Melissa

Waites Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (4) §

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

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

Mrs Margaret Cunningham §Mrs Ashley Dawson-DamerMr & 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 §Mr & Mrs E Katz §Miss Anna-Lisa KlettenbergMr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §Dr Paul A L Lancaster &

Dr Raema ProwseDr Barry LandaDr Garth Leslie °*Mrs Belinda Lim & Mr Arti

Ortis §

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 Robert OrrellTimothy & Eva Pascoe §Ms Patricia Payn §Mr Adrian & Mrs Dairneen

Pilton Ms Robin Potter §Mr & Mrs Ernest Rapee §Dr K D Reeve AM °Mrs Patricia H Reid °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 °Anonymous (9)

Supporters over $500Richard Ackland °PTW ArchitectsMr C R Adamson °§Mr Chris & Mrs Mary Barrett °Doug & Alison Battersby °Mr Phil Bennett Gabrielle Blackstock °‡Mr G D Bolton °Dr & Mrs Hannes Boshoff §A I Butchart °*Mrs B E Cary §Mr B & Mrs M ColesMrs 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 §Mr Steve GillettIn memory of Angelica Green Anthony Gregg & Deanne

Whittleston ‡Dr & Mrs C GoldschmidtBeth Harpley *

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 havefeatured photos celebrating the Orchestra’s history over the past 75 years. The photographs on the covers have been changingapproximately once a month, and this is the final set in the collection.

COVER PHOTOGRAPHS (clockwise from top left):

Malcolm Sargent arrives in Australia (c.1938); First Violin Alexandra Mitchell; streamersfall at the final night celebrations of the 1968 Town Hall Proms; the SSO in the televisionstudio (1960s); Music Under the Stars in Sydney’s Domain (1984); AssistantConcertmaster Fiona Ziegler plays for Music4Health.


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

CORPORATE RELATIONS EXECUTIVE

Seleena Semos

PHILANTHROPY MANAGER

Alan Watt

DEVELOPMENT EXECUTIVE

Kylie Anania

MARKETING AND

CUSTOMER RELATIONS

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

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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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