2009 SEASON MOZART IN THE CITY

TWO SYMPHONIES ANDA FUNERALThursday 16 July | 7pmCity Recital Hall Angel Place

Michael Dauth director and violinClemens Leske piano

JOHANN CHRISTIAN BACH (1735–1782)Symphony in G minor, Op.6 No.6

AllegroAndante più tosto adagioAllegro molto

WOLFGANG AMADEUS MOZART (1756–1791)Piano Concerto No.11 in F, K413

AllegroLarghettoTempo di menuetto

JOSEPH HAYDN (1732–1809)Symphony No.44 in E minor, Mourning

Allegro con brioMenuetto e trio (Allegretto. Canone in diapason)AdagioFinale (Presto)

This concert will be recorded for broadcast across Australia on

ABC Classic FM 92.9.

Pre-concert talk by David Garrett at 6.15pm in the First Floor

Reception Room.Visit

www.sydneysymphony.com/talk-bios for speaker biographies.

Estimated timings:13 minutes, 23 minutes, 22 minutesThe performance will conclude at

approximately 8.10pm.

WHAT’S ON JUNE/JULY

Presenting Partners

TICKETS FROM $35**Select performances.Booking fee may apply

Sydney Symphony sydneysymphony.com8215 4600 (Mon-Fri 9am-5pm)

City Recital Hall Angel Placecityrecitalhall.com 8256 2222 (Mon-Fri 9am-5pm)

Sydney Opera Housesydneyoperahouse.com9250 7777 (Mon-Sat 9am-8.30pm)

DOMESTIC HARMONY?BRAHMS’ VIOLIN CONCERTO

ENERGYAUSTRALIA MASTER SERIES

WED 8 JUL 8PMFRI 10 JUL 8PMSAT 11 JUL 8PMTHURSDAY AFTERNOON SYMPHONYPRESENTED BY TRUST

THU 9 JUL 1.30PMBRAHMS Violin ConcertoR STRAUSS Symphonia domestica

Donald Runnicles conductorViktoria Mullova violin

SYDNEY OPERA HOUSE

TWO SYMPHONIES & A FUNERAL

MOZART IN THE CITY: YOUR PERFECT MID-WEEK ESCAPE.

THU 16 JUL 7PMTEA & SYMPHONYPRESENTED BY KAMBLY

FRI 24 JUL 11AMJC BACH Symphony in G minor, Op.6 No.6MOZART Piano Concerto No.11 in F, K413HAYDN Symphony No.44 (Mourning)

Michael Dauth violin-directorClemens Leske piano

CITY RECITAL HALL ANGEL PLACE

LESLIE HOWARD IN RECITAL

INTERNATIONAL PIANISTS IN RECITALPRESENTED BY THEME & VARIATIONS

MON 20 JUL 8PMBEETHOVEN Six Variations, Op.34LISZT Years of Pilgrimage – Book IIIBORODIN Petite SuiteGLAZUNOV Sonata No.1 in B fl at minor

Leslie Howard piano

CITY RECITAL HALL ANGEL PLACE

ORGAN SPLENDOUR

TEA & SYMPHONYPRESENTED BY KAMBLY

FRI 12 JUN 11AMJS BACH Toccata and Fugue in F, BWV 540JONGEN Four Pieces for Organ: CantabileDUPRÉ Passion Symphony: Crucifi xionWIDOR Organ Symphony No.6

David Drury organ

SYDNEY OPERA HOUSE

POWER & PANACHE

TCHAIKOVSKYPIANO CONCERTO NO.2

ENERGYAUSTRALIA MASTER SERIES

WED 17 JUN 8PMFRI 19 JUN 8PMSAT 20 JUN 8PMTHE VEUVE CLICQUOT SERIES

MON 22 JUN 7PMTCHAIKOVSKY Piano Concerto No.2 (orig. version)WALTON Symphony No.1

Hugh Wolff conductorStephen Hough piano

SYDNEY OPERA HOUSE

DISCOVER HANDEL

DISCOVERY PROGRAMPRESENTED BY TENIX

TUE 30 JUN 6.30PMHANDELArrival of the Queen of Sheba*Concerto grosso, Op.6 No.3Messiah: Sinfonia

Richard Gill conductor*Nicholas Carter conductorSydney Sinfonia

CITY RECITAL HALL ANGEL PLACE

Join us for more Handel in:Meet the Concerto (Sept)

CARMINA BURANA

THU 2 JUL 8PMSAT 4 JUL 8PMSHOSTAKOVICH Festive OvertureRESPIGHI Pines of RomeORFF Carmina Burana

Arvo Volmer conductorAmelia Farrugia sopranoPaul McMahon tenorWilliam Dazeley baritone

Sydney Philharmonia ChoirsSydney Children’s Choir

SYDNEY OPERA HOUSE

CLASSICAL MYSTERY TOUR

THU 23 JULY 8PMFRI 24 JULY 8PMSAT 25 JULY 8PMYour favourite Beatles hits including: Yesterday, All You Need Is Love and Eleanor Rigby

Tony Kishman, Tom Teeley, Jim Owen & Chris Camilleri

Martin Herman conductor

SYDNEY OPERA HOUSE

Supporting Partner

3 | Sydney Symphony

INTRODUCTION

Two Symphonies and a Funeral

Who is Bach? And what does he have to do with Mozart? Nowadays if you think of Bach you think of Johann Sebastian. But two centuries ago ‘Bach’ used in this unqualifi ed fashion would have meant one of Sebastian’s more famous sons – Carl Philipp Emanuel, the Hamburg Bach; or if you were English, ‘John’ Christian, the London Bach.

If Bach is the ‘London Bach’, then the connection with Mozart becomes clearer. It was Johann Christian who ‘examined’ the eight-year-old Mozart when he arrived for a year-long stay in England. The boy’s remarkable talent confi rmed, Bach took him on his knee and the pair ‘played alternately on the same keyboard for two hours together, extempore, before the King and the Queen’.

The infl uence of Bach’s style and craftsmanship is apparent in Mozart’s very early works – for example, the piano concertos modelled after Bach’s keyboard sonatas. But it also emerges in his later music such as the ‘Little’ G minor symphony (K183), which bears a resemblance to the Bach symphony in this concert. When Bach died in 1782, it was Mozart who declared it a sad day for the world of music.

Bach and Mozart weren’t the only 18th-century composers to fi nd London’s musical life stimulating and rewarding. Late in life Haydn found fame and a very real fortune in this great city, although the symphony we hear tonight was composed at home in Austria when he was in his early 40s. Symphony No.44, the Mourning symphony, is striking for its intense and stormy character, and famous for Haydn’s request that its slow movement be played at his funeral.

We hope you’ve enjoyed this year’s Mozart in the City series.

We’ll be launching the 2010 season on 21 August, so stay tuned to fi nd out what delights will be on offer and join us again next year for more Mozart – and Mozartian friends.

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ABOUT THE MUSIC

Keynotes

JC BACH

Born Leipzig, 1735Died London, 1782

Johann Christian was the youngest son of JS Bach. Following keyboard studies with his much-older brother Emanuel in Berlin, and further travels to Italy, ‘John’ Bach eventually settled in London, where he helped establish regular orchestral concerts and befriended the eight-year-old Mozart on his fi rst visit to the capital. Johann Christian is sometimes known as the ‘London’ or ‘English’ Bach.

SYMPHONY IN G MINOR

JC Bach had a great love of Italian music. His own instrumental writing combined the singing qualities of Italian opera with German balance and form. This symphony is atypical of JC Bach; the minor key is emphasised in all three movements, and overall the mood is stormy and intense. This pursuit of extremes of emotion, present in both music and literature from the 1770s, was called Sturm und Drang, or ‘storm and stress’

Johann Christian BachSymphony in G minor, Op.6 No.6

AllegroAndante più tosto adagioAllegro molto

As a boy, Christian Bach, youngest son of the great Sebastian, left the parental home in Leipzig on the death of his father, and went to study in Berlin with his elder brother Carl Philipp Emanuel. Then the young Christian travelled to Italy and, in order to secure the appointment as organist of Milan Cathedral, converted to Catholicism. Yet this composer is known to history as the ‘London’ Bach. That’s because from 1762 until his early death he was based in the English metropolis.

He quickly became a favourite of London audiences, fi rst as an opera composer, but even more signifi cantly as the co-promoter with another German, the gamba player Carl Friedrich Abel, of a series of orchestral concerts, the Bach-Abel concerts. It may well be in one of those concerts that the remarkable symphony opening this concert was fi rst played. It is one of a set of six symphonies published in Amsterdam in 1770 as the Opus 6 of Johann Christian Bach, ‘Master of Music to Her Majesty the Queen of Great Britain’.

This symphony has attracted attention and performances because it is atypical of Johann Christian Bach. The music is stormy and intense, full of tension-raising tremolos and themes of dramatic, almost stark outline, many of them presented in challenging unison. It has been suggested that Wolfgang Mozart, who was befriended by Christian Bach when he came to London as an eight-year-old, was recalling this symphony, as well as the Symphony No.39 of Joseph Haydn (c.1770), when he composed his own ‘little’ G minor Symphony, No.25, around 1773.

What these three symphonies have in common is the tonality of G minor, and it evoked from all three composers the same style of writing. This is sometimes called the ‘Storm and Stress’ style, for its parallels with a tendency in the literature of Central Europe, which declared itself later than the musical style, being particularly symbolised by Goethe’s confessional novel The Sorrows of Young Werther, of 1774.

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Apart from this single piece, the London Bach’s infl uence on Mozart helped the younger composer develop, by imitation, a very diff erent style. Absorbing the Italian atmosphere and studying with Sammartini, Christian Bach had blended ‘Italian melody and German science’ in a style especially marked by balance, smooth transitions, and the ‘singing allegro’ fi nding an equivalent in instrumental music for the lyricism of which Italians were the masters. J.C. Bach was one of the creators of the galant style, which was poised and elegant, but usually, until Mozart made it his own, avoiding the deeper feelings.

This symphony may, then, be atypical, but it is masterly. The minor mode is emphasised in all three movements, which is unusual in itself. In the fi rst movement, the second subject seems, at its fi rst appearance, to be escaping into a more graceful world, that of the ‘singing allegro’, but on its reappearance it declares its true character, and the movement ends, as it began, with uncompromising unisons. The development is made up of a chromatic fi gure followed by widely spaced arpeggios, against held notes for the oboes and scrubbing from the lower strings.

The C minor of Bach’s slow movement is also recalled by Mozart in works in the same key (Piano Fantasia K475, the Sonata K457 in C minor, and the Piano Concerto K491). If the fi rst movement sometimes gives the impression of a game with the darkness of the minor key, this slow movement emphasises both the melodic and harmonic forms of the minor scale with real pathos, desolate and gloomy.

Then it’s back to the driving tremolos and sequences, in a whirling fi nale in 12/8, which, in one last unison, mysteriously vanishes into silence, as tragedies should end: ‘Take up the bodies: such a sight as this becomes the fi eld, but here shows much amiss…’ (Hamlet).

DAVID GARRETT ©2003

The Symphony in G minor, Op.6 No.6 calls for two oboes, two horns, strings and continuo (in this performance the continuo role is taken by the harpsichord).

This is the Sydney Symphony’s fi rst performance of the symphony.

Thomas Gainsborough’s portrait of Johann Christian Bach

Mozart admired J.C. Bach, and when he heard of his death, wrote to his father, ‘What a loss to the musical world!’

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Keynotes

MOZART

Born Salzburg, 1756Died Vienna, 1791

Mozart was fi rst a composer, but he was also a pianist and it was as a performer that he both made his name in Vienna and promoted his own works. During the mid to late 1780s he enjoyed much success: his concerts were well attended, his operas (beginning with The Abduction from the Seraglio) were popular, and he composed a dozen piano concertos for his own performances.

PIANO CONCERTO, K413

Mozart understood the importance of writing music that would appeal to his public. The three piano concertos K413, K414 and K415 were composed for his fi rst series of public concerts in Vienna. He wrote to his father: ‘they are brilliant, pleasing to the ear, and natural, without being vapid’. Unusually, the fi rst movement is in a triple metre, three beats to a bar where normally you’d hear four. ‘Alberti bass’, a particular kind of accompanying fi guration using broken chords, is used extensively in the second movement. The fi nale pays tribute to Mozart’s mentor and friend, JC Bach, in adopting the minuet as its form.

Wolfgang Amadeus MozartPiano Concerto No. 11 in F, K413

AllegroLarghettoTempo di Minuetto

Clemens Leske piano

None of Mozart’s piano concertos of his maturity is negligible, but this one is more neglected than most. To appreciate it marks an audience attuned to Mozartian subtleties. It is one of the fi rst three concertos Mozart composed for his subscription concerts in his new city of residence, Vienna. In these piano concertos we may witness, as Mozart biographer Maynard Solomon observes, ‘the transformation and perfection of a major musical genre’.

Mozart made a cautious beginning, or rather, knowing his success would come from performing, he was careful to tailor his writing to his assessment of his public. Writing to his father on 28 December 1782 about the concertos K413, 414 and 415, Wolfgang describes them as: ‘a happy medium between what is too easy and too diffi cult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which the connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.’ Alfred Einstein comments that this shows Mozart’s awareness that the composer must make things hard for himself, and easy for the listener.

Mozart’s starting point was music his audience already knew and liked. This might be described as the Christian Bach tradition, making it fi tting and illuminating to play this concerto in the same concert as music by J.C. Bach. But tonight’s Bach symphony gives little clue to his infl uence on Mozart’s concertos. Bach’s own keyboard concertos, on the other hand, embody a galant ideal, much imitated, notably by the Paris-based composer Johann Samuel Schroeter, whose concertos Mozart admired. Schroeter was regarded as the successor to the ‘London’ Bach, a melancholy observation, since that master died in 1782 at the age of 47, an event Mozart described to his father as a great loss for the world of music.

As Mozart indicated, the pleasing aspects of this concerto are obvious. For those not sure whether they are learned

7 | Sydney Symphony

enough to rate as connoisseurs, the subtleties can be signposted. The fi rst movement is in triple time, three beats to the bar, as in only two other Mozart piano concertos. As many as nine themes have been counted in this movement – but lest his audience become disoriented, Mozart gives them kinship, and the sometimes fragmentary themes are linked. The soloist’s entry, on the tail of one of these themes, is one of Mozart’s subtlest and most graceful. The cadenzas for this concerto are thought to be Wolfgang’s own. The fi rst movement cadenza is followed by what may be a joke: an unexpected return after the cadenza of the soloist’s theme, suggesting we are beginning again, only to end, quite suddenly.

Describing this concerto as a typical product of the Ancien Régime, the pre-revolutionary world ruled by aristocrats, Cuthbert Girdlestone also remarks that its ideal is that of a gentleman in a drawing room, who liked everything measured and well-ordered. If that gentleman played the piano, he would have felt at home with the continuous pattern in the left hand of the slow movement, an ‘Alberti bass’, which provides the continuity to support the right hand’s fl ow of melodies. This is where the listener is lulled into pleasure – but Mozart is never vapid: listen, for example, to the idea which leads back to the fi rst subject, in this piece in binary form.

The third movement pays tribute to J.C. Bach by adopting the minuet, which that composer often used for fi nales. Having by now, surely, won his audience over, Mozart gives them the weightiest and most interesting movement of the three, notable for the subtle variation of the refrain on each of its appearances in a rondo form; for the imitative contrapuntal writing; and for a conclusion which seeks the audience’s applause not for loudness or emphasis, but for a quiet fade, like dancers bowing off the stage.

DAVID GARRETT ©2009

The Piano Concerto K413 calls for an orchestra of two oboes, two bassoons, two horns and strings.

The Sydney Symphony fi rst performed the Piano Concerto K413 in 1972 with Tamás Vásary as soloist and Antonio de Almeida conducting. This is the fi rst performance of the concerto since then.

Mozart intended this concerto and its companions (K414 and 415) for a French publisher. With an eye for the market and hoping for maximum sales, Mozart gave them a ‘modular’ form, indicating that they could be performed ‘a quattro’. In other words, they can be played with strings only, even single strings. But the conception is orchestral and the presence of the wind instruments enhances the music.

Presenting partner:

*Booking fees of $4-$8.50 may apply.

LESLIE HOWARDInternational Pianists in RecitalPresented by Theme & Variations

MON 20 JUL 8PM

JONATHAN BISSInternational Pianists in RecitalPresented by Theme & Variations

MON 31 AUG 8PM

BEETHOVEN Six Variations on an original theme, Op.34

LISZT Years of Pilgrimage – Book III

BORODIN Petite Suite

GLAZUNOV Sonata No.1 in B fl at minor

HAYDN Sonata in A fl at, Hob.XVI:43

JANÁCEK Sonata 1.X.1905: From the Street

BEETHOVEN Sonata in E fl at, Op.81a (Les Adieux)

SCHUMANN Kreisleriana, Op.16

Two piano recitals that will have you sitting on the edge of your seat.

9 | Sydney Symphony

Joseph HaydnSymphony No.44 in E minor, Mourning

Allegro con brioMenuetto e trio (Allegretto. Canone in diapason)AdagioFinale (Presto)

The Symphony No.44, composed probably in 1771, is in many ways the crowning achievement among the many intense and stormy works Haydn wrote as he approached middle age. These works date mostly from the decade 1765–75, and include symphonies such as the ‘Lamentatione’ (No.26) and ‘Farewell’ (No.45), as well as the epoch-making string quartets of Op.20. Though conveniently labelled Sturm und Drang (Storm and Stress) compositions, they seem not to be inspired by the German literary movement of the same name which was, if anything, a slightly later development.

As H.C. Robbins Landon points out, whatever troubled Haydn at this time was not unique, even though he lived most of the year in the remoteness of the great Eszterháza estate in Hungary. There was a widespread romantic crisis in Austrian music which aff ected other composers such as Gassmann, Ordonez, Dittersdorf and Vanhal. To some extent, they probably found examples in Gluck and the wilfully brilliant C.P.E. Bach. In Haydn’s case, however, there are perhaps also seeds of drama in his earlier music which begin to bloom as his command of form reaches maturity and he gains the confi dence to range more widely in dramatic inventiveness.

The designation Trauer-Symphonie (Mourning Symphony) may be considered authentic, since Haydn is said in later years to have asked that the slow movement of this symphony be played at his funeral. For years he had been trying to translate into a symphonic structure the solemn gravity of the old church sonata (sonata da chiesa) form, characterised by an slow opening movement. The ‘Philosopher’ Symphony (No.22, played in the Mozart in the City series in February) is the best known example. In No.44, though he abandons the opening slow movement, Haydn achieves the synthesis and balance he was seeking. While not opening with the slow movement, he now places it third rather than second, thereby creating a central focus for the symphony which aptly counterbalances the strong opening Allegro – just as Beethoven was to do in his ninth symphony.

Keynotes

HAYDN

Born Rohrau (lower Austria), 1732Died Vienna, 1809

Joseph Haydn, the greatest composer of his age, is regarded as the father of the string quartet and the symphony. Symphonies were not completely new in 1758 when Haydn – suddenly having an orchestra at his disposal – began composing them. But over the next 40 years or so Haydn developed the symphony as a genre, gradually adding instruments, and experimenting with the number and order of movements.

MOURNING SYMPHONY

This is one of the Haydn symphonies with an authentic nickname. The German title Trauer (‘mourning’) goes well with Haydn’s wish to have the slow movement played at his funeral. The symphony belongs to a group of stormy, minor-key works – striking and dramatic – that Haydn wrote in the 1760s and 70s. Listen for the stark urgency of the opening notes, all the instruments playing together, the sombre nobility of the famous slow movement and the racing intensity of the fi nale. The second movement is named for a dance, the minuet, but Haydn spends more time showing off the intricacies of his craft as a composer than dancing – the highlight in the middle is an impressively high horn solo.

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Listening Guide

The symphony opens with a four-note motif, given a sense of urgency through being played in unison, which goes on to play a vital role throughout the movement, driving forward to build the tension to a level unprecedented in Haydn’s symphonies at this stage of his career.

Tension is relieved, but not broken, by the switch to triple time for the second movement Minuet. For this is no dancing minuet, but rather, as Landon describes it, ‘a fantastic piece of contrapuntal prestidigitation’. Under the heading Canone in diapason Haydn solemnly has the top and bottom lines of the music moving strictly in relation to each other at the distance of a single bar.

As we come to the central Trio section of the Minuet, all the minor-key drama that has gone before is suddenly released by a lyrical melody in E major, in which the fi rst horn spectacularly soars with the strings to the very top of its range. The second part of the Trio, however, brings dramatic off beat sforzati and violent dynamic contrasts typical of Sturm und Drang style.

If the Adagio is funeral music, then it conveys a noble sadness. This is an unromantic, dry-eyed act of homage. Haydn uses his wind instruments sparingly against the strings which characteristically, in this context, are muted. The beauty of the strings bears the stamp of rare emotional purity.

Where an appropriate fi nale might once have been a problem after three such compelling movements, Haydn here meets the challenge. There is no emotional letdown, but instead a fi erce presto, tense and concentrated, which is essentially a monothematic, abbreviated sonata structure.

The Mourning Symphony marks a watershed in Haydn’s output. It is arguable that without his Sturm und Drang adventures into high drama and emotion, Haydn would never have gone on to achieve the London symphonies, The Creation, The Seasons and the last six masses. Already, in Landon’s view, the Viennese classical style was an established fact; music would never be the same again.

© ANTHONY CANE

The Mourning Symphony (No.44) calls for two oboes, bassoon, two horns and strings.

The Sydney Symphony fi rst performed the symphony in 1959 with Nicolai Malko conducting, and most recently in the 2001 Mozart series, directed by Michael Dauth.

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MORE MUSIC

JULY–AUGUST 20 July, 8pmLESLIE HOWARD IN RECITALBeethoven, Liszt, Borodin, Glazunov

5 Aug, 6.30pmA HERO’S LIFESimone Young conductorCédric Tiberghien pianoBrahms, Bartók, Strauss

12 Aug, 6.30pmHE’S BACK!Yannick Nézet-Séguin conductorHaydn, Bruckner

21 Aug, 8pmTHE GRAND ORGAN SYMPHONYYannick Nézet-Séguin conductorHan-Na Chang celloShostakovich, Saint-Saëns

31 Aug, 8pmDIDGERIDOO MEETS ORCHESTRA (2008)Richard Gill conductorWilliam Barton didgeridooWeber, Schumann, Barton & Hindson

Broadcast Diary

Sydney Symphony Online Visit the Sydney Symphony at sydneysymphony.com for concert information, podcasts, and to read the program book in advance of the concert.

Become a fan on Facebook at http://tinyurl.com/facebook-SSO (or search for “Sydney Symphony” from inside your Facebook account).

Follow us on Twitter at twitter.com/sso_notes for program alerts and musical curiosities, straight from the editor’s desk.

2MBS-FM 102.5SYDNEY SYMPHONY 200911 August, 6pmWhat’s on in concerts, with interviews and music.

Webcast Diary

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

July webcast:

ROMANTIC PERFECTION

Available On Demand

Selected Discography

JC BACH

If you want to get to know the ‘London Bach’ a little better, try this album from the Academy of Ancient Music, directed by Simon Standage. Alongside Op.6 No.6 are Bach’s Sinfonia concertante for fl ute, oboe, violin and cello, and two Grand Overtures. Available from ArkivMusic.com.CHANDOS 0713

The Hanover Band also specialises in period instrument performance and delivers some energetic fast movements in this recording of the complete symphonies from Opus 6.CPO 999896

MOZART PIANO CONCERTOS

Murray Perahia’s complete set of Mozart piano concertos has been described as being played with ‘the utmost natural, unaffected musicality’. The pianist directs the English Chamber Orchestra from the keyboard on this 12-disc set.SONY 089500

Mozart specifi ed that the wind parts for his three concertos K413–415 were optional. Susan Tomes and string players from the Gaudier Ensemble deliver an intimate, chamber music-like performance of all three concertos in this rarely heard form.HELIOS CDH55333

HAYDN SYMPHONIES

The Orchestra of the Age of Enlightenment’s fi ve-disc set, conducted by Frans Brüggen, surveys 19 of Haydn’s symphonies from the 1770s. Included are the Mourning, Maria Theresia and Farewell symphonies.PHILIPS 462117

Adám Fischer’s cycle of the complete Haydn symphonies with the Austro-Hungarian Haydn Orchestra remains a benchmark. A box-set re-release originally recorded for NIMBUS.BRILLIANT CLASSICS 99925

CLEMENS LESKE

The strings of the Adelaide Symphony Orchestra accompany Clemens Leske in Graeme Koehne’s Capriccio on this album of music by the Australian composer. Conducted by János Fürst. ABC CLASSICS 442492

Have Your Say

Tell us what you thought of the concert at sydneysymphony.com/yoursay or email: yoursay@sydneysymphony.com

13 | Sydney Symphony

Clemens Leske piano

Clemens Leske has appeared as soloist with all of Australia’s state symphony orchestras and worked with such conductors as Werner Andreas Albert, Nicholas Braithwaite, Muhai

Tang, Vernon Handley, Rumon Gamba, Vladimir Spivakov and Tommy Tycho.

In 2005, Clemens Leske made his London debut at the Royal Festival Hall, performing Rachmaninoff ’s Piano Concerto No.1 with the London Philharmonic Orchestra. He has performed with the Australian String Quartet, Australian Chamber Orchestra, and Moscow Virtuosi, and at the Barossa International, Huntington and Adelaide festivals. He was soloist with the Bangkok Symphony in Schumann’s Piano Concerto for the King of Thailand’s birthday concert and played Tchaikovsky’s Piano Concerto No.1 with the Sydney Symphony in 2003.

Clemens Leske has released three discs of solo piano and chamber music and has recorded extensively for Australian broadcasters ABC Classic FM, 2MBS and 5UV. Recent appearances include the Eastbourne Festival UK with the LPO, performances in the Steinway Spectacular national tour, Bach’s Goldberg Variations at the Adelaide Fringe Festival, the world premiere of Carl Vine’s Anne Landa Preludes and a solo recital as part of Historic Houses Trust House Music series at Government House.

He is currently Lecturer in Keyboard at the Sydney Conservatorium of Music.

ABOUT THE ARTISTS

Michael Dauth violin-director CONCERTMASTER CHAIR SUPPORTED BY THE BOARD AND COUNCIL OF THE SYDNEY SYMPHONY

Michael Dauth began violin studies under the direction of his father, later studying with Franz Josef Maier and the Amadeus Quartet in Cologne, and with Yfrah Neaman at

the Guildhall School in London. Soon after, he became Concertmaster of Hanover’s North German Radio Orchestra and auditioned for the Berlin Philharmonic, where he was invited to lead the Berlin Philharmonic Octet, Berlin Piano Trio and Chamber Virtuosi. In 1988 he moved to Australia, became Concertmaster of the Melbourne Symphony, and was a founding member, Special Concertmaster and Artistic Director of the Orchestra Ensemble Kanazawa, Japan, a position he holds today.

Michael Dauth has appeared as a soloist with major orchestras in Japan, Australia, New Zealand and Europe, and at all the major festivals including Salzburg, Lucerne, Berlin and Tokyo. His recordings include the Beethoven, Tchaikovsky and Mendelssohn violin concertos, the premiere recording of Takemitsu’s Nostalghia, and the Mozart and Brahms Clarinet Quintets with his Japan-based Sunrise String Quartet and Wenzel Fuchs. His recordings with Orchestra Ensemble Kanazawa include Eight Seasons, a recording of Piazzolla and Vivaldi.

In 2003 he received the Governor-General’s Centenary medal for service to Australian society and the advancement of music.

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

KEI

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Founded in 1932, 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 concerts in a variety of venues around Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the Orchestra world-wide recognition for artistic excellence. Last year the Sydney Symphony toured Italy, and in October 2009 will tour to Asia.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by conductors such as Nicolai Malko, Dean Dixon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, 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 the Orchestra’s commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony also maintains an active commissioning program and promotes the work of Australian composers through performances and recordings. 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 last year on the BIS and Sydney Symphony Live labels.

Other releases on the Orchestra’s own label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti and Sir Charles Mackerras, as well as a recording of rare Rachmaninoff chamber music with Vladimir Ashkenazy.

This year Vladimir Ashkenazy begins his tenure as Principal Conductor and Artistic Advisor.

15 | Sydney Symphony

MUSICIANS

Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council

Vladimir AshkenazyPrincipal Conductor andArtistic Advisor

Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council

Second Violins15 01 02 03 04 05 06

07 08 09 10 11 12

First Violins 01 02 03 04 05 06 07

10 11 12 13 1408 09

First Violins01 Sun Yi Associate Concertmaster02 Kirsten Williams Associate Concertmaster03 Kirsty Hilton Assistant Concertmaster04 Fiona Ziegler Assistant Concertmaster05 Julie Batty06 Sophie Cole07 Amber Gunther08 Rosalind Horton09 Jennifer Hoy10 Jennifer Johnson11 Georges Lentz12 Nicola Lewis13 Alexandra Mitchell Moon Chair14 Léone Ziegler15 Brielle Clapson Marianne Broadfoot

Second Violins01 Marina Marsden Principal02 Emma West A/Associate Principal03 Shuti Huang A/Assistant Principal04 Susan Dobbie Principal Emeritus05 Maria Durek06 Emma Hayes07 Stan W Kornel08 Benjamin Li09 Nicole Masters10 Philippa Paige11 Biyana Rozenblit12 Maja Verunica

Alexandra D’Elia Second Violin#

Belinda Jezek Second Violin

Leigh Middenway Second Violin

Rosemary Curtin Viola#

Alexander Love Horn#

Linda Kent Harpsichord

# Contract Musician

Guest Musicians

16 | Sydney Symphony

MUSICIANS

Violas01 Roger Benedict Andrew Turner and Vivian Chang Chair of Principal Viola02 Anne Louise Comerford Associate Principal03 Yvette Goodchild Assistant Principal04 Robyn Brookfi eld05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe Stuart Johnson

Cellos01 Catherine Hewgill Principal Cello Tony and Fran Meagher Chair02 Timothy Walden Principal03 Leah Lynn Assistant Principal04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses01 Kees Boersma Principal02 Alex Henery Principal03 Neil Brawley Principal Emeritus04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Harp Louise Johnson Principal Harp Mulpha Australia Chair Flutes01 Janet Webb Principal02 Emma Sholl Associate Principal03 Carolyn Harris

Piccolo Rosamund Plummer Principal

Violas 01 02 03 04 05 06 07

08 09 10 11Cellos 01 02 03

04 05 06 07 08 09

Double Basses 01 02 03 04 05 06 07

Harp Flutes 01 02 03

Piccolo

17 | Sydney Symphony

MUSICIANS

Oboes01 Diana Doherty Principal Oboe Andrew Kaldor and Renata Kaldor AO Chair 02 Shefali Pryor Associate Principal David Papp

Cor Anglais Alexandre Oguey Principal

Clarinets01 Lawrence Dobell Principal02 Francesco Celata Associate Principal03 Christopher Tingay

Bass Clarinet Craig Wernicke Principal

Bassoons01 Matthew Wilkie Principal02 Roger Brooke Associate Principal03 Fiona McNamara Contrabassoon01 Noriko Shimada Principal

Horns01 Robert Johnson Principal02 Ben Jacks Principal03 Geoff O’Reilly Principal 3rd04 Lee Bracegirdle05 Euan Harvey06 Marnie Sebire

Trumpets01 Daniel Mendelow Principal02 Paul Goodchild Associate Principal Trumpet The Hansen Family Chair03 John Foster04 Anthony Heinrichs

Trombone01 Ronald Prussing Principal Trombone NSW Department of State and Regional Development Chair 02 Scott Kinmont Associate Principal03 Nick Byrne RogenSi International Chair

Bass Trombone Christopher Harris Principal Tuba Steve Rossé Principal

Timpani Richard Miller Principal Mark Robinson

Percussion01 Rebecca Lagos Principal02 Colin Piper

Piano Josephine Allan Principal (contract)

Oboes 01 02

Cor Anglais Clarinets 01 02 03

Bass Clarinet

Bassoons 01 02 03

Contrabassoon Horns 01 02 03

04 05 06Trumpets01 02 03 04

Trombones 01 02 03

Bass Trombone Tuba Timpani 01

Percussion 01 02

Piano

Nicholas CarterAssistant Conductorsupported bySymphony Australia

18 | Sydney Symphony

PRINCIPAL PARTNER

GOLD PARTNERS

The Company is assisted by Arts NSW, Department of the Arts, Sport and

Recreation

GOVERNMENT PARTNERS

PLATINUM PARTNERS

SALUTE

MAJOR PARTNERS

19 | Sydney Symphony

BRONZE PARTNERS MARKETING PARTNERS PATRONS

The Sydney Symphony gratefully acknowledges the many music lovers who contribute to the Orchestra by becoming Symphony Patrons. Every donation plays an important part in the success of the Sydney Symphony’s wide ranging programs.

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

Australia Post

Australian National Tourist Offi ce

Bimbadgen Estate Wines

Vittoria Coffee

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

GOLD PARTNERS

REGIONAL TOUR PARTNERS

20 | Sydney Symphony

DIRECTORS’ CHAIRS

A leadership program which links Australia’s top performers in the executive and musical worlds.

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

01Louise JohnsonPrincipal HarpMulpha Australia Chair

02Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

03Ronald PrussingPrincipal TromboneNSW Department of State and Regional Development Chair

04Michael Dauth and Dene OldingBoard and Council of the Sydney Symphony support the Concertmaster Chairs

05Nick ByrneTromboneRogenSi Chair with Gerald Tapper, Managing Director RogenSi

06Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

01 02 03

04 05 06

07 08 09

KEI

TH S

AU

ND

ERS

KEI

TH S

AU

ND

ERS

21 | Sydney Symphony

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.

$10,000+Brian Abel Geoff & Vicki AinsworthMr Robert O Albert AO

Mr Terrey & Mrs Anne ArcusAlan & Christine Bishop Tom Breen & Rachael KohnSandra & Neil Burns Mr Ian & Mrs Jennifer Burton Libby Christie & Peter James Mr John C Conde AO Robert & Janet ConstableMrs Ashley Dawson-Damer Eric DoddPenny Edwards Mr J O Fairfax AO Fred P Archer Charitable TrustDr Bruno & Mrs Rhonda GiuffreIn memory of Hetty Gordon Mr Harcourt Gough Mr James Graham AM & Mrs Helen Graham Mr David Greatorex AO & Mrs Deirdre Greatorex The Hansen Family Mr Andrew Kaldor &Mrs Renata Kaldor AO H Kallinikos Pty Ltd Mrs Joan MacKenzie Tony & Fran MeagherMrs T Merewether OAM Mr B G O’Conor Mrs Roslyn Packer AO The Paramor Family The Ian Potter Foundation Rodney Rosenblum AM & Sylvia Rosenblum Mr Paul & Mrs Sandra Salteri Mrs Penelope Seidler AM

Mrs Joyce Sproat & Mrs Janet Cooke Mr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupIn Memory of G S WronkerAnonymous (2)

$5,000–$9,999Mrs Antoinette AlbertMr Roger Allen & Mrs Maggie GrayMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrMrs Emily Chang Mr Bob & Mrs Julie Clampett Ms Leonie FurberMr Robert Gay Mr Stephen Johns Ms Ann Lewis AM

Helen Lynch AM & Helen BauerMr David Maloney The Perini Family Foundation

Miss Rosemary Pryor Bruce & Joy Reid FoundationMr Irvine SalterMrs Helen Selle The Sherry Hogan Foundation David Smithers AM & Family Ms Gabrielle Trainor In memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Geoff Wood & Melissa WaitesAnonymous (1)

$2,500–$4,999Mr David Barnes Mr Charles Barran Ms Jan Bowen Ms Jane Brodribb & Mr Colin DraperMrs Lenore P Buckle Mr Peter CoatesProf Christine DeerMs Elise Fairbairn-SmithHilmer Family Trust Irwin Imhof in memory of Herta Imhof Mr Bob LongwellThe Magid FoundationJustice Jane Mathews AO

Judith McKernanMr & Mrs David Milman Mr James & Mrs Elsie Moore Mr Ernest & Mrs Judith RapeeRay Wilson OAM & the late James Agapitos OAM

Anonymous (2)

$1,000–$2,499Charles & Renee AbramsMs Robin E Amm AM

Mr Henri W Aram OAM Doug & Alison Battersby Ms Jo-Anne BeirneMr Stephen J Bell Nicole Berger Mr Mark BethwaiteMr Alexander & Mrs Vera Boyarsky Mr David S Brett Mr Maximo Buch M BulmerDebby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Lisa & Miro Davis Ms Michelle Hilton VernonIan Dickson & Reg HollowayMr Russell FarrMr Ian Fenwicke & Prof Neville Wills Firehold Pty LtdMs Annette FreemanWarren Green

Anthony Gregg & Deanne Whittleston Mrs Akiko Gregory Miss Janette Hamilton Ms Ann Hoban The Hon David Hunt AO QC & Mrs Margaret HuntMrs Greta James Dr Michael Joel AM & Mrs Anna Joel Ms Judy JoyeMr & Mrs E Katz Mrs Margaret Keogh Mr Simon KerrMiss Anna-Lisa KlettenbergMr & Mrs Gilles T Kryger Mr Justin LamDr Barry LandaMrs Alexandra Martin & the late Mr Lloyd Martin AM Mrs Mora Maxwell Mr Robert & Mrs Renee MarkovicWendy McCarthy AO Mr Matthew McInnes Mrs Barbara McNulty OBE

Kate & Peter Mason Mr & Mrs ObermeierMr R A Oppen Mr Robert Orrell Mr & Mrs OrtisMrs Jill Pain Timothy & Eva Pascoe Ms Patricia Payn Mrs Almut PiattiMr Adrian & Mrs Dairneen PiltonMs Robin Potter Dr K D Reeve AM Mrs Patricia H Reid Dr John Roarty in memory of Mrs June RoartyPamela Rogers Mr Brian Russell & Mrs Irina SinglemanIn memory of H St P ScarlettMs Juliana SchaefferRobyn Smiles The Hon. Warwick SmithMr Ezekiel SolomonCatherine Stephen Mr Fred & Mrs Dorothy Street Mr Michael & Mrs Georgina SuttorMr Georges & Mrs Marliese TeitlerMr Ken Tribe AC & Mrs Joan Tribe Mr John E Tuckey Mrs Merle Turkington A W Tyree FoundationMs Mary Vallentine AO Mr & Mrs John van OgtropHenry & Ruth WeinbergAudrey & Michael Wilson Jill WranAnonymous (11)

$500–$999Mr C R AdamsonGabrielle Blackstock A I Butchart Mr John AzariasMr John BlattmanMr G D Bolton Dr & Mrs Hannes Boshoff The Hon (Mr) L Brereton & The Hon (Ms) T KavanaghHon. Justice J C & Mrs Campbell Joan Connery OAM Mrs Catherine Gaskin CornbergJen Cornish Mr Greg DanielIn Memory of Mr Nick EnrightJohn FavaloroMrs F GoldbergDr & Mrs C Goldschmidt In memory of Angelica Green Mr Richard Griffi n AM

In memory of Oscar GrynbergDr Heng & Mrs Cilla Tey Rev H & Mrs M Herbert Bill & Pam HughesDr & Mrs Michael Hunter Mr Stephen Jenkins Mrs Jannette King Julia King Iven & Sylvia KlinebergMr Andrew Korda & Ms Susan PearsonDr and Mrs Leo LeaderMargaret LedermanErna & Gerry Levy AM Mr Gary Linnane Sydney & Airdrie LloydMr Ian & Mrs Pam McGawKenneth N MitchellHelen MorganMr John & Mrs Jane MorschelDr M C O’ConnorMrs Rachel O’ConorA Willmers & R PalDr A Juan PalmerMr Tom PascarellaDr Kevin Pedemont PTW ArchitectsMr L T & Mrs L M PriddleMr M D SalamonE StuartMr John SullivanA & N TkalMr Andrew & Mrs Isolde TornyaMr & Mrs Franc VaccherProf Gordon E Wall Ronald WalledgeLouise Walsh & David JordanAnonymous (19)

To discuss giving opportunities, please call Caroline Sharpen on (02) 8215 4619.

22 | Sydney Symphony

BEHIND THE SCENES

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

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

David MaloneyDavid Malouf AO

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

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen Pearse

Sydney Symphony Council

Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsJulianna SchaefferLeo Schofi eld AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

Sydney Symphony Board

CHAIRMAN

John C Conde AO

Ewen CrouchJohn CurtisJennifer HoyStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

John C Conde AO – Chairman

Peter Weiss AM – Founding President, Maestro’s Circle

Geoff & Vicki AinsworthTom Breen & Rachael KohnAshley Dawson-DamerIn memory of Hetty & Egon GordonAndrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Westfi eld Group

Maestro’s Circle

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC Minister for Primary Industries, Energy, Mineral Resources and State Development

Dr Richard Sheldrake Director-General, Department of Primary Industries

Mark Duffy Director-General, Department of Water and Energy

Colin Bloomfi eld Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBilliton

Romy Meerkin Regional Express Airlines

Peter Freyberg Xstrata

Tony McPaul Cadia Valley Operations

Terry Charlton Snowy Hydro

Sivea Pascale St.George Bank

Paul Mitchell Telstra

John Azarias Deloitte Foundation

Peter King Royal Agricultural Society

Gerard Lawson Sunrice

Grant Cochrane The Land

23 | Sydney Symphony

Sydney Symphony Staff

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER,SUBSCRIPTION SALES

Rebecca MacFarling

MARKETING MANAGER,CLASSICAL SALES

Simon Crossley-Meates

MARKETING MANAGER,COMMERCIAL SALES & RECORDINGS

Penny Evans

NETWORK GROUP SALES MANAGER

Lucia Cascone

ONLINE MANAGER

Kate Taylor

MARKETING & MEDIA ASSOCIATE

Antonia Farrugia

GRAPHIC DESIGNER

Christie Hutchinson

DATA ANALYST

Kent Prusas

Box Offi ce

ACTING MANAGER OF TICKETING &CUSTOMER SERVICE

Pamela McMillan

BOX OFFICE COORDINATOR

Natasha Purkiss

GROUP SALES COORDINATOR

Matt Lilley

CUSTOMER SERVICE REPRESENTATIVES

Michael DowlingErich GockelRachel McLarin

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

PUBLIC RELATIONS

PUBLIC RELATIONS MANAGER

Yvonne Zammit

PUBLICIST

Stuart Fyfe

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON MANAGER

Ilmar Leetberg

Education Programs

EDUCATION MANAGER

Kim Waldock

EDUCATION DEVELOPMENT MANAGER

Bernie Heard

EDUCATION ASSISTANT

Rebecca Whittington

Library

LIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENT

HEAD OF CORPORATE RELATIONS

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Julia Owens

CORPORATE RELATIONS EXECUTIVE

Seleena Semos

Philanthropy

HEAD OF PHILANTHROPY

Caroline Sharpen

DEVELOPMENT EXECUTIVE

Kylie Anania

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ACTING DEPUTY ORCHESTRA MANAGER

Greg Low

ACTING ORCHESTRAL COORDINATOR

Stephanie Mirow

OPERATIONS MANAGER

Kerry-Anne Cook

TECHNICAL MANAGER

Derek Coutts

PRODUCTION COORDINATOR

Tim Dayman

PRODUCTION COORDINATOR

Ian Spence

STAGE MANAGER

Peter Gahan

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTS ASSISTANT

Li Li

PAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

COMMERCIAL ENTERPRISES

COMMERCIAL ENTERPRISES MANAGER

Jeremy Curran

RECORDING ENTERPRISES EXECUTIVE

Philip Powers

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