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FRI 14 MAY 11AMMON 17 MAY 7PM

HARMONY FROM HEAVEN

MONDAYS @ 7

TEA & SYMPHONYPRESENTED BY

It is my great pleasure to welcome you to this concert in the 2010 Tea & Symphony series.

In this performance we hear two major works, one completed in 1919 and one that was written in 2001 and revised just last year. They’re united by their celestial inspiration. Sibelius said that composing his Fifth Symphony was like assembling a mosaic for which the pieces had been thrown down from heaven. The painstaking work led to something grand and powerful.

Georges Lentz is a violinist with the Sydney Symphony but in this concert we recognise him as composer with an international reputation for impeccable craftsmanship and a distinctive personal style. Guyuhmgan is a vision of space and the stars – mysterious and refl ective – and in this new version Lentz has given prominent solos to two of the orchestra’s ‘stars’, Diana Doherty and Alexandre Oguey.

Kambly has epitomised the Swiss tradition of the fi nest biscuits for three generations. Each masterpiece from the Emmental is a small thank you for life; a declaration of love for the very best; the peak of fi ne, elegant taste.

Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fi tting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people’s love of live symphonic music.

We hope you enjoy this morning’s program with the Sydney Symphony, and look forward to welcoming you to future concerts in the Tea & Symphony series in 2010.

Oscar A. KamblyChairmanKambly of Switzerland

WELCOME TO TEA & SYMPHONY

5 | Sydney Symphony

2010 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY

Friday 14 May | 11am

Sydney Opera House Concert Hall

HARMONY FROM HEAVEN Matthew Coorey conductorDiana Doherty oboeAlexandre Oguey cor anglais

LUDWIG VAN BEETHOVEN (1770–1827)Leonore Overture No.3

GEORGES LENTZ (born 1965)Guyuhmgan (2009)from Mysterium (‘Caeli enarrant…’ VII)

Diana Doherty oboeAlexandre Oguey cor anglais

JEAN SIBELIUS (1865–1957)Symphony No.5 in E fl at, Op.82

Tempo di molto moderato – Allegro moderato – Vivace molto – PrestoAndante mosso, quasi allegrettoAllegro molto – Misterioso – Largamente assai

PRESENTING PARTNER

Biscuits at Tea & Symphony concerts kindly provided by Kambly

Approximate durations: 14 minutes, 18 minutes, 30 minutes

The concert will conclude at approximately 12.10pm.

Program notes begin page 9.

Program details for Monday 17 May are on page 7.

7 | Sydney Symphony

2010 SEASON MONDAYS @ 7

Monday 17 May | 7pm

Sydney Opera House Concert Hall

HARMONY FROM HEAVEN Matthew Coorey conductorDiana Doherty oboeAlexandre Oguey cor anglais

LUDWIG VAN BEETHOVEN (1770–1827)Leonore Overture No.3

GEORGES LENTZ (born 1965)Guyuhmgan (2009)from Mysterium (‘Caeli enarrant…’ VII)


INTERVAL

IGOR STRAVINSKY (1882–1971)Symphonies of Wind Instruments (1947)

JEAN SIBELIUS (1865–1957)Symphony No.5 in E fl at, Op.82

Tempo di molto moderato – Allegro moderato – Vivace molto – PrestoAndante mosso, quasi allegrettoAllegro molto – Misterioso – Largamente assai

Pre-concert talk by David Garrett at 6.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 14 minutes, 18 minutes, 20-minute interval, 12 minutes, 30 minutes

The concert will conclude at approximately 8.45pm.

Program details for Friday 14 May are on page 5.

Detail from an astronomical photograph of the Horsehead Nebula in Orion (Anglo-Australian Observatory/David Malin)

9 | Sydney Symphony

INTRODUCTION

Harmony from Heaven

On 10 April 1915, Sibelius wrote in his diary:

Spent the evening with the [Fifth] symphony. The disposition of the themes: with all its mystery and fascination, this is the important thing. It is as if God the Father had thrown down mosaic pieces from heaven’s fl oor and asked me to put them back as they were. Perhaps that is a good defi nition of composition. Perhaps not. How should I know?

It’s a striking image – as if music were some kind of celestial jigsaw puzzle and its creation an act of inspired re-creation, the composer’s job being to work out the ‘right’ arrangement of the pieces. What would Beethoven have thought of that? His sketchbooks suggest he would at least have recognised the struggle in developing pithy motifs into a dramatic symphonic language.

Stravinsky’s Symphonies of Wind Instruments makes an interesting companion piece for the Sibelius – it’s mosaic-like in the way it pieces together distinct musical ideas, interspersed by tiny, contemplative motifs and framed by an intense and austere chorale.

Georges Lentz’s music has some of that austerity too, but his celestial inspiration is more direct: a fascination with astronomy and the vast beauty of the night sky. It’s also a kind of spiritual inspiration and, as one conductor has described it, listening to his music can be like being drawn into a quiet, refl ective cone of near-silence.

Lentz initially regarded this music and its companion works (grouped together as Mysterium) as ‘a conceptual work in an open form, consisting of numerous blocks that can be put together ad libitum… abstract lines, ideally meant to be read rather than played’. With some prodding from his publisher came a change of view, that some of this music he had imagined should be made audible for others: ‘in the real world…like any music it needs performers to make it come to life.’

And so we have composers, inspiration and – here in a live concert – performers to make music come to life.

PLEASE SHARE YOUR PROGRAM

To conserve costs and reduce our environmental footprint, we ask that you share your program with your companions, one between two. You are welcome to take an additional copy at the end of the concert if there are programs left over, but please share during the performance so that no one is left without a program.

If you don’t wish to take your program home with you, please leave it in the foyer (not in the auditorium) at the end of the concert so it can be reused at the next performance.

All our free programs can be downloaded from: www.sydneysymphony.com/program_library

10 | Sydney Symphony

Ludwig van BeethovenLeonore Overture No.3, Op.72

Beethoven wrote only one opera, but he wrote it three times over a period of a decade. Finally, in 1814, Fidelio took its present, triumphant, form. Beethoven’s revisions left a legacy of four overtures: the three Leonore overtures and the fi nal overture to Fidelio that stands with the opera today. Of the Leonore overtures, named for the heroine, the third (from 1806) quickly became the most popular in the concert hall.

Fidelio, or The Triumph of Conjugal Love is a so-called ‘rescue opera’ – a theme fashionable in France at the time – and its hero is Florestan, a political prisoner: ‘In the springtime of life, happiness has deserted me. I dared to speak the truth boldly, and these chains are my reward.’ This aria, from the beginning of Act II, establishes the mood for the slow introduction of Leonore Overture No.3 and provides its main musical material. Beethoven gives the sombre theme to the clarinet; once the overture is underway, it is transformed for fl ute and violins.

The overture follows a conventional classical structure, while encapsulating the scenario of the opera, including a last-minute reprieve announced by dramatic trumpet calls. This is the moment that anybody who knows the overture or the opera will be waiting for – the rescue. In the opera this is signalled by a faint and distant trumpet fanfare, announcing the arrival of the government minister who has the power to save Florestan. Leonore, Florestan’s wife, sings: ‘You are saved, thank God!’ Florestan’s enemy, Pizarro, is dismissive. Then the trumpet sounds again, a little closer.

In the overture this moment is captured perfectly. Mozart had done something similar with his Don Giovanni Overture: foreshadowing the climax of the opera with the dreadful chords of the opening. But that was just a hint, something to set the mood. Leonore No.3 – working as a kind of ‘tone poem’ – is almost too eff ective at tracing the action of the opera and its victorious conclusion.

Which is probably why Beethoven abandoned this masterpiece to write yet one more overture – a much simpler prelude – in 1814. There was a practical reason: the revised opera now began in a diff erent key; but, more important, the dramatic qualities that make Leonore No.3 so satisfying in the concert hall were less well-suited to Beethoven’s purpose in the theatre. Beethoven realised that the symphony was his ‘real element’ – that his instincts

ABOUT THE MUSIC

Keynotes

BEETHOVEN

Born Bonn, 1770Died Vienna, 1827

Beethoven’s busiest years as a composer for orchestra were between 1800 and 1812. During this time, he completed eight of his nine symphonies – continually pushing the boundaries of structure, style and musical expression – and worked on his opera Fidelio, revising it many times.

LEONORE NO.3

Although it was conceived for opera, this overture works best as a concert piece. (Beethoven eventually wrote a much simpler prelude for Fidelio.) The clues are in its duration, which is nearly twice as long as a conventional theatre overture; and the way it traces the action, to the point of giving away the climax of the opera. In this respect it goes beyond setting the mood and becomes a tone poem, that is, music with a narrative function and symphonic scope.


Fidelio

The story of Beethoven’s opera was based on an actual incident that took place in France during the post-revolutionary Reign of Terror: an aristocratic woman, portrayed in the opera as Leonore, disguises herself as a boy (Fidelio) in order to save her husband from wrongful execution at the hand of a tyrant. The lawyer Jean-Nicolas Bouilly found himself in the position of Don Fernando (the government minister whose arrival signals the release of the prisoners), and later wrote the story, changing names and places, as a libretto, which was set by two other composers as Léonore. Beethoven’s theatre insisted that he change the name of his opera to avoid confusion.

FROM A NOTE BY GORDON KERRY ©2004

Beethoven, 1814

were primarily orchestral – and that this powerful overture was too symphonic in character to function as a mere curtain raiser.

YVONNE FRINDLE ©2004

The orchestra for Beethoven’s Leonore Overture No.3 comprises pairs of fl utes, oboes, clarinets and bassoon; four horns, three trumpets (one off-stage), and three trombones; timpani and strings.

The fi rst performance on record of this overture by Sydney Symphony was in 1938, conducted by George Szell; the most recent performance was in 2006, conducted by David Porcelijn.

In the opera, the rescue is signalled by a faint and distant trumpet fanfare…


Georges LentzGuyuhmgan (2009)from Mysterium (‘Caeli enarrant…’ VII)for orchestra and electronics with obbligato parts for oboe and cor anglais


Here in Sydney, Georges Lentz is among us. His presence on stage as a violinist in this orchestra may remind those who know that he is not only a creator, but also an interpreter of music. Anyone who has heard his music will be struck by the contrast with most of what he plays in the orchestra. They will sense that for him musical creation is a mysterious realm. Patient contemplation, often in silence or near-silence, listens to the sounds of the musical dimensions of the vast universe. Then an attentive shaping craft brings them to our notice, giving us Lentz’s ear, and engaging us in sharing the near-trance of his art.

There is indeed mystery here. There is a music that points beyond itself – ‘the heavens are telling’ – it comes from elsewhere. Lentz’s titles tell us that. They also let us into a composer’s sense of time, and of his music as part of a world in which there is much more, that we are not hearing. Music, even, that is not to be heard – music, as Lentz has explained, ‘that is audible to God, but inaudible to human ears’. ‘I wanted to write music that does not evolve or unfold, but simply “is”,’ Lentz tells us. Listening for this music is a kind of spiritual exercise, idealistic, perhaps utopian, or like a dream of music.

But any personal reaching for a grasp on the mysterious, the very idea of music itself, has its roots in the seeker’s experience and the thinking that has guided him. In Lentz’s case the title ‘Cæli enarrant…’ refl ects his fascination with the shape of the vast universe revealed by astronomy – awe-inspiring and beautiful. Lentz’s sense of himself as a musical creator within that universe was crystallised, and the ‘Mysterium’ project was inspired, when he read a book about the ancient Greek philosopher Pythagoras’ concept of the Music of the Spheres. Mysterium, the large-scale work-in-progress Lentz began after reading this book, itself forms part of the cycle called ‘Cæli enarrant…’ (the title comes from Psalm 19 ‘The heavens are telling…’).

Two of the Mysterium pieces were scored for orchestra, companion pieces with Aboriginal words meaning ‘stars’

Keynotes

LENTZ

Born Luxembourg, 1965

Georges Lentz lives in Sydney and plays in the fi rst violins of the Sydney Symphony. As a composer he has been developing his large-scale cycle, ‘Cæli enarrant…’ (The heavens are telling), since 1989. Sydney audiences heard Ngangkar and Monh, two of the orchestral works from the Mysterium section of the cycle, in 2006 and 2008 respectively; and the original version of Guyuhmgan in 2001. The titles all mean ‘stars’ in Aboriginal languages, revealing a fascination with the awe-inspiring beauty and vastness of the universe.

GUYUHMGAN

Guyuhmgan is soft throughout, its dramatic tension, says the composer, being derived from the contrast between sounds and silence, tonal and quarter-tone elements, homophonic lines and complex polyphonic material, a regular beat and graphically notated rhythmic unpredictability, contracted and expanded time. Lentz’s overall aim was to write music that would be as ‘pure’ and ‘serene’ as possible.

Richard Toop describes the music as beginning with ‘dense but barely audible’ string textures before the electronic music makes its fi rst entry, followed by the fi rst of several ‘Tibetan-inspired’ duos for oboe and cor anglais. Listen for the chorales (alone and as part of layered textures), and ‘solos’ for the electronics, as well as the long silence for contemplation.


The title Guyuhmgan (a Bandjalung Aboriginal word meaning ‘stars’) refl ects my love of the vast empty space of the Australian landscape with its radiantly beautiful night skies. While any number of interpretations are of course allowed, one possible way to listen to the work might be to forget the technical details mentioned here and just imagine a starlit sky with all its different constellations and concentrations, its darkness and light, the vastness of its silence.

GEORGES LENTZ

for their titles. Ngankar (1998–2000) has as one of its perspectives a view of the night sky from earth. Guyuhmgan (2000–01, now revised) has more to do with space viewed from space – celestial images picked up, as it were, by the Hubble telescope (this is Richard Toop’s idea, in his notes for the recording of both these works by the Sydney Symphony).

Guyuhmgan refl ects Lentz’s fascination with astronomy as well as some very personal spiritual beliefs. It is similar to Ngangkar in that it is soft throughout, and Lentz’s overall aim in this piece, as in all of Mysterium, was to write music that would be as ‘pure’ and ‘serene’ as possible. But Guyuhmgan also represented a departure for him in a few ways, as he explains:a) The use of extended playing techniques (so-called ‘ugly’ or ‘scratchy’ sounds) is of course nothing new in contemporary music. It was however only after some internal struggle that I resolved to incorporate such sounds into my current music. The whole philosophy of Mysterium being one of purity, I could at fi rst see no use for such dirty or distorted sounds. Only when I stopped judging and putting labels such as ‘beautiful’ and ‘ugly’ on things and instead accepted them for what they are did I begin to open myself to diff erent kinds of beauty – an act of great liberation.b) An important infl uence behind the composition of Guyuhmgan was my discovery of the works of Australian Aboriginal painter Kathleen Petyarre. Her huge canvasses fi lled with innumerable tiny dots (they look a bit like a night sky) made a great impression on me and helped me become bolder in my attempt to write passages of music consisting only of ‘dots’. The beginning of Guyuhmgan is a direct refl ection of this.c) Rhythmic patterns based on those played in the orchestra, but many times faster, are heard in Guyuhmgan. No human musician could reasonably be expected to execute those rhythms with any degree of accuracy – a computer, on the other hand, has no diffi culty handling those dimensions. Hence my use of this medium in the new work, the fi rst time I have done so. The use of the computer is meant to highlight the inadequacy of human perception and comprehension in the face of the complexity of reality. Within the rhythmic framework of the piece based on crotchets (which appear at diff erent levels of speed and slowness), there is also ample use of rhythmically unpredictable graphic notation within the orchestra, as well as rhythmically undefi ned passages in the


computer part. I see this as the ‘completely other’, which does not fi t into the rhythmic frame, yet is also inextricably part of it: God?

My collaborator on the computer sounds heard in Guyuhmgan was Gordon Monro, lecturer in Mathematics at the University of Sydney as well as a highly interesting composer in his own right. While Gordon’s input on this project was more of a technical nature, he pointed out many sounds and possibilities that have become an integral part of the composition. The computer sounds were generated in a program called Csound. It was important to me to base the electronic sound world entirely on synthetic sounds (more precisely, sine waves), as opposed to sounds taken from real life and modifi ed by the computer. The idea was to contrast these sounds with the acoustic properties of the orchestral instruments, but also to highlight the blending possibilities between these diametrically opposed methods of sound production.

ADAPTED FROM NOTES BY DAVID GARRETT ©2008 AND GEORGES LENTZ ©2001

In addition to the electronics (operated on stage from a computer), the orchestra for Guyuhmgan comprises three fl utes, oboe, cor anglais and two oboes d’amore (no clarinets or bassoons); four horns, three trumpets and three trombones (also playing insect clickers); percussion, piano and celesta, and a string section of violins (the two sections placed to the left and right of the conductor), cellos and double basses (no violas).

The Sydney Symphony gave the performance of Guyuhmgan in 2001, conducted by Edo de Waart. This is the Australian premiere of the revised version, which expands upon the obbligato solo material for oboe and cor anglais.

© A

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RY The Pleiades (or Seven Sisters) star cluster.

Photograph from the UK Schmidt Telescope Plate Library, by David Malin.


Igor StravinskySymphonies of Wind Instruments (1947 version)

For the title of this work Stravinsky returned to the original meaning of ‘symphony’: a group of instruments playing, or sounding together. This explains why a single, continuous piece can have a plural title. It also explains why he chose ‘Symphonies of ’ and not ‘Symphonies for’.

The music is dedicated to the memory of Claude Debussy, who died in 1918, and Stravinsky composed it in Brittany during the summer of 1920. The two men had met after the premiere of Stravinsky’s ballet The Firebird, in 1910. Each admired the other’s music and Stravinsky once referred to Debussy as ‘my father in music’, perceptively recognising the Frenchman as the pioneer of many aspects of the new music The Frenchman’s direct infl uence on Stravinsky is to be found especially in the opera The Nightingale (1908–14) and in Zvezdoliki (The King of the Stars, 1911–12, dedicated to Debussy), but there are traces of it in The Rite of Spring (1913) as well.

Parts of the Symphonies of Wind Instruments had been drafted as a piece for harmonium, heavily infl uences by Russian popular songs. When Stravinsky accepted the invitation to contribute a work to a special issue of Revue Musicale in tribute to Debussy, he added the solemn, extended chorale that forms the coda. In its fi nal form as a work for woodwinds and brass it became, in Stravinsky’s words: ‘ a grand chant, an objective cry of wind instruments, in place of the warm human tone of the violas’.

Aspects of the Symphonies of Wind Instruments refl ect Stravinsky’s religious nature. He described the music as ‘an austere ritual which is unfolded in terms of short litanies between diff erent groups of homogeneous instruments’ and compared the singing lines of the fl utes to ‘liturgical dialogue.’ Ritual plays an increasingly important part in Stravinsky’s music from The Rite of Spring onwards, and is associated with his exploration of his Russian Orthodox heritage and his sympathy for aspects of Catholicism. This is not music that seeks to please with ‘passionate impulse or dynamic brilliance’; it is more contemplative, drawing attention to its purely musical features.

The arrangement of the musical material of the Symphonies bears no relationship to the traditional symphonic structures such as sonata form, further emphasising the ‘non-symphonic’ nature of this work. It consists of three distinct sets of musical episodes: two

Keynotes

STRAVINSKY

Born near St Petersburg, 1882Died New York, 1971

One of the 20th century’s greatest and most infl uential composers, Igor Stravinsky was born in Russia, later adopting French and then American nationality. (He died in New York.) His style is similarly wide-ranging, from the exotic instrumental and harmonic colours of his ballet The Firebird – his fi rst big hit – to the transparency of his later neoclassical style.

SYMPHONIES OF WIND INSTRUMENTS

Don’t let the title mislead you: this work is not a symphony and its structure bears no relationship to classical symphonic forms. The music features three distinct musical episodes, popular or pastoral in tone, which alternate with more solemn passages. A starkly expressive Chorale – a series of static, vertical chords – opens and closes the work. The Symphonies of Wind Instruments was composed in 1920; Stravinsky published a version with a modifi ed orchestration in 1947, but the essence of the piece remained unchanged.


Stravinsky described the music as ‘an austere ritual’…

Russian popular melodies; a pastorale, featuring a dialogue for fl ute and clarinet; and a fi nal dance, fast and wild. Appearances of these ideas are preceded or interspersed by musical motifs, often bell-like and chiming. The Chorale which opens and closes the work is intensely expressive; it is a series of static vertical chords, looking back in harmonic structure to The Rite of Spring, but anticipating in mood some parts of Oedipus Rex or the Symphony of Psalms.

In 1945 Stravinsky re-orchestrated the Chorale, and this stimulated him to revise the whole work, which he did in 1947. He eliminated the alto fl ute and alto clarinet, to make performance more practical, and changed the barring of the music, but he did not make many changes in the music itself.

SYMPHONY AUSTRALIA © 1993/2010

Symphonies of Wind Instruments calls for three each of fl utes, oboes (including cor anglais), clarinets and bassoons (including contrabassoon); four horns, three trumpets, three trombones and a tuba.

The work was fi rst performed in London in 1921 under the direction of Serge Koussevitsky. The fi rst professional Australian performance was given by the Melbourne Symphony Orchestra in a special Stravinsky Concert in the presence of the composer in 1961 under the direction of Robert Craft. The Sydney Symphony fi rst performed the work in 1971 with Joseph Post, and most recently in 2002, conducted by Bruno Weil.


Keynotes

SIBELIUS

Born Hämeenlinna, 1865 Died Järvenpää, 1957

Sibelius was a force in the creation of a distinctive Finnish voice at the turn of the 20th century, and much of his music was based on themes from the Finnish folk epic, the Kalevala. His symphonies represented more ‘abstract’ works; he completed seven before he stopped composing in the 1930s, and worked on an eighth.

FIFTH SYMPHONY

The Fifth Symphony was composed in the troubled times of World War I, but even so it is one of Sibelius’ ‘most shining, life-affi rming creations’. The music adopted a modest-sized orchestra and, eventually, a symmetrical structure of three movements – a departure from the four-movement classical symphony of Beethoven. The fi rst movement – which opens with an important horn call – links what was originally two movements: a slow introduction and a waltz-like ‘scherzo’. The calm second movement is a set of variations on a rhythmic motif, and the fi nal movement reverses the tempo directions of the fi rst by beginning fast and ending slowly.

Sibelius conducted the premiere of the original version on 8 December 1915: his 50th birthday.

Jean SibeliusSymphony No.5 in E fl at, Op.82

Tempo molto moderato – Allegro moderato – Vivace molto – Presto Andante mosso, quasi allegretto Allegro molto – Misterioso – Largamente assai

The pitiless despair of Sibelius’ Fourth Symphony (1911) puzzled many of its fi rst listeners. The work seemed an unlikely sequel to the gentle radiance of the Third (1907), yet its gaze into the abyss gave way, in the Fifth, to one of Sibelius’ most shining, life-affi rming creations.

Early in 1914 he heard Schoenberg’s Chamber Symphony for the fi rst time. ‘This is a legitimate and valid way of looking at things, I suppose,’ he wrote in his diary. ‘But it is certainly painful to listen to.’ Yet we know that Schoenberg’s abandonment of tonality continued to fascinate Sibelius, for it suggested a ‘next step’ for his own work after the Fourth Symphony. (He expressed his admiration for Schoenberg publicly at this time.) But the Fifth Symphony tells us plainly that Sibelius could not adopt another’s solutions to the musical issues he confronted. While the Fifth is light to the Fourth’s darkness, a progression from doubt to belief (Sibelius’ admiration for Bruckner should not be forgotten here), it represents no shift in Sibelius’ compositional principles; he was not a man to change his ways so swiftly. An economy of orchestral resource, the building up of musical paragraphs by the development of tiny melodic fragments, the determination to create his own solutions to the problems of harmonic language and symphonic form – these were abiding features of his music from the beginning of his composing life. In fact of all the major composers of the last century he was the most solitary, methodical and purposeful in his stylistic development, taking only fi tful interest in the work of his contemporaries. In Neville Cardus’ memorable description, Sibelius ‘sits alone in the house of music rather away from the hearth and the logs and the company; he says little, and sometimes by his taciturnity alone he makes an impression of deep thinking.’

He wrote the Fifth, one of the most popular of all his works, at a time of great personal diffi culty. The Great War had broken out and, as a result, Sibelius had lost access to the revenue from his German publishers, Breitkopf and Härtel. To earn some regular income he wrote a great number of salon pieces for domestic performance, and had


Sibelius at 50

An economy of orchestral resource, the building up of musical paragraphs by the development of tiny melodic fragments, the determination to create his own solutions to the problems of harmonic language and symphonic form – these were abiding features of Sibelius’ music from the beginning of his composing life.

little time for other composing; the Fifth Symphony is his only major work of the war years.

Sibelius himself conducted the symphony’s fi rst performance, at a concert given on 8 December 1915 to mark his 50th birthday. It was a jubilant event, treated almost as a national holiday, but Sibelius was unhappy with the work and revised it twice. In 1916 he joined the fi rst two of the original four movements together, and he made further revisions before it was published in 1919.

Listening Guide

The symphony begins quietly with horns and timpani. The theme we hear at this point is soon elaborated into a woodwind cadenza. At its conclusion the strings enter, and we seem to be moving gradually and inexorably into the landscape of the music until we come to the vista presented by a great tolling of the brass and the announcement of a jagged syncopated theme on the strings. Now we have reached the threshold beyond which the heart of the symphony lies. A mysterious, cloudy


passage for the strings – over which the bassoon utters a sorrowful version of one of the main themes – leads to a burnished assertion by the trumpets of the very fi rst theme of the symphony, shortly after which, with a change of time signature from 12/8 to 3/4, the mood changes to one of dancing lightness, in which the sound of the two fl utes leads us on. Soon the music gathers pace and the strings take up the dance strain with increasing excitement until the brass join in for the fi nal, sudden, invigorating climax.

The second movement is a set of variations not on a theme, but on a rhythmic pattern that Sibelius contrives to behave like a theme. The whole movement is a centre of calm, and even the passionate descending string tune that marks one of the most decisive transformations of the original idea is marked Poco tranquillo. Towards the end of the movement the brass toll out a reminiscence of their earlier, more excitable selves; this leads to a series of cloudy gestures which recall music from the earlier movement. But towards the end the mood changes to one of almost childlike serenity, which is carried through to the short, abbreviated, coda.

The fi nale throws us into its hurly-burly almost immediately, with a whirlwind passage for the strings leading to one of the most famous of all themes in Sibelius’ music, that in which, as Donald Tovey famously described it, Thor swings his hammer. It is a good example of how orchestrally conceived Sibelius’ ideas are. Played on the piano the tune would mean very little, but given out on horns with a high, syncopated woodwind counterpoint, it attains a unique nobility. After some woodwind carolling and a return to the gusty sounds of the movement’s opening, Sibelius prepares us for a return of the swinging horn theme. When this fi nally re-appears, it does so as a chorale that has to struggle through long pedal-points and changes of key before bursting into its sunset glory. These fi nal minutes of the movement contain the richest orchestration of the whole work, but almost before we can register the fact, the symphony ends with six jubilant, adamant chords.

PHILLIP SAMETZ © 1995/2004

Sibelius’ Fifth Symphony calls for pairs of fl utes, oboes, clarinets and bassoons; four horns, three trumpets and three trombones; timpani and strings.

The Sydney Symphony fi rst performed the Fifth Symphony in 1939 with Edgar Bainton conducting, and most recently in 2007, conducted by Hugh Wolff.

‘Sibelius sits alone in the house of music rather away from the hearth and the logs and the company; he says little, and sometimes by his taciturnity alone he makes an impression of deep thinking.’

NEVILLE CARDUS


MORE MUSIC

Selected Discography

BEETHOVEN OVERTURES

Nikolaus Harnoncourt and the Chamber Orchestra of Europe collect together the Beethoven overtures, including all four that were composed for the opera Fidelio.TELDEC 13140

LENTZ

Lentz’s discography can be viewed at:www.georgeslentz.com/discography.html

In particular, two of the orchestral works from the ‘Caeli enarrant…’ series (Ngangkar and the original version of Guyumhgan) are available in performances by the Sydney Symphony and Edo de Waart.ABC CLASSICS ABC 472 397-2

STRAVINSKY

The Symphonies of Wind Instruments is performed by the Netherlands Wind Ensemble with conductor Edo de Waart in a value 2-CD set that includes the Symphony in C, Ebony Concerto (for clarinet), the Violin Concerto with soloist Arthur Grumiaux and the Symphony of Psalms.PHILIPS DUO 442583

SIBELIUS

Among recent recordings of Sibelius symphonies, Osmo Vänskä’s set with the Lahti Symphony Orchestra has won particular acclaim. His Fifth Symphony has been described as ‘attention grabbing’ and the disc has the added interest of capturing both the 1915 and the 1919 versions.BIS 863

To hear more Sibelius, try the Adelaide Symphony Orchestra’s recording of the Second and Seventh symphonies (together with Finlandia), conducted by Arvo Volmer.ABC CLASSICS 4766167

MATTHEW COOREY

Matthew Coorey directs Ensemble 24 in four works from Georges Lentz’s ‘Caeli enarrant…’ cycle.NAXOS 8557019

DIANA DOHERTY

Earlier this year Diana Doherty released The Bach Album, in which she collaborates with the period instrument ensemble Ironwood.ABC CLASSICS 476 3673

She has also recorded Ross Edwards’ Oboe Concerto for ABC Classics and Graeme Koehne’s oboe concerto Infl ight Entertainment for Naxos.ABC CLASSICS 704751 (Edwards)NAXOS 8.555847 (Koehne)

Broadcast Diary

MAY

13 May, 2pmFLOWER OF YOUTH (2009)Michael Dauth violin-directorAmir Farid pianoMendelssohn, Mozart

18 May, 1.05pmKIRILL GERSTEIN IN RECITAL (2008)Chopin, Busoni, Schumann, Tchaikovsky, Gershwin

19 May, 8pmSYDNEY SYMPHONY FELLOWSHIP ENSEMBLE (2009)Chamber music by Brahms, Martin°u, Hindson, Schubert

21 May, 8pmMAHLER 5Vladimir Ashkenazy conductorClemens Leske pianoRichard Strauss, Mahler

2MBS-FM 102.5SYDNEY SYMPHONY 20108 June, 6pmWhat’s on in concerts, with interviews and music.

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

Webcast Diary

Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: bigpondmusic.com/sydneysymphonyLatest webcast:THE HALL OF HEROES: LEDGER, BEETHOVEN AND WAGNER

Have Your SayTell us what you thought of the concert at sydneysymphony.com/yoursay or email: [email protected]


ABOUT THE ARTISTS

Matthew Coorey conductor

Matthew Coorey’s fi rst instrument was the horn, and after studying at the Sydney Conservatorium he performed regularly with the Australian Chamber Orchestra and the Sydney Symphony.

Initially self-taught as a conductor, he was invited to the Tanglewood Music Festival by Seiji Ozawa. There he worked with Jorma Panula, who became his principal conducting teacher. He has also been guided by other eminent conductors including Edo de Waart, Lorin Maazel, Gerard Schwarz and David Zinman.

In 2002 he took up the position of Junior Fellow (under Mark Elder) at the Royal Northern College of Music, was a fi nalist in the Maazel-Vilar Conducting Competition, and released his fi rst recording, of music by Georges Lentz. In 2003 he was appointed Assistant Conductor of the Royal Liverpool Philharmonic Orchestra and Music Director of the Liverpool Philharmonic Youth Orchestra; he was subsequently appointed the RLPO’s fi rst Conductor in Residence. In 2006 he was a prize-winner at the Georg Solti Conducting Competition in Frankfurt, and over the 2008–09 season he was chosen to participate in the Allianz International Conductors’ Academy.

He has conducted the Seattle Symphony, the Orchestra of Saint Luke’s (New York), Netherlands Radio Chamber Orchestra, Moscow Symphony Orchestra, Ensemble 10:10, Hallé Orchestra, and the festival orchestras of Tanglewood and Schleswig-Holstein. Matthew Coorey directs Ensemble 24 in a Naxos recording of four works from Georges Lentz’s ‘Caeli enarrant…’ cycle.

Highlights of recent seasons have included assisting at Glyndebourne, conducting performances of Paul Griffi th’s Mozart opera The Jewel Box (London Mozart Players); and debut appearances with Opera North, BBC Concert Orchestra, Philharmonia Orchestra, London Philharmonic Orchestra, New Zealand Symphony Orchestra, Tasmanian and West Australian symphony orchestras, and Victorian Opera.

This season he makes his debut with the City of Birmingham Symphony Orchestra, BBC Scottish Symphony Orchestra, and the Malaysian Philharmonic Orchestra, as well as returning to the LPO and the RLPO.

His most recent appearance with the Sydney Symphony was in the 2008 Meet the Music series.


Diana Doherty oboePRINCIPAL OBOE, ANDREW KALDOR & RENATA KALDOR AO CHAIR

Diana Doherty joined the Sydney Symphony as Principal Oboe in 1997, having held the same position with the Symphony Orchestra of Lucerne (1990–1997). She was born in Brisbane and completed her undergraduate studies at the Victorian College of the Arts. In 1985 she won the Other Instruments section of the ABC Instrumental and Vocal Competition, and was named Most Outstanding Competitor Overall. In 1989 she completed her post-graduate diploma in Zurich, studying with Thomas Indermühle. Since then she has appeared as a soloist throughout the world, and career highlights have included the premiere of Ross Edward’s Oboe Concerto with the Sydney Symphony, followed by invitations to perform it with the New York, Royal Liverpool and Malaysian philharmonic orchestras. She has played concertos with the major symphony orchestras in Australia and New Zealand, the Australian Chamber Orchestra, Musica Viva, Seymour Group and Ensemble Kanazawa Japan, and in 1994 she was the soloist on the Queensland Symphony Orchestra’s Chinese tour. She has also appeared in numerous international festivals, including the Prague Spring Festival, where she won fi rst prize in the 1991 festival competition for her performance of the Martin°u concerto. Her most recent solo appearance with the Sydney Symphony was in 2008, when she played Mozart.

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Alexandre Oguey cor anglaisPRINCIPAL COR ANGLAIS

Alexandre Oguey was born in Neuchâtel, Switzerland, and began studying oboe in La Chaux-de-Fonds with Françoise Faller. He completed his undergraduate and postgraduate studies at the Zurich Conservatorium, with Thomas Indermühle, and participated in courses with Maurice Bourgue and Emanuel Abbühl. He is the winner of several competitions including the Swiss Radio Competition, the Migros Chamber Music competition, and the Martigny International Chamber Music competition.

Alexandre Oguey is an active chamber musician, and has performed throughout Europe with the prize-winning Wildwind quintet, the Lamalo and La Patisserie trios, and the wind ensembles Banda Classica and Octomania, as well as the contemporary music group Opus Novum Ensemble.

He has played principal oboe with the Musikkollegium Winterthur, Zurich Opera Factory, Basel Chamber Orchestra (previous Serenata Basel), Opera Orchestra of the Bayreuth International Youth Festival and the Jeunesses Musicales Symphony Orchestra. Before moving to Australia to join the Sydney Symphony, Alexandre Oguey was Associate Principal Oboe in the Lucerne Symphony Orchestra (1990–1997).

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Performing in this concert…

FIRST VIOLINS Michael DauthConcertmaster

Sun YiAssociate Concertmaster

Kirsten WilliamsAssociate Concertmaster

Goetz RichterAssociate Concertmaster*

Fiona ZieglerAssistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Gunther Georges LentzNicola Lewis Nicole Masters Alexandra Mitchell

SECOND VIOLINS Marina MarsdenJennifer HoyA/Assistant Principal

Maria Durek Shuti HuangStan W Kornel Benjamin Li Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D’Elia#Claire Herrick†Alexander Norton*

VIOLASRoger Benedict Tobias Breider*Anne-Louise ComerfordRobyn Brookfi eld Sandro CostantinoGraham Hennings Justine Marsden Mary McVarish Felicity Tsai Leonid Volovelsky

CELLOSHenry David Varema*Timothy NankervisElizabeth NevilleAdrian Wallis Rowena Crouch#William Hewer†Eszter Mikes-Liu*Janine Ryan*Rachael Tobin#Anna Rex*

DOUBLE BASSESAlex Henery Steven Larson Neil Brawley Principal Emeritus

David Campbell Richard Lynn David Murray Benjamin Ward#Joe Bisits†

FLUTES Emma ShollKate Lawson#Rosamund Plummer Principal Piccolo

OBOESDiana DohertyDavid Papp Alexandre OgueyPrincipal Cor Anglais

CLARINETSLawrence DobellChristopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONSMatthew Wilkie Roger Brooke Noriko Shimada Principal Contrabassoon

HORNSRobert Johnson Geoffrey O’Reilly Principal 3rd

Lee BracegirdleMarnie Sebire

TRUMPETSDavid Elton*° John FosterAnthony Heinrichs

TROMBONESRonald PrussingNick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Colin Piper Mark Robinson

PIANOJosephine Allan#

Bold = PrincipalItalic = Associate Principal# = Contract Musician* = Guest Musician † = Sydney Symphony Fellow° = Appears courtesy of the WASO

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

MUSICIANS

Vladimir AshkenazyPrincipal Conductor andArtistic Advisor©

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council©

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council ©

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THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

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

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Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra world-wide recognition for artistic excellence, and in 2009 it made its fi rst tour to mainland Asia.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton label, and numerous recordings on the ABC Classics label.

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


SALUTE

BRONZE PARTNER MARKETING PARTNERS

Vittoria Coffee Lindsay Yates & Partners 2MBS 102.5 Sydney’s Fine Music Station

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

SILVER PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNERS

PLATINUM PARTNERS MAJOR PARTNERS


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

$20,000+Geoff & Vicki AinsworthMr Robert O Albert AO

Roger Allen & Maggie GrayTom Breen & Rachael KohnSandra & Neil Burns Mr John C Conde AO Robert & Janet ConstableThe Hon Ashley Dawson-Damer Mr J O Fairfax AC

Fred P Archer Charitable TrustThe Berg Family Foundation in memory of Hetty GordonThe Hansen Family Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Mrs Roslyn Packer AO Greg & Kerry Paramor and Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra Salteri Mrs Penelope Seidler AM

Mrs Joyce Sproat & Mrs Janet Cooke Mrs W SteningMr Fred Street AM & Mrs Dorothy Street In memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupThe Estate of the late G S WronkerRay Wilson OAM in memory of James Agapitos OAM

Anonymous

$10,000–$19,999Brian Abel Alan & Christine Bishop Ian & Jennifer Burton Libby Christie & Peter James Penny Edwards Dr Bruno & Mrs Rhonda GiuffreStephen Johns & Michele BenderHelen Lynch AM & Helen BauerIsabel McKinnonMrs Joan MacKenzie Justice Jane Mathews AO

Tony & Fran MeagherMrs T Merewether OAM Mr B G O’Conor June & Alan Woods Family BequestAnonymous (2)

$5,000–$9,999Mrs Antoinette AlbertAndrew Andersons AO

Jan Bowen Mr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrEmily Chang Bob & Julie Clampett

Michael & Manuela DarlingJames & Leonie FurberMr Robert Gay Mr David Greatorex AO & Mrs Deirdre Greatorex Irwin Imhof in memory of Herta Imhof Judges of the Supreme Court of NSWGary Linnane Ruth & Bob MagidDavid Maloney & Erin FlahertyDavid & Andree MilmanEva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum David Smithers AM & Family Mrs Hedy SwitzerIn memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Jill WranAnonymous

$2,500–$4,999David Barnes Marco Belgiorno-Zegna AM

Lenore P Buckle Paul & Susan HotzMark JohnsonAnna-Lisa KlettenbergMr Justin LamMora Maxwell Judith McKernanJames & Elsie Moore Mr & Mrs OrtisBruce & Joy Reid FoundationGeorges & Marliese TeitlerJ F & A van OgtropAnonymous (2)

$1,000–$2,499Adcorp Australia LimitedCharles & Renee AbramsMr Henri W Aram OAM Terrey & Anne ArcusClaire Armstrong & John SharpeRichard Banks OptometristsCharles Barran Doug & Alison Battersby Jo-Anne BeirneStephen J Bell Phil & Elesa BennettNicole Berger Gabrielle Blackstock Mr Alexander & Mrs Vera Boyarsky David S Brett Jane Brodribb & Colin DraperMr Maximo Buch M BulmerPat & Jenny BurnettThe Clitheroe FoundationDebby Cramer & Bill Caukill Ewen & Catherine Crouch

Jen Cornish Bruce CutlerProf Christine DeerPeter English & Surry PartnersIn Memory of Mr Nick EnrightDr & Mrs C Goldschmidt In memory of Angelica Green Damien HackettThe HallwayMartin HanrahanDr Heng & Mrs Cilla Tey Rev H & Mrs M Herbert Dr & Mrs Michael Hunter Jannette King Iven & Sylvia KlinebergIan KortlangMr & Mrs Gilles T Kryger Dr and Mrs Leo LeaderMargaret LedermanErna & Gerry Levy AM Sydney & Airdrie LloydAlison Lockhart & Bruce WatsonLocumsgroup Holdings LPDr Carolyn A Lowry OAM & Mr Peter Lowry OAM

Wendy McCarthy AO Macquarie Group FoundationMelvyn MadiganMrs Silvana MantellatoKenneth N MitchellHelen MorganMr Graham NorthDr M C O’ConnorMrs Rachel O’ConorK B MeyboomA Willmers & R PalMr George A PalmerDr A J PalmerDr Kevin Pedemont L T & L M PriddleDr K D Reeve AM

Rowan & Annie RossRichard RoyleMr M D SalamonIn memory of H St P ScarlettCaroline SharpenRobyn Smiles E StuartMr John SullivanMr Ken Tribe AC & Mrs Joan Tribe Prof Gordon E Wall Ronald WalledgeThe Hon. Justice Anthony WhealyThe Hon. Edward G WhitlamMrs R YabsleyAnonymous (19)

Lisa & Miro DavisMr James Graham AM & Mrs Helen Graham Ian Dickson & Reg HollowayPaul EspieRussell & Sue FarrRosemary & Max Farr-JonesJohn FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnnette FreemanRoss & Jill GavinWarren GreenAnthony Gregg & Deanne Whittleston Akiko Gregory In memory of Oscar GrynbergJanette Hamilton Ann Hoban The Hon David Hunt AO QC & Mrs Margaret HuntDr Michael Joel AM & Mrs Anna Joel Sam & Barbara LinzMallesons Stephen JaquesMr Robert & Mrs Renee MarkovicIan & Pam McGawMatthew McInnes Mrs Barbara McNulty OBE

Mr R A Oppen Mr Robert Orrell Jill Pain Mrs Almut PiattiAdrian & Dairneen PiltonRobin Potter Mr & Ms Stephen ProudErnest & Judith RapeePatricia H Reid Pamela Rogers Jerome & Pamela RowleyJuliana SchaefferVictoria SmythEzekiel SolomonCatherine Stephen Andrew & Isolde TornyaJohn E Tuckey Mrs Merle Turkington Andrew Turner & Vivian ChangMrs Kathleen TuttonA W Tyree FoundationEstate of B M WardenHenry & Ruth WeinbergAudrey & Michael Wilson Geoff Wood & Melissa WaitesAnonymous (11)

$500–$999Mr C R AdamsonDr Francis J AugustusMichael & Toni Baume AO

G D Bolton Dr & Mrs Hannes Boshoff Hon. Justice J C & Mrs Campbell Joan Connery OAM

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


MAESTRO’S CIRCLE

Peter Weiss AM – Founding President & Doris Weiss

John C Conde AO – Chairman

Geoff & Vicki Ainsworth

Tom Breen & Rachael Kohn

The Hon. Ashley Dawson-Damer

In memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy Street

Westfi eld Group

Ray Wilson OAM

in memory of the late James Agapitos OAM

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Michael Dauth and Dene OldingBoard and Council of the Sydney Symphony support the Concertmaster Chairs

04Nick ByrneTromboneRogenSi Chair with Gerald Tapper, Managing Director RogenSi

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

09Roger Benedict Principal ViolaRoger Allen and Maggie Gray Chair

01 02 03

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

DIRECTORS’ CHAIRS


BEHIND THE SCENES

CHAIRMAN John C Conde AO

Ewen Crouch Stephen Johns David Smithers AM

Jennifer Hoy Andrew Kaldor Gabrielle TrainorRory Jeffes Goetz Richter

Sydney Symphony Board

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC Minister for State and Regional Development, Forest and Mineral ResourcesDr Richard Sheldrake Director-General, NSW Department of Industry and InvestmentMark Duffy Deputy Director-General, Energy and Minerals Division, NSW Department of Industry and InvestmentColin Bloomfi eld Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBillitonJim David Regional Express AirlinesPeter Freyberg XstrataTony McPaul Cadia Valley OperationsTerry Charlton Snowy HydroSivea Pascale St.George BankPaul Mitchell Telstra Grant Cochrane The Land

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinJohn Curtis AM

Greg 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 LoveHelen Lynch AM

The Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE

David Maloney

David Malouf AO

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

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen PearseJerome RowleyPaul Salteri

Sandra SalteriJacqueline SamuelsJuliana 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 Staff MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC MANAGER

Raff WilsonARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING PRODUCTION MANAGER

Philip Powers

Education ProgramsEDUCATION MANAGER

Kim WaldockARTIST DEVELOPMENT MANAGER

Bernie HeardEDUCATION ASSISTANT

Rebecca Whittington

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENTHEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensHEAD OF PHILANTHROPY & PUBLIC AFFAIRS

Caroline SharpenPHILANTHROPY & PUBLIC AFFAIRS EXECUTIVE

Kylie AnaniaDEVELOPMENT COORDINATOR

Georgia Wilton

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR MARKETING MANAGER,SINGLE SALES

Penny EvansMARKETING MANAGER, CLASSICAL SALES

Antonia FarrugiaMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MANAGER

Kate Taylor

MARKETING & MEDIA SERVICES COORDINATOR

Alison Martin GRAPHIC DESIGNER

Christie BrewsterDATA ANALYST

Kent Prusas

Box Offi ceMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Natasha PurkissMANAGER OF SALES & SERVICE

Mark BarnesCUSTOMER SERVICE REPRESENTATIVES

Michael Dowling, Erich Gockel, Matt Lilley, Rachel McLarin

COMMUNICATIONSHEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine Stevenson

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Stephanie MirowOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoASSISTANT ACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Li LiPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

Anna Kearsley

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

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

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