WELCOME [d32h38l3ag6ns6.cloudfront.net] · 2019-07-10 · Portrait of Tchaikovsky by Nikolai...

WELCOME

It with great pleasure that we welcome you to tonight’s gala concert at the Sydney Opera House.

In this Tchaikovsky Spectacular, Vladimir Ashkenazy conducts the Sydney Symphony in a program of Sibelius and Tchaikovsky. The music begins with the fervour of Sibelius’s Finlandia, and the concert will draw to a close with Ashkenazy’s own selection of pieces from Tchaikovsky’s Sleeping Beauty ballet.

At Credit Suisse, we have been providing fi nancial services since 1856, which means we are older than Sibelius, but not quite as old as Tchaikovsky. Like the Sydney Symphony, we have spent many years establishing ourselves on the global stage, with offi ces in more than 50 countries worldwide. We have been present in Australia for almost 40 years, and offer a range of fi nancial services spanning Private Banking, Investment Banking and Asset Management.

Credit Suisse has a long tradition of supporting the arts, working with leading cultural institutions to encourage innovative projects and wider access to music and the visual arts. The Bank’s sponsorship commitments include the New York Philharmonic Orchestra, the Lucerne Festival, the Salzburg Festival, the Bolshoi Theatre, The National Gallery London, the Shanghai Museum, the Taipei Fine Arts Museum, the Singapore Art Museum and the Hong Kong Arts Festival.

Tonight’s concert is an exciting one for us at Credit Suisse: it marks our fi rst Gala Concert as Premier Partner with the Sydney Symphony. We see this as the start of an exciting new relationship for Credit Suisse, as a supporter of the arts in Australia. We are also the corporate partner for the Sydney Symphony’s Fellowship and Associate Conductor programs, which are very much in line with Credit Suisse’s philosophy of nurturing young talent.

We hope that you enjoy tonight’s performance.

Yours sincerely,

David Livingstone Chief Executive Offi cer, AustraliaCredit Suisse

2010 SEASON

SUMMER GALAThursday 9 December | 8pmSaturday 11 December | 8pm

Sydney Opera House Concert Hall

TCHAIKOVSKY SPECTACULARVladimir Ashkenazy conductorJames Ehnes violin

JEAN SIBELIUS (1865–1957)Finlandia, Op.26

PYOTR ILYICH TCHAIKOVSKY (1840–1893)Violin Concerto in D, Op.35

Allegro moderatoCanzonetta (Andante) –Finale (Allegro vivacissimo)

INTERVAL

TCHAIKOVSKYThe Sleeping Beauty: Suite from the ballet

Vladimir Ashkenazy has selected highlights from the Prologue and Acts I and II. See page 16 for details.

Saturday night’s performance will be broadcast live across Australia on ABC Classic FM.

Pre-concert talk by Robert Murray in the Northern Foyer, 45 minutes before each concert.Visit sydneysymphony.com/talk-biosfor speaker biographies.

Approximate durations: 9 minutes, 34 minutes, 20-minute interval, 50 minutes

The concert will conclude at approximately 10.05pm.

6 | Sydney Symphony

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Portrait of Tchaikovsky by Nikolai Dmitriyevich Kuznetsov (1893) – the only contemporary portrait of the composer.It was praised by many, including Tchaikovsky himself: “I made the acquaintance of the painter N.D. Kuznetsov, who wished to paint my portrait, and this he carried out with exceptional success, as others have said and as I, too, think. Those citizens of Odessa who came to look at this portrait during the sittings expressed their extraordinary delight, amazement, and joy over the fact that such a splendid work of art was being painted in their city. The portrait was painted rather hurriedly, and that is why it may possibly not have the desired fi nish in the details, but in terms of its expression, lifelikeness, and authenticity it really is remarkable.”

7 | Sydney Symphony

INTRODUCTION

Tchaikovsky Spectacular

It’s not every day that your local orchestra performs music for kings and queens, fairy godmothers and snoozing princesses, and in this concert we hope to transport you to the world of Charles Perrault’s fairy tales, performing music from Tchaikovsky’s Sleeping Beauty. But the ‘spectacular’ in tonight’s program isn’t just confi ned to fairy tales...

Canadian James Ehnes joins us for Tchaikovsky’s Violin Concerto, a piece so unusual and technically innovative for its day that its dedicatee refused to play it. The critics at the premiere had a fi eld day, and yet it’s become one of the most loved pieces in the repertoire.

Politically speaking, Russia and Finland haven’t always had the most cordial of relationships, but the two composers on this program do have some musical affi nities. There was a time when performances of Sibelius’ Finlandia were banned in Finland by Russian authorities, but that certainly didn’t diminish its popularity. Sibelius may be the fi rst name that springs into our heads when we think of ‘Finnish music’, but his early works bear the infl uence of the Russian Romantic style – characterised by the music of Tchaikovsky.

If there’s one genre that’s become almost synonymous with Tchaikovsky, it’s ballet music. Vladimir Ashkenazy has put together his own Sleeping Beauty suite for this concert, including music that is as surprising as it is stunning, and as challenging as it is charming, proving that although it’s ballet music, it’s ‘not just for the dancers’.

Please share yourprogramTo 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

8 | Sydney Symphony

ABOUT THE MUSIC

Keynotes

SIBELIUS

Born Hämeenlinna, 1865Died Järvenpää, 1957

Known to us as the Finnish composer, Sibelius played an enormous part in the forging of a Finnish musical identity. Famous for his orchestral works – seven symphonies, numerous symphonic poems, a violin concerto, and several orchestral suites – he became a Finnish national hero virtually overnight after premiering Kullervo (1892), a ‘symphonic poem for soloists, chorus, and orchestra’ to text from the Finnish national folk epic, the Kalevala.

FINLANDIA

Finlandia was originally conceived as one of seven pieces performed at the Press Celebrations in Helsinki in 1899. Each piece was performed as the accompaniment to a tableau depicting various scenes from Finnish history. The whole concert was a success; but it was the fi nal piece, Finlandia, which really captured the audience’s attention. The work opens with ominous chords played by the brass, who are joined by the woodwind and string sections playing low in their register. Next, a fl urry of brass and percussion replace the menacing mood of the opening with fanfares and jubilant melodies. Sibelius later reworked the fi nal section to create a separate piece with text by Veikko Antero Koskenniemi, and the ‘Finlandia Hymn’ has become a popular national song in Finland.

Jean SibeliusFinlandia, Op.26

Sibelius’ Finlandia, which eff ectively serves as a de facto national anthem in Finland, was composed in 1899 – a time of great political upheaval in the small Scandinavian nation. (The offi cial anthem, Oi maamme Suomi, was adopted in 1848.) In its notorious ‘February manifesto’ of that year, the ruling Imperial Russia withdrew the administrative power of the Finnish Diet, closed newspapers across the country, and did all it could to suppress freedom of speech.

In response, Finnish artists began a Press Pension Fund, whose objective was, through a series of concerts and public events, to raise money for the nationalist cause. For one of these concerts, Sibelius composed an orchestral suite entitled Finland Awakes, and its fi nale would provide the basis for Finlandia. The concert presented six tableaux representing landmarks in Finnish history, and for each tableau, Sibelius composed a prelude and background music.

It was in fact the second occasion on which Sibelius had used his music to weigh into a political debate. In 1893 his blatantly patriotic Karelia Suite had established him as a spokesman in the great Finnish struggle for national independence. But the six years between Karelia and Finlandia had been turbulent, and after Tsar Nicholas succeeded to the Russian throne in 1894, Finland was increasingly subjected to political restrictions and the ruthless dominance of the Russian government. By 1899, Russians had replaced native Finns in government positions and Russian was the main foreign language taught in schools.

And yet, while Finlandia’s genesis was so closely aligned with its country’s struggle, it immediately gained international popularity. Sibelius revised it in 1900 as Suomi (‘Finland’), and it found success in France as La Patrie and in Germany as Vaterland. Eventually it became Finlandia and its impact in stirring national ardour for the Finnish cause was so great that the Russian authorities prevented its performance in the land of its origin. Performances in other Russian-dominated parts of Europe were permitted, but only under politically neutral titles such as Impromptu.

In 1905, the Finnish struggle for independence was partially successful, and the freedom for Finnish musicians

9 | Sydney Symphony

to perform Finlandia under its real title was one of the concessions which the Russian authorities were forced to grant. From then until 12 years later, when full-scale revolution gained the Finns total independence, Finlandia represented the hopes and aspirations of the Finnish people struggling for their freedom.

And yet, while the piece is so richly laden with ‘nationalist’ sentiment, it contains no overt quotations of actual Finnish folk tunes. Sibelius himself referred to it as a tone poem, although there is little in it which could be compared with the more obviously programmatic tone poems of Liszt and Richard Strauss. For one thing, Finlandia is much more tightly structured than those works and its features more closely resemble those of a concert overture. It is built on three related ideas – an introductory chorale, the main Allegro subject, and an unforgettable hymn tune – all of which derive from essentially the same musical material.

Beginning with a powerful fanfare in the brass, the piece builds through wind and string echoes into a forceful tutti, from which the main Allegro emerges in the key of A fl at major. The most famous melody is distinctly hymn-like (indeed, it has been adapted as a hymn tune) and after its second full statement, when it is played by violins and cellos in octaves, the main Allegro motif returns, leading to a stirring coda.

MARTIN BUZACOTTSYMPHONY AUSTRALIA ©1997

Sibelius’ Finlandia calls for two fl utes, two oboes, two clarinets, two bassoons, four trumpets, three horns, three trombones, tuba, timpani and percussion, and strings.

The fi rst Sydney Symphony performance of Finlandia was in 1939, under the baton of Malcolm Sargent. We performed it most recently in the 1997 Symphony Under the Stars concert, with Sir William Southgate.

CONDUC T A S YMPHO N Y AT YOUR PL ACE

You can enjoy ten selected live performances of the

Sydney Symphony during its 2010 season in the

comfor t of your own home, only at BigPond® Music

online. Visit bigpondmusic.com/sydneysymphony

11 | Sydney Symphony

Keynotes

TCHAIKOVSKY

Born Kamsko-Votkinsk, 1840 Died St Petersburg, 1893

Tchaikovsky represented a new direction for Russian music in the late 19th century: fully professional and cosmopolitan in outlook. He embraced the genres and forms of Western European tradition – symphonies, concertos and overtures – bringing to them an unrivalled gift for melody. His two most famous works for solo instrument and orchestra (the First Piano Concerto and the Violin Concerto) have become staples of the repertoire for their respective instruments.

VIOLIN CONCERTO

Tchaikovsky’s concerto is considered to be one of the most diffi cult in the repertoire, although the faults that early critics perceived in the work are now generally accepted as challenges, rather than fl aws: this is a concerto that pushes both instrument and performer to technical extremes. The fi rst movement in particular contains some highly virtuosic passagework, and its triumphant character means there is never a dull moment. The second movement begins with a melancholy theme, offset by a joyous central section. The pyrotechnics of the fi rst movement return in the third (a lively Russian dance) and both soloist and orchestra are put through their paces.

Pyotr Ilyich TchaikovskyViolin Concerto in D, Op.35

Allegro moderatoCanzonetta (Andante) –Finale (Allegro vivacissimo)

James Ehnes violin

The fi rst bad review of a masterpiece has a curious allure. There is something forlorn and fascinating about the French critic of the 1850s who proclaimed that Rigoletto ‘lacks melody’, or George Bernard Shaw’s declaration that Goetz was a greater symphonist than Brahms. Tchaikovsky’s Violin Concerto is a distinguished member of that company of musical masterpieces that survived a traumatic debut to become one of the most beloved works of its kind.

It could almost be described as a love letter. In 1878 the composer was still feeling the repercussions from his short-lived marriage and had begun the lengthy and diffi cult process of obtaining a divorce. He and his brother Modest took a holiday in Clarens, on Lake Geneva. Here, in March, they were joined by the violinist Josef Kotek, one of Tchaikovsky’s pupils at the Moscow Conservatory, who had introduced the composer’s music to his future patron, Nadezhda von Meck.

At some point in their long friendship, according to Tchaikovsky biographer Alexander Poznansky, the two men became lovers. Indeed, the composer had already declared, ‘I love [him] to distraction…what a lovely, naïve, sincere, tender and kind creature’.

In Clarens, composer and former student spent some time playing over various unfamiliar pieces, including Lalo’s Symphonie espagnole, a new work which Tchaikovsky admired for its piquancy and melodiousness. The combination of Lalo’s concerto and Kotek’s presence inspired in Tchaikovsky a desire to write a violin concerto himself. He immersed himself in work and had the concerto fully sketched in a few weeks. By the end of April he had orchestrated the whole work.

Kotek’s advice and encouragement were crucial in the work’s composition. He would play over sections as they were fi nished, and gave a complete performance from the short score for Tchaikovsky’s and Modest’s private pleasure. Kotek was originally to have been the concerto’s dedicatee, but Tchaikovsky, concerned at the gossip this would cause in Moscow, dedicated the work to Leopold


Auer, a renowned performer and teacher, whose pupils were to include Mischa Elman and Jascha Heifetz.

Tchaikovsky’s hope that Auer’s fame would help promote the concerto was dashed when Auer claimed, as Nikolai Rubinstein had about the fi rst piano concerto, that the work was technically impossible and structurally weak; in short, that he would not learn it. Then Kotek decided not to play it either, which caused Tchaikovsky to break with him altogether.

Three years later Jurgenson, who had since published the score, informed Tchaikovsky that Adolph Brodsky was planning to play the piece at a Vienna Philharmonic concert under Hans Richter in December 1881. There was a furious mixture of applause, boos and hissing afterwards, with Brodsky acclaimed and the work derided. The Viennese critics were almost universal in their condemnation of the concerto. Hanslick, champion of Brahms and enemy of Wagner, whose tastes were not inclined toward new Russian music anyway, wrote a review of infamous vituperation.

For a while the concerto has proportion, is musical, and is not without genius, but soon savagery gains the upper hand…The violin is no longer played: it is yanked about, it is torn asunder, it is beaten black and blue.

Kotek (left) with Tchaikovsky


Tchaikovsky read Hanslick’s review by chance in a Rome café and was shocked at its vehemence, but Brodsky was not dissuaded and remained the work’s most fervent champion. ‘You have indeed crammed too many diffi culties into it,’ he told the composer, ‘[but] one can play it again and again and never be bored; and this is a most important circumstance for the conquering of its diffi culties.’ Auer eventually overcame his opposition to the concerto and played it to great acclaim, introducing it to many of his pupils.

The work opens with a kind of scene-setting introduction, after which the soloist enters with a brief fl ourish, then announces the main theme of the fi rst movement. Soon the second subject appears, a melody of great tenderness that is presented in a setting not dissimilar to those of Tchaikovsky’s famous violin solos in Swan Lake. From this point the temperature of the fi rst movement rises considerably, with the solo part becoming much more virtuosic and the orchestral writing increasingly colourful. There is a magnifi cently varied cadenza for the soloist.

Kotek felt Tchaikovsky’s original slow movement was too insubstantial and sentimental, and the composer agreed, replacing it with the Canzonetta. After a simple chordal introduction for the woodwinds, the soloist takes up a hushed, appropriately song-like theme. The accompaniment to the violin’s later decorations of this melody is scored with the utmost delicacy.

The Finale follows on without a break, and immediately the soloist has a dazzling, short cadenza, which leads straight into the movement’s vigorous main theme, a short, folk-like dance tune. The second theme, introduced over a bagpipe-like drone on the strings, is a temporary lyrical resting-place in the movement’s wild infectiousness.

PHILLIP SAMETZ © 1996

Tchaikovsky’s Violin Concerto calls for two fl utes, two oboes, two clarinets, two bassoons, four trumpets, two trombones, timpani, and strings.

The fi rst time the Sydney Symphony performed Tchaikovsky’s Violin Concerto was in 1938, with Percy Code conducting and Lionel Lawson as the soloist. Our most recent performance of the concerto was in 2006 with Gianluigi Gelmetti conducting and Boris Belkin playing the solo part.

‘…one can play it again and again and never be bored…’ADOLPH BRODSKY


The Sleeping Beauty: Moral

Many a girl has waited long For a husband brave or strong; But I’m sure I never met Any sort of woman yet Who could wait a hundred years, Free from fretting, free from fears. Now, our story seems to show That a century or so, Late or early, matters not; True love comes by fairy-lot. Some old folk will even say It grows better by delay. Yet this good advice, I fear, Helps us neither there nor here. Though philosophers may prate How much wiser ’tis to wait, Maids will be a-sighing still – Young blood must when young blood will!

Verse moral from Perrault’s Fairy Tales, translated by S.R. Littlewood (1912)


Keynotes

TCHAIKOVSKY

Many music lovers would argue that it’s Tchaikovsky’s ballets that count among his masterpieces, and certainly it’s his extraordinary dramatic instinct that comes to the fore in all his music, whether for the theatre or the concert hall.

THE SLEEPING BEAUTY

Tchaikovsky’s Sleeping Beauty was his second ballet score, completed in 1889. The story was adapted from a 17th-century French fairytale, La Belle au bois dormant, and the ballet has a hint of baroque grandeur and French elegance to it – a Russian tribute to the birthplace of ballet. At fi rst the music was criticised for its ambitious and symphonic scope; these are now precisely the qualities that are admired. For this concert, Ashkenazy has chosen a suite that follows the drama of the prologue and the fi rst two acts – from Aurora’s baptism, to the joyous awakening of the princess after her 100-year sleep.

TchaikovskyThe Sleeping Beauty: Suite from the ballet

FROM THE PROLOGUE

Introduction –March (Entrance of King Florestan and his Court)Scène dansante (Entrance of the Good Fairies)Fée aux Miettes (The Breadcrumb Fairy)Canari qui chante (The Singing Canary)

FROM ACT IWaltzRose Adagio – Coda –Finale

FROM ACT IIScène –PanoramaEntr’acte symphonique (The Sleep) et scène –Finale

When Tchaikovsky was approached in 1888 to compose music for The Sleeping Beauty he was the veteran of the still-unsuccessful Swan Lake and his Fourth Symphony, which had been pronounced ‘too balletic’ at a time when ballet music was regarded with disdain.

The invitation came from the Director of the Imperial Theatres, Ivan Vsevolozhsky, who had planned a ballet based on Charles Perrault’s fairytale La Belle au bois dormant, from 1697. The sophistication and mythical qualities of Perrault’s tale were well-suited to the grandeur and illusion of Russian ballet (itself originating in 17th-century France) and Tchaikovsky responded with enthusiasm. ‘I want to tell you at once that it’s impossible to describe how charmed and captivated I am,’ he wrote to Vsevolozhsky. ‘It suits me perfectly, and I couldn’t want anything better than to write music for it.’ Given such a poetic subject, he lavished great love and care on the music – ‘I have devised several completely new orchestral combinations which I hope will be very beautiful and interesting’.

Tchaikovsky completed the music knowing it was one of his best works. Yet the fi rst production in January 1890 was greeted with only mild enthusiasm – the Tsar dismissed it as ‘Very charming’. In a critical sleight of hand, the reviews were almost unanimous in declaring the ballet score ‘too symphonic’. Tchaikovsky couldn’t win.

Yet the balletic symphonies and the symphonic ballets do share many qualities: the careful treatment of key relationships, a sense of drama, and an unsurpassed melodic


‘…the music of this ballet will be one of my best creations.’TCHAIKOVSKY

quality. This is ballet music of symphonic weight, ballet music that holds its own on the concert platform.

The most commonly performed concert suite from Sleeping Beauty was realised by Alexander Siloti after Tchaikovsky’s death. Later, Diaghilev developed a one-act ballet, Aurora’s Wedding, drawn primarily from Act III, and another option is to perform Act III in its entirety.

Vladimir Ashkenazy’s suite for this concert omits Act III altogether. This happily-ever-after ‘wedding’ act contains many beautiful and entertaining divertissements and character pieces, but is largely devoid of drama. The real story unfolds before the fi nal act. And so Ashkenazy has devised a dramatic suite, drawing on music from the Prologue, Aurora’s baptism; Act I, the fateful 20th birthday; and Act II, in which the Prince awakens her from sleep.

Drama and symphonic conception is apparent from the outset. In the Introduction, Tchaikovsky plays the fi erce music associated with the uninvited, and furious, Carabosse, against the lyrical music of the Lilac Fairy. The Introduction segues into an extended March as the guests arrive at the palace of King Florestan for the baptism of Princess Aurora. Twice the proceedings are interrupted by the master of ceremonies; at the climax, a horn fanfare announces the entrance of the king and queen.

Among the guests are the Fairies, who’ve been invited to bless the royal baby with magical gifts. Their entry, a Scène dansante, is accompanied by harp arpeggios, delicate string lines and a gentle horn melody.

In the ballet, each of the six fairies presents her gift in a characteristic solo. Among these are beauty and candour, grace, energy, and wisdom. In this suite we hear two: The Breadcrumb Fairy, where plucked strings evoke the Russian tradition of sprinkling breadcrumbs on the cradle to ensure the child never goes hungry. This is just one instance of Tchaikovsky’s imagination in devising new combinations of orchestral colour: the plucking violins are suspended above sustained sounds low in the trombones, and later the smooth singing of the cellos. The Singing Canary – the fairy who bestows the gift of eloquence – lives in the stratosphere with piccolo, fl utes, tiny bells and more plucked strings.

Twenty years pass. Aurora is now a lovely and graceful woman, and princes from four lands are seeking her hand. The birthday celebrations of Act I begin with a much-loved Waltz. A highlight of this act, and a tour de force for the ballerina who dances Aurora, is the Rose Adagio. After a rippling cadenza for the solo harp, Aurora dances in turn


with each of her four suitors to music of formal yet fervent grandeur. As she accepts a rose from each prince, balanced en pointe, Aurora demonstrates perfect poise, even as Tchaikovsky’s impassioned music swirls around her.

The Coda from this scene sees Aurora distracted by an old woman with a spindle. The princess seizes it and begins to dance. She pricks her fi nger and her doom is played out in the dramatic action of the Finale to Act I. The choreographer Marius Petipa was exacting in his requirements, giving written instructions concerning mood, tempo, metre and exactly how much music was required. For this crucial scene, he specifi ed:

Suddenly Aurora notices an old woman who beats her knitting needles – a 2/4 bar. Gradually she changes to a very melodious waltz in 3/4, but then suddenly a rest. Aurora pricks her fi nger. Screams, pain. Blood streams, give eight bars in 4/4 – wide. She begins her dance – dizziness… Complete horror – this is not a dance any longer. It is a frenzy. As if bitten by a tarantula she keeps turning and falls unexpectedly, out of breath. This must last from 24 to 32 bars.

Act II begins a century later – Prince Désiré is shown a vision of the sleeping princess, and in a brief but heartfelt Scène he begs the Lilac Fairy to take him to Aurora. In its original staging, the Lilac Fairy led the prince through the enchanted wood in front of a scrolling Panorama of painted cloth mounted on revolving drums. The music needed to accommodate the precise length of the canvas and Tchaikovsky obliged with a serene melody which fl oats over a pulsing accompaniment.

In an extended symphonic interlude, The Sleep, Tchaikovsky completely transforms the themes of the introduction: Carabosse’s fi erce chords become sustained woodwind harmonies; further in, the Lilac Fairy’s theme is given to a muted trumpet. The role of the music here is to convey atmosphere. Then, with Aurora’s awakening in the Act II Finale, Tchaikovsky fl oods our ears with triumphant and vibrant sounds.

ADAPTED FROM A NOTE BY YVONNE FRINDLE ©1999

Tchaikovsky’s Sleeping Beauty calls for an orchestra of two fl utes, piccolo, two oboes, cor anglais, two clarinets and two bassoons; four horns, two trumpets, two cornets, three trombones and tuba; timpani and percussion; harp, piano and strings.

The Sydney Symphony was the fi rst ABC orchestra to perform music from The Sleeping Beauty, when the Act I Waltz was included in a 1938 concert conducted by W.G. James. Our most recent performance of music from the ballet was in 2002 when Andrey Boreyko conducted an extended suite devised by Vladimir Fedoseyev.

Gustav Doré’s illustration for an 1867 edition of Les Contes de Perrault


GLOSSARY

Ahem! – Who said that?1. Stillness is our most intense mode of action.

2. I know two kinds of audience only – one coughing and one not coughing.

3. I was guided by the coughing of the audience. Whenever the coughing would increase, I would skip the next variation. Whenever there was no coughing, I would play them in proper order. In one concert the coughing was so violent I played only ten variations (out of twenty).

4. A cough is something that you yourself can’t help, but everybody else does on purpose just to torment you.

A. Ogden Nash, B. Leonard Bernstein, C. Artur Schnabel, D. Sergei Rachmaninoff

Answers: 1B 2C 3D 4ACADENZA – a virtuoso passage for a solo instrument, traditionally inserted towards the end of a concerto movement and marking the fi nal ‘cadence’.

CANZONETTA – a little song, from the Italian canzona

CHARLES PERRAULT (1628 – 1703) – French intellectual and writer. Published a collection of eight stories titled Histoire ou contes du temps passé, avec des moralités: Contes de ma mere l’Oye (Stories or Tales from Times Past, with Morals: Tales of Mother Goose) in 1697.

CONCERTO – a work for solo instrument and orchestra, most commonly in three movements (fast, slow, fast) and including extended virtuoso passages for the soloist to play alone. Normally there is one soloist, but concertos for multiple soloists can be found throughout the history of concert music.

NATIONALISM – emerging in Europe at the end of the 18th century, nationalism had a profound impact on music of the Romantic era; it is most obviously apparent in the adoption of musical elements and ideas from folk music and has been particularly applied to composers such as Smetana (Czech), Liszt (Hungarian), Balakirev (Russian) and Grieg (Norwegian).

In classical music, movement titles are usually taken from standard musical terminology (drawn from Italian) indicating basic tempo, and mood. Terms used in this concert include:Adagio – slowlyAllegro – fastAllegro moderato – moderately fastAllegro vivacissimo – fast and very livelyAndante – at a walking pace

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

THIS PROGRAM EDITED BY ALEXANDRA PINKHAM, PUBLICATIONS INTERN


MORE MUSIC

Selected Discography

FINLANDIA

The Adelaide Symphony Orchestra has recorded Finlandia with their Chief Conductor Arvo Volmer. It appears on a disc with Sibelius’ Second and Seventh symphonies.

ABC CLASSICS 4766167

If you’re in a Nordic mood, then The Sound of Scandinavia – a six-disc set – might be for you. The collection includes works by Sibelius, Gade, Nielsen, Grieg and numerous others.

EMI CLASSICS 68161

TCHAIKOVSKY’S VIOLIN CONCERTO

For a classic performance of Tchaikovsky’s concerto, try a recently reissued recording of David Oistrakh with Franz Konwitschny and the Dresden Staatskapelle. The Tchaikovsky is paired with Mozart’s “Turkish” concerto.

PROFIL 5011

Hot off the press is Hilary Hahn’s new recording of the concerto with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra. The disc also includes American composer Jennifer Higdon’s violin concerto.

DEUTSCHE GRAMMOPHON 001469802

SLEEPING BEAUTY

For a tried and tested recording of the Sleeping Beauty suite, try Herbert von Karajan and the Philharmonia Orchestra. This remastered version of live recordings from 1952 includes suites from Nutcracker, The Sleeping Beauty, and Swan Lake.

DS CLASSICS 501

If you’re looking for something a bit different, the Aurora Duo have recorded music from Tchaikovsky’s ballet suites for piano four hands. The disc includes music from The Sleeping Beauty, Swan Lake, and Nutcracker.

NAXOS 8570418

ASHKENAZY WITH THE SYDNEY SYMPHONY

Vladimir Ashkenazy’s recordings with the Sydney Symphony now include performances of Elgar symphonies, Prokofi ev symphonies and piano concertos, and the Mahler symphonies and selected song cycles, which are being recorded during the course of the Mahler Odyssey. These recordings, issued on the Exton/Triton labels or on the Sydney Symphony’s own label, are available from our website, in record shops and in the foyer at interval.

JAMES EHNES

James Ehnes has just recorded the Mendelssohn Violin Concerto with Vladimir Ashkenazy and the Philharmonia Orchestra. If you’d like to hear him play solo, try his new recording of Paganini’s 24 Caprices for Solo Violin (the same repertoire that launched Ehnes’ recording career back in 1995).

ONYX 4060 (Mendelssohn)ONYX 4044 (Paganini)

Broadcast Diary

DECEMBER–JANUARY

Saturday 11 December, 1pmBERND GLEMSER IN RECITALMendelssohn, Chopin, Liszt

Saturday 11 December, 8pmTCHAIKOVSKY SPECTACULARSee this program for details.

Wednesday 5 January, 9pm MOZART: LEGEND (2010) Michael Dauth violin-director Orli Shaham piano Arensky, Mozart

Saturday 22 January, 1pm MAHLER’S SONG OF THE EARTH (2010) Vladimir Ashkenazy conductor Lilli Paasikivi mezzo-soprano Stuart Skelton tenor Mozart, Richard Strauss, Mahler

2MBS-FM 102.5SYDNEY SYMPHONY 2010Tuesday 14 December, 6pm

What’s on in concerts, with interviews and music.

Webcast Diary

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

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ABOUT THE ARTISTS

Vladimir Ashkenazy conductor

In the years since Vladimir Ashkenazy fi rst came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career, not only as one of the most renowned and revered pianists of our times, but as an inspiring artist whose creative life encompasses a vast range of activities.

Conducting has formed the largest part of his music-making for the past 20 years. He has been Chief Conductor of the Czech Philharmonic (1998–2003), and Music Director of the NHK Symphony Orchestra, Tokyo (2004–2007). Since 2009 he has held the position of Principal Conductor and Artistic Advisor of the Sydney Symphony.

Alongside these roles, Vladimir Ashkenazy is also Conductor Laureate of the Philharmonia Orchestra, with whom he has developed landmark projects such as Prokofi ev and Shostakovich Under Stalin (a project which he toured and later developed into a TV documentary) and Rachmaninoff Revisited at the Lincoln Center, New York.

He also holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras, including the Cleveland Orchestra (where he was formerly Principal Guest Conductor), San Francisco Symphony, and Deutsches Symphonie Orchester Berlin (Chief Conductor and Music Director, 1988 –96), as well as making guest appearances with orchestras such as the Berlin Philharmonic.

Vladimir Ashkenazy continues to devote himself to the piano, building his comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara’s Piano Concerto No.3 (which he commissioned), Rachmaninoff transcriptions, Bach’s Wohltemperierte Klavier and Beethoven’s Diabelli Variations. His most recent release is a recording of Bach’s six partitas for keyboard.

A regular visitor to Sydney over many years, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with his fi ve-program Rachmaninoff festival forming a highlight of the 75th Anniversary Season in 2007. Vladimir Ashkenazy’s artistic role with the Sydney Symphony includes collaborations on composer festivals, recording projects and international touring.

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IN THE GREEN ROOM

James Ehnes in conversation

The fi rst thing you notice when surveying James Ehnes’ performance schedule for the year, is the huge range of pieces that he performs. From Bach to Bartók and everything in between, there’s not a lot that Ehnes doesn’t play. “I’ve always liked a lot of variety,” he says. “Say if you just pick a number out of your head, and say there are 40 great violin concertos: if you only choose to play four of those a year, it’s going to be a 10-year cycle before you get back to some of the ones you played in the fi rst year – I’d just miss those pieces too much!” The repertoire for the violin is always expanding, too, and Ehnes relishes the opportunity to try new works. “I think that one of the best things about the violin repertoire is that it’s big. It’s so big that you can never ever get your hands around all of it, but it’s just small enough that you think that maybe you can.”

The Tchaikovsky concerto is one that Ehnes has been playing for most of his career and he says that the piece’s unusual technical challenges are something that violinists

born

1976 in Brandon, Manitoba, Canada

musical upbringing

Father was a trumpet professor; mother was a former ballet dancer and ran a ballet school in the town where Ehnes grew up. Listened to lots of recordings as a kid and decided early on that the violin was the instrument he wanted to play.

big break

Made his solo debut with the Montreal Symphony Orchestra at age 13. He studied with Sally Thomas at the Juilliard School in New York, but says that the biggest infl uence on his career was meeting his manager Walter Homburger.

in Australia

Most recent performance with the Sydney Symphony was in 2008, when he played the Elgar violin concerto with Vladimir Ashkenazy. The two also worked together earlier this year, performing and recording the Mendelssohn violin concerto.

playing Tchaikovsky

Learnt the Tchaikovsky concerto when he was thirteen, and performed it for the fi rst time with orchestra at seventeen.

fi nd out more

www.jamesehnes.com


‘ I approach it [the Tchaikovsky concerto] with the same enthusiasm and same love that I always did. Of course I’m a much different person now, I’m a better violinist...but in terms of what the piece means to me I think as I’ve grown my feelings for it have just sort of grown along with me.’

‘ I think probably the hardest thing about the concerto – and this is the hardest thing about virtually every virtuosic concerto – is to play in such a way that you’re always committed to the music in spite of the technical challenges.’

have to get used to from a young age. “At the time that the concerto was written, a lot of the demands that he was asking for were very unorthodox, to the point of getting a lot of resistance from early players. Whereas now, the piece is such a standard of the repertoire that the techniques it asks for are often things that are familiar just because they’re in that piece. Whereas learning the Tchaikovsky concerto in the 1880s and 90s was entirely optional, now, if you’re a kid growing up with aspirations of being a violin soloist, you learn the Tchaikovsky concerto – you have to.”

It’s not just concert performances that keep Ehnes busy; to date he has released more than 25 CDs and takes a great deal of pride in being able to connect with people through his recordings. “Particularly when I meet someone in some place I’ve never been and they say ‘Oh I’ve been following you for years because I have all your recordings’ – I think that’s something really special.”

His busy schedule doesn’t allow for much time to be spent at home but Ehnes insists that being on the road most of the time isn’t actually all that bad. “I’m so rarely at home that even though I love being there it can be really stressful because I’ll have maybe one week a month and there’s all the mail, all the bills, all the things to do and the emails and the phone calls. Sometimes the most relaxing times of my year can be the long fl ights to Australia!”

Travelling all over the world does have its perks though. On his last trip to Sydney he found the time to climb the Harbour Bridge and explore the city, and although this tour is a busy one, Ehnes says he’s already scheduled a day off at the end of the trip. “Everywhere I go I try to do something like that because I feel like it’s just such a wasted opportunity if you go to some great city of the world and don’t really make the chance if it’s possible to look around and try it.”

JAMES EHNES SPOKE TO ALEXANDRA PINKHAM


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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Performing in this concert…

FIRST VIOLINS Dene Olding Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Marianne BroadfootBrielle ClapsonSophie Cole Amber Gunther Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Emily Qin#Martin Silverton*

SECOND VIOLINS Kirsty Hilton Marina Marsden Jennifer HoyA/Assistant Principal

Shuti Huang Susan Dobbie Principal Emeritus

Maria Durek Emma Hayes Stan W Kornel Benjamin Li Emily Long Biyana Rozenblit Maja Verunica Alexandra D’Elia#Belinda Jezek*Katherine Lukey*

VIOLASRoger Benedict Anne-Louise Comerford Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Leonid Volovelsky Arabella Bozic*Jacqueline Cronin#Maike-Karoline Drabe*

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauFenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch*Rachael Tobin*

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOESShefali Pryor David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSLawrence Dobell Craig Wernicke Principal Bass Clarinet

BASSOONSRoger Brooke Fiona McNamara

HORNSBen Jacks Geoffrey O’Reilly Marnie Sebire Euan HarveyFrancesco Lo Surdo†

TRUMPETSDaniel Mendelow Paul Goodchild John FosterAnthony Heinrichs

TROMBONESScott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Colin Piper Mark RobinsonBrian Nixon*

HARP Louise Johnson

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

In response to audience requests, we’ve redesigned the orchestra list in our program books to make it clear which musicians are appearing on stage for the particular performance. (Please note that the lists for the string sections are not in seating order and changes of personnel can sometimes occur after we go to print.)

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


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 , Elgar and Prokofi ev orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

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


SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

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

PLATINUM PARTNERS MAJOR PARTNERS

REGIONAL TOUR PARTNERS

PREMIER PARTNER

GOLD PARTNERS

BRONZE PARTNER MARKETING PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station

SILVER PARTNERS


PLAYING YOUR PART

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

PLATINUM PATRONS $20,000+Brian AbelGeoff & Vicki AinsworthRobert Albert AO & Elizabeth AlbertRoger Allen & Maggie GrayTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerMr J O Fairfax AC

Fred P Archer Charitable TrustThe Berg Family Foundation in memory of Hetty GordonThe Hansen FamilyMs Rose HercegMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Greg & Kerry Paramor & Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

The Estate of the late G S WronkerAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopMr Robert & Mrs L Alison CarrLibby Christie & Peter JamesThe Estate of Ruth M DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreStephen Johns & Michele BenderHelen Lynch AM & Helen BauerIsabel McKinnonMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeJune & Alan Woods Family BequestAnonymous (1)

SILVER PATRONS $5,000–$9,999Andrew Andersons AO

Mark and Carolyn BethwaiteJan BowenMr Donald Campbell & Dr Stephen FreibergBob & Julie ClampettMichael & Manuela DarlingMrs Gretchen M DechertIan Dickson & Reg HollowayJames & Leonie FurberMr James Graham AM & Mrs Helen GrahamMr David Greatorex AO & Mrs Deirdre Greatorex

Irwin Imhof in memory of Herta ImhofJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationDavid Maloney & Erin FlahertyDavid & Andree MilmanEva & Timothy PascoeRodney Rosenblum AM & Sylvia RosenblumDavid Smithers AM & FamilyMrs Hedy SwitzerIan & Wendy ThompsonMs Caroline WilkinsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Stephen J BellMr & Mrs David & Halina BrettLenore P BuckleEwen & Catherine CrouchKylie GreenAnn HobanPaul & Susan HotzMark JohnsonAnna-Lisa KlettenbergMacquarie Group FoundationR & S Maple-BrownMora MaxwellJudith McKernanMatthew McInnesJustice Geoffrey PalmerJames & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropHenry & Ruth WeinbergGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsAdcorp Australia LimitedMr Henri W Aram OAM

Terrey & Anne ArcusClaire Armstrong & John SharpeRichard BanksDoug & Alison BattersbyDavid BarnesMarco Belgiorno-Zegna AM & Angela Belgiorno-ZegnaPhil & Elesa BennettNicole BergerGabrielle BlackstockJane Brodribb & Colin DraperM BulmerThe Clitheroe FoundationDebby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisRussell & Sue FarrRosemary & Max Farr-JonesJohn FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnnette FreemanRoss & Jill GavinWarren Green

Anthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergJules & Tanya HallJanette HamiltonBarbara & John HirstThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterDr Michael Joel AM & Mrs Anna JoelThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingMr Justin LamWendy LapointeMallesons Stephen JaquesMr & Mrs Gilles T KrygerMr Robert & Mrs Renee MarkovicKevin & Deidre McCannIan & Pam McGawMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeePatricia H ReidMr M D SalamonJohn SaundersJuliana SchaefferJean-Marie & Leonie SimartVictoria SmythCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonAndrew Turner & Vivian ChangMrs Kathleen TuttonEstate of B M WardenThe Hon. Justice Anthony WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonDr Francis J AugustusMichael Baume AO & Toni BaumeMs Baiba B. BerzinsMrs Jan BiberDr & Mrs Hannes Boshoff Pat & Jenny BurnettDr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellMrs Catherine J ClarkJoan Connery OAM & Maxwell Connery OAM

Bruce CutlerMr Charles Curran AC & Mrs Eva CurranMatthew Delasey

Greg Earl & Debbie CameronPeter English & Surry PartnersIn Memory of Mr Nick EnrightRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n AM

Damien HackettMartin HanrahanMr Ken HawkingsDr Heng & Mrs Cilla TeyRev Harry & Mrs Meg HerbertMrs E HerrmanMrs Jennifer HershonMichelle Hilton-VernonMr Joerg HofmannBill & Pam HughesGreta JamesIven & Sylvia KlinebergIan KortlangDr & Mrs Leo LeaderMargaret LedermanMartine LettsGerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydAlison Lockhart & Bruce WatsonLocumsgroup Holdings LPDr Carolyn A Lowry OAM & Mr Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mr K J MartinMelvyn MadiganMrs Silvana MantellatoGeoff & Jane McClellanMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’ConnorMrs Rachel O’ConorA Willmers & R PalMr George A PalmerDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersRowan & Annie RossRichard RoyleDr Mark & Mrs Gillian SelikowitzCaroline SharpenMrs Diane Shteinman AM

Dr Agnes E SinclairRobyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMs Wendy ThompsonProf Gordon E WallRonald WalledgeThe Hon. Edward G WhitlamDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsGlenn & Everly WyssMrs R YabsleyAnonymous (15)

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


MAESTRO’S CIRCLE Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO Credit Suisse, AustraliaAlan Fang, Chairman, Tianda Group

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

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

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg & Neil LawrenceChair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

10Roger Benedict Principal ViolaRoger Allen and Maggie Gray Chair

07

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DIRECTORS’ CHAIRS


BEHIND THE SCENES Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AM Jennifer Hoy Irene Lee David Smithers AM

Ewen Crouch Rory Jeffes David Livingstone Gabrielle TrainorRoss Grant Andrew Kaldor Goetz Richter

Sydney Symphony Regional Touring CommitteeIan MacdonaldDr Richard Sheldrake Director-General, NSW Department of Industry and InvestmentColin Bloomfi eld Illawarra Coal BHPBilliton Stephen David Caroona Project, BHPBillitonJim Davis Regional Express Airlines

Peter Freyberg XstrataTony McPaul Cadia Valley OperationsTerry Charlton Snowy HydroPaul Mitchell Telstra Grant Cochrane The Land

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin Flaherty

Dr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid Maloney

Sydney Symphony CouncilDavid Malouf AO

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

Jane MorschelGreg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White* Regional Touring Committee member

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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Please address all correspondence to the Publications Editor: Email [email protected]

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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