WELCOME TO THE EMIRATES METRO SERIES

The Sydney Symphony is a fi rst-class orchestra in one of the world’s most beautiful cities, and Emirates, as a world-class airline, is proud to be Principal Partner for another year.

A First Class experience is always a memorable one. Whether it be exiting your personal Emirates chauffeur driven car at the airport, ready to be whisked away to the Emirates lounge, or entering a concert hall for an unforgettable night of music, the feeling of luxury and pleasure is the same.

Emirates in Australia has gone from strength to strength. In 2010 we are proud to have 70 fl ights per week from Australia, to our hub in Dubai, as well as an additional 28 fl ights per week trans-Tasman. Flying from Sydney to Auckland with Emirates is a unique experience. We operate our state of the art Airbus A380 superjumbo on this route, which offers all the luxuries that you have come to expect from Emirates – from chauffeur-driven transfers and priority check-in and world-class lounges for our Business and First Class customers, to a gourmet food and wine experience once on board, plus over 1000 channels of entertainment.

We look forward to working with the Sydney Symphony in 2010, to showcase the best of the best when it comes to both music and luxury travel.

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVEEMIRATES AIRLINE AND GROUP

EMIRATES METRO SERIES PRESENTING PARTNER

2010 SEASON

WINTER GALAThursday 1 July | 8pm

EMIRATES METRO SERIESFriday 2 July | 8pm

Sydney Opera House Concert Hall

MIDORI PLAYS CLASSICSAntonello Manacorda conductorMidori violin

IGOR STRAVINSKY (1882–1971)Concerto in D for string orchestra (Basel)

VivaceArioso (Andantino)Rondo (Allegro)

WOLFGANG AMADEUS MOZART (1756–1791)Violin Concerto No.5 in A, K219

Allegro apertoAdagioRondeau (Tempo di Menuetto)

INTERVAL

MOZARTSymphony No.40 in G minor, K550

Molto allegroAndanteMenuetto (Allegretto)Allegro assai

FRANZ SCHUBERT (1797–1828)Rondo in A for violin and strings, D438

Adagio – Rondo (Allegro giusto)

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

Pre-concert talk by Natalie Shea in the Northern Foyer, 45 minutes before each concert.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 12 minutes, 31 minutes, 20-minute interval, 35 minutes, 14 minutes

The concert will conclude at approximately 10.05pm.

6 | Sydney Symphony

This portrait by Mozart’s brother-in-law Joseph Lange was begun in 1782 but never

completed.

Barbara Krafft’s portrait of Mozart was painted in 1819. Working under the supervision of Mozart’s sister, Nannerl, Krafft based her painting in part on the family portrait by Johann Nepomuk della Croce made in 1780–81 (see page 12 for a detail).

7 | Sydney Symphony

INTRODUCTION

Midori Plays Classics

The last time Midori visited Sydney, in 2006, she played one of the great Romantic concertos (Bruch’s Violin Concerto No.1), and a 20th-century masterpiece by Britten. On this visit she highlights the violin’s Classical heritage with youthful works by Mozart and Schubert.

The strings of the Sydney Symphony are in the spotlight too, and Stravinsky’s ‘Basel’ Concerto begins the concert with its nod to the Brandenburg concertos of Bach and the genial serenades of Mozart. Stravinsky gives us neoclassicism from 1946 and a fi tting introduction to the ‘real thing’ in the form of a Mozart violin concerto.

The Mozart concerto – not to mention the demanding string writing in his Symphony No.40 – is a reminder that even though we think of Mozart as a virtuoso pianist, he was also a very accomplished violinist. Mozart was every bit the well-rounded 18th-century musician – composer, multi-instrumentalist, improviser. You could say that Midori echoes this spirit of versatility as she blends a career as a virtuoso with untiring work as an educator and leader of community music programs.

Schubert never wrote a violin concerto and tonight’s Rondo is one of a few solo pieces that come close. Instead of virtuoso fl amboyance, its graceful melodies sing with a modest Mozartian spirit. But what is the Mozartian spirit exactly?

If we listen to Schubert, that spirit is sunny, charming – rococo perhaps. It could be summed up in the words of Schumann: ‘cheerfulness, placidity, grace – hallmarks of the art of Antiquity’. Except – and here’s the startling thing – Schumann was writing about Mozart’s Symphony No.40! Surely there couldn’t be a Classical symphony more turbulent, more aligned to the brooding passions and dramatic musical gestures of early Romanticism? Both views are right. There is, for Mozart, an almost uncharacteristic feeling of turmoil in this symphony, but at the same time, there is that sense of balance and classical perfection. That’s what gives the classics, and Mozart in particular, their enduring appeal.

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

8 | Sydney Symphony

Keynotes

STRAVINSKY

Born near St Petersburg, 1882Died New York, 1971

Prokofi ev once described Stravinsky’s neoclassical music as ‘Bach with pockmarks’. It has also been called ‘wrong-note music’, on account of his practice of spicing otherwise conventional Classical-sounding melodies and harmonies with unexpected notes. One of Stravinsky’s favourite tricks was to give out major and minor versions of his home key simultaneously, as he does at the very outset of his Concerto in D. When he later spiked his arrangement of The Star Spangled Banner with a dissonant chord, he was accused of un-American activities.

BASEL CONCERTO

Stravinsky completed the Concerto in D in August 1946, fulfi lling a commission from the Swiss conductor, Paul Sacher and his Basel Chamber Orchestra (Sacher also commissioned Bartók’s Divertimento and Richard Strauss’s Metamorphosen). Intended to celebrate the orchestra’s 20th anniversary, it became known as the ‘Basel’ Concerto.

The concerto’s constantly changing texture, as soloists emerge from within the main string band and then return, is reminiscent of Bach’s Third Brandenburg Concerto (also for strings alone). However, Stravinsky was not interested in merely copying the salient features of the 18th-century concerto so much as submitting them to his own decidedly modern sensibilities.

Igor StravinskyConcerto in D for string orchestra

VivaceArioso (Andantino)Rondo (Allegro)

The interest so many composers showed in the string orchestra medium in the years following World War I can be explained in several ways: a new appreciation of what composers of the Baroque era had achieved; a determination to make the strings which had formed the basis of the 19th-century orchestra yield new sonorities and new techniques; and, hand in hand with these aesthetic concerns, the fl ourishing of small orchestral ensembles, including string orchestras, such as the Boyd Neel Orchestra in England and in Switzerland the Basel Chamber Orchestra formed by Paul Sacher.

It was Sacher who commissioned Bartók’s Divertimento for strings of 1939, and after World War II he included Stravinsky in the inspired patronage which had already elicited so many masterpieces. The commission was for a work to celebrate the 20th anniversary of the Basle Chamber Orchestra, and it became Stravinsky’s major project for the fi rst half of 1946. He worked on the Concerto in D (also known as the Concerto Basiliensis, or ‘Basel Concerto’) with the typical fastidiousness of the craftsman, as though he wanted to make a defi nitive statement about composing for strings. Paul Sacher conducted the premiere in Basel on 27 January 1947, and the Concerto has ever since been a mainstay of every string orchestra’s repertoire.

Like the Concerto for 15 instruments, Dumbarton Oaks (1937-38), the Concerto in D is a cross between the Classical divertimento and the Baroque concerto grosso. Baroque features include the opposition of a small concertino group to the main body of strings. The piece is concise – lasting about 12 minutes – and predominantly light and divertimento-like in mood. The ostinato principle of repeated musical patterns dominates most of the writing in the two fast movements, as in a rather similar piece, Bach’s third Brandenburg Concerto: a rarely interrupted fl ow of quavers and semiquavers in various rhythms. When Stravinsky breaks the fl ow, with telling eff ect, it is usually to emphasise the thematic germ of the work, an alternation between two notes a semitone apart. This fi ngerprint appears immediately in the opening theme of the fi rst movement, which also features an accompaniment

ABOUT THE MUSIC

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containing a chord of D which is ambiguously major and minor, engendering considerable dissonance throughout the work. A slight suggestion of harshness about the fi rst movement is mitigated by a middle section which is at once harmonically more comfortable and less regular, more tentative in rhythm.

In the second movement, an Arioso, Stravinsky composes an extended melody, but, lest we should indulge in it, punctuates it with chords re-stating the semitone interval, followed by new departures in surprising keys. The ostinato patterns return in the virtual perpetual motion of the last movement – it was no doubt this feature which made American choreographer Jerome Robbins fi nd the music ‘terribly driven and compelled’ when he used it for a harrowing ballet scenario, The Cage (1951).

Stravinsky’s concern was obviously to make the most of the possibilities of string ensembles which had been missed by 19th-century composers. Simply, perhaps over-simply stated, this meant getting the bow off the string more often and in a greater variety of ways, making precise distinctions between staccato, spiccato and ben articulato playing. This composer was never happier than when sitting at his music desk adjusting his solutions to self-imposed problems. This craft, in the Concerto in D, produces stimulating challenges to players and diversion to listeners.

© DAVID GARRETT

The Australian premiere of the Concerto in D was given by the Sydney Symphony and Otto Klemperer in 1950. The orchestra’s most recent performance of the work was in the 2006 Mozart in the City series, directed by Dene Olding. Ballet fans may have encountered the music in The Australian Ballet’s performances of The Cage, in 2008.

BOWING STYLES

staccato – the notes of a phrase are played shorter than their notated duration and are detached from each other

spiccato – rapid, detached notes achieved through the bow rebounding off the string

ben articulato – well articulated, phrased distinctly

11 | Sydney Symphony

Keynotes

MOZART

Born Salzburg, 1756 Died Vienna, 1791

Mozart’s career divides neatly between his early years, spent in Salzburg, spent in service working as a court musician under the watchful eye of his father, and the relative freedom of his later years in Vienna, as a freelance musician, his own man. After the watershed moment in June 1781, when he was dismissed from Salzburg court ‘with a kick on the arse’, he ‘escaped’ to Vienna and his life and music never looked back.

VIOLIN CONCERTO NO.5

Composed in 1775, probably in the fi rst instance for his violinist colleague at the Salzburg court, Antonio Brunetti, this was not only Mozart’s last violin concerto, but one of the last gasps of the genre that had dominated the music of much of the 18th century. Henceforth, the piano concerto would reign in its place.

Mozart’s opening gambit, sounding out the notes of the A major home chord, is a late echo of a typically straightforward Baroque beginning, but now treated with a new Classical insouciance. His slow movement is a blissful excursion into the tonality of the violin’s highest string, the E string. And the percussive ‘Turkish’ music of the fi nale is a reminder of an 18th-century taste for the exotic.

Wolfgang Amadeus MozartViolin Concerto No.5 in A, K219

Allegro apertoAdagioRondeau (Tempo di Menuetto)

Midori violin

That Mozart’s violin concertos are masterly is too easy to overlook, when they are compared to his admittedly even more wonderful piano concertos. A letter from Mozart’s father – one of the leading violin pedagogues of his time – exhorted his son not to give up practising, adding that young Mozart could, if he worked at it, be the fi nest violinist in Europe. All but one of the fi ve violin concertos by Mozart were written in a sustained burst in 1775, when Mozart was 19. Some have considered them to be attempts to please his father rather than himself. Whatever his motivation, these concertos are major achievements, especially the last three (K216, 218 and 219). The date is important, because none of the piano concertos Mozart had written up to this time shows the maturity of conception of the best of these violin concertos. After Mozart left Salzburg for Vienna, which he himself called ‘the land of the piano’, almost all his concerto writing was for keyboard soloists. He wrote no further violin concertos.

The one unquestionable masterpiece among the Salzburg piano concertos is that in E fl at, K271, said to have been composed for the visit of a virtuoso French pianist, Mlle Jeunehomme. Mozart often worked best with this kind of stimulus, and his violin concertos may have been intended at least as much for his Salzburg colleague Antonio Brunetti, as for himself. Brunetti was the solo fi rst violin in the Salzburg Court Orchestra, and certain features of this concerto strongly suggest the atmosphere of Salzburg, and the showcasing of a fellow musician. The extraordinary ‘Turkish’ episode in the fi nale, in which Mozart re-uses ideas from his 1772 ballet Le gelosie del Serraglio (‘Jealousy in the harem’, an entr’acte for the Milan opera Lucio Silla), also has the same fl avour as several Turkish pieces by Mozart’s fellow Salzburg composer Michael Haydn. Haydn (brother of the more famous Joseph) may have collected the tunes in Hungary, which still had a strong Turkish presence, and which he had just visited. Perhaps this kind of music went down particularly well in Salzburg, with its imitation of the music of the janissaries (elite troops of the Ottoman

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Mozart’s slow movement is a rapturous one…with a sense of fl oating and bliss… But Brunetti was apparently not satisfi ed, fi nding it ‘too artifi cial’.

Empire), including drumming by the basses beating the strings with the wood of their bows.

Brunetti must have been pleased with his fi rst entry in this concerto: six bars of quasi-recitative in a slow tempo over murmuring strings. It is similar to Joseph Haydn’s devices in some of his early symphonies for showing off the leader of the Esterhazy orchestra. Mozart’s fi rst movement is dominated by a rising arpeggio fi gure, referred to by one commentator as a springboard of the movement. This is a familiar ‘tag’ in Baroque and Classical violin music, found also in the concertos of Bach, who may have got it from Vivaldi. The interest is in the treatment: Mozart’s is all grace and wit, as in the throwaway endings on the same rising arpeggio, an idea he repeats in the last movement. Here the infl uence of the French galant style conceals strength and structural coherence, obvious when the development of the fi rst movement reverses the arpeggios in downward-turning modulations.

Mozart’s slow movement is a rapturous one in E major, with a sense of fl oating and of bliss often found in Mozart’s rare forays into this key. Even though the soloist’s singing part dominates, the orchestra contenting itself with providing a framework, Brunetti was apparently not satisfi ed, fi nding this movement, according to a letter from Leopold Mozart to his son, ‘too artifi cial’ (or ‘too studied’). Mozart may have composed his Adagio K261 as a substitute movement for Brunetti – it is beautiful in its own way, but it lacks the occasional harmonic subtleties of the original movement, heard in this performance.

The capricious-sounding interruption of the Rondeau’s triple rhythm by episodes in duple time, and the exotic colouring of the episodes, including the spectacular ‘Turkish’ music, shows how the Classical style, in Mozart’s hands, could accommodate a game which is dramatic in conception.

DAVID GARRETT ©2006

The orchestra for Mozart’s Violin Concerto No.5 calls for a standard Salzburg ensemble of two oboes, two horns and strings.

The Sydney Symphony fi rst performed Mozart’s Violin Concerto K219 in 1951 with violinist Beryl Kimber and conductor Bernard Heinze. The most recent performance was in 2006 Mozart Masters series with soloist Janine Jansen and Gianluigi Gelmetti conducting.

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Mozart alla turca

The 18th-century taste for the exotic wrapped itself in Turkish robes, smoked Turkish tobacco, ate Turkish delight and read Turkish fairytales. Playwrights and makers of operas and ballets were drawn to Turkish themes – seeking the heightened passion and sensuality popularly attributed to Orientals but apparently elusive to Europeans – and the seraglio plot, in which a girl is rescued from a harem, was favoured for its combination of exoticism and suspense.

Mozart – ever astute to musical fashion – capitalised on a fad for Turkish music in his unfi nished Singspiel Zaide, an early ballet called Le gelosie del seraglio (Jealousy in the Harem), the fi nale of his Violin Concerto K219 (heard in this concert), and the famous Rondo alla turca of his Piano Sonata K331, as well as the opera The Abduction from the Seraglio (or, as Mozart misquoted it, in German, in a letter to his father: The Seduction from the Seraglio).

This ‘Turkish music’ had very little to do at all with actual Turkish music – it was long before the era of ethnomusicology or cultural authenticity. Instead it was inspired by the music of the janissaries, the elite troops of the Ottoman Empire. These bands were renowned for their ‘barbarous’ sounds and overpowering rhythms, ‘so strongly marked…that it is virtually impossible to get out of step’. In the theatres and concert halls these effects were often achieved with piccolo (in imitation of the military fi fes), oboes (in place of strident shawms), and above all percussion: bass drum, cymbals and triangle.

YVONNE FRINDLE, SYDNEY SYMPHONY ©2006

15 | Sydney Symphony

Keynotes

SYMPHONY NO.40

Mozart didn’t know that the three great symphonies he composed in 1788 (Nos. 39–41) would be his last. And we don’t know for sure whether they were performed in his lifetime. But there’s good reason to think that they were, or at least that Mozart had performances in mind, especially since he later went to the trouble of revising No.40 to include a pair of clarinets. After Mozart’s death, these symphonies quickly became some of his best-loved works. In particular, the sombre, stormy character of No.40 captured the Romantic imagination of the 19th century.

The fi rst movement has one of the most famous beginnings in music – the violins playing the theme over a pulsating viola accompaniment. It’s no less tragic for being so elegant, and the balance between turbulent passion and refi ned style lends the symphony enduring appeal. Wagner commented on its ‘indestructible beauty’, Schumann on its ‘fl oating Grecian grace’.

The slow movement would be serene if Mozart did not unsettle it continually, with dissonant clashes and disrupted rhythms. The central section of the minuet is like a ray of sunlight through dark clouds. And an agitated energy reigns supreme in the fi nale.

MozartSymphony No.40 in G minor, K550

Molto allegroAndanteMenuetto (Allegretto)Allegro assai

A Puzzle

The genesis of the trilogy of Mozart symphonies that 19th-century cataloguers labelled Nos. 39–41, and of which No.40 is now the popular focus, has long puzzled Mozart experts. Mozart himself tells us that he completed the three over the summer of 1788, in close succession between 26 June and 10 August, this one on 25 July. So the problem is not when they were composed, but why.

During his Viennese years, Mozart seldom took up his pen without the prospect of a fee, a performance, or publication (ideally all three). And yet, no certain proof has emerged of any such prospects awaiting these symphonies.

So why did Mozart bother to write three new symphonies at all, at a time when his interest in the form seemed all but dead? By 1788, he had been living in Vienna for seven years. Yet he had composed only three new symphonies in this time (Nos. 35, 36 and 38), compared with well over a dozen piano concertos, half-a-dozen operas, and numerous chamber works. Moreover, all three previous symphonies were in answer to out-of-town requests, from Salzburg, Linz and Prague respectively. Vienna itself had asked for no new symphonies from Mozart at all.

Following Haydn?

So perhaps the spur for Mozart’s unexpected renewal of interest in the symphony was his older friend, Joseph Haydn (though, if so, it took a Haydn expert, David Wyn Jones, thinking outside the square, to suggest it). In December 1787, the Vienna fi rm of music engravers, Artaria, with which both Haydn and Mozart dealt, announced the publication of Haydn’s six ‘Paris’ symphonies. They were issued in two sets of three, the fi rst containing symphonies in the keys of C major, G minor, and E fl at major. Was it a coincidence that Mozart chose precisely these keys in the same order for his new symphonic trilogy? Scientifi c dating of the paper he used suggests that Mozart began composing them in the same month the Haydn publication appeared.

16 | Sydney Symphony

There were several reasons why Mozart might have been induced to follow Haydn’s lead. He’d done the same with a set of string quartets a few years earlier, in which he freely acknowledged his emulation of the older composer. Mozart was also desperately in need of money (possibly to pay gambling debts), and may well have thought that if Haydn could cash in on symphonies, he might as well try too. And while nobody else was off ering to perform them, he at least had opportunities to present them himself. In 1788 Mozart again presented his own mid-year concert series, and despite scant details of dates and programs, he may well have aired the new works then. Later, they probably also featured in Mozart’s plans for a tour to England in 1789 (cancelled), and tours to Dresden, Berlin, Leipzig and Frankfurt in 1789–90 (which did eventuate).

Listening Guide

Minor keys, like inclement weather, are natural phenomena in the music of Beethoven and his successors. In Mozart’s overwhelmingly sunny output, however, they seem like unseasonal intrusions, explanation for which must be sought outside of the composer’s usual inspirations. Early in his career, the occasional minor-key pieces can sometimes be linked with a desire to be taken seriously by older musical colleagues. In his fi rst and only previous minor-keyed symphony, No.25, also in G minor, written in 1773, the 17-year-old Mozart ‘borrowed’ the key from a symphony by his London-based contact, Johann Christian Bach. And 15 years later, he may well have ‘borrowed’ the key again, this time from Haydn, for this symphony.

Yet Symphony No.40, if only for its romantically mysterious opening, also seems to require a less prosaic explanation. And if a minor key can denote depression or fatalism, then causes are easy enough to fi nd in the months leading to the work’s completion. The Vienna premiere of Don Giovanni, that Mozart hoped would lift him out of debt and keep him high in the public’s estimates, was a fl op. That was in May 1788. Then at the end of June his six-month-old daughter, Theresia, died. Could any of this explain why the symphony’s fi rst movement begins with one of Mozart’s most unusual and haunting themes? Whatever its inspiration, this widely sampled opening probably ranks behind only Beethoven’s ‘Moonlight’ Sonata opening as an all-weather ‘sombre’ standard for cheesy covers and classical mood music compilations.

Minor keys, like inclement weather, are natural phenomena in the music of Beethoven. In Mozart’s overwhelmingly sunny output, they seem like unseasonal intrusions, explanation for which must be sought outside of the composer’s usual inspirations.

17 | Sydney Symphony

By comparison, its other three movements are less familiar, and perhaps more likely still to surprise. But, after Mozart’s death, the Symphony’s second movement, the luminous Andante in E fl at major, was probably better known, at least in Vienna. Haydn (perhaps not realising that he was belatedly returning a favour) borrowed a phrase from it for his oratorio, The Seasons, as a memorial to his dead friend (tellingly, the quotation follows the words ‘Exhausted is thy summer’s strength’). Perhaps it’s not surprising that Vienna preferred the Symphony’s only major-keyed movement. What the Romantics thought of as the high-minded angst of minor keys, proved all too often to be anathema to the Viennese, as Beethoven was later to discover. But at least they had more staying power than the average audience today. When played with all its repeats, as Mozart intended (but which most conductors don’t tax us with today), it comes out at almost twice the length of the opening movement.

The Menuetto, back in G minor again, is not the well-balanced, poised and courtly copybook example that might have been expected. This one is energetic and eventful, with dissonant notes and syncopated rhythms – quite as unusual, in its own small way, as the opening movement. The fi nale gives every impression of being an orchestral tour-de-force, designed to sweep the audience along into a state of increasing nervous excitement, were it not for the weirdness of a couple of brief moments, audibly quite disconcerting, when Mozart perversely avoids any clear sense of key for rather longer than is comfortable (listeners should have no trouble fi nding them!)

GRAEME SKINNER ©2010

Tonight’s performance uses Mozart’s revised scoring for his Symphony No.40: fl ute, two oboes, two clarinets, two bassoons, two horns, and strings.

The Sydney Symphony’s fi rst known performance of this symphony was in 1942, conducted by Edgar Bainton. It was most recently performed in 2006, conducted by Gianluigi Gelmetti.

G minor

By the end of the 18th century the key of G minor was regarded by many musicians as not merely a ‘sad’ key, but one which conveyed lamentation, discontent and pathos, even the ‘bad-tempered gnashing of teeth’. It was well suited, wrote an Italian theorist in 1796, to ‘frenzy, despair and agitation’.

For Mozart, G minor was a special key. He reserved it for powerful and intense emotions, as palpably demonstrated in Pamina’s tormented aria from The Magic Flute, ‘Ach, ich fühl’s’. His earlier symphony in G minor (No.25) made wonderfully turbulent title music for the fi lm Amadeus, while No.40 is probably the greatest example of all.

Mozart prepared two different versions of this symphony, one without clarinets and one with. It’s been suggested that the clarinets may have been added in April 1791 when an orchestra under Antonio Salieri and featuring the great clarinettists Johann and Anton Stadler performed an unidentifi ed ‘grand symphony’ by Mozart. (If so, this is the symphony’s only documented performance in Mozart’s lifetime.) Nowadays it is usually performed with the clarinets.

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Keynotes

SCHUBERT

Born Vienna, 1797Died Vienna, 1828

Midori writes: Franz Schubert was one of the last exponents of the Viennese Classical school of composition, who helped pave the way to musical Romanticism. Schubert is best loved for the melodies and intense lyricism that fi ll his Lieder, but these are equally prominent in his instrumental writing, as are characteristic chromatic modulations, changes of mode from major to minor and pastoral sound language.

RONDO IN A

Like most of Schubert’s music, this Rondo was not published until after his death, when his brother Ferdinand was wise enough to sell most of Schubert’s scores to a sympathetic publisher, Anton Diabelli. Schubert composed the Rondo in Vienna in 1816, as usual with an eye to semi-private household performances by family and friends, rather than public concerts. It is one of several works for strings, written at a time when Vienna was still readjusting after two Napoleonic occupations. Schubert seems to look back both admiringly, and a little longingly, to the Vienna of his musical forebears, Haydn and Mozart – not the turbulent Mozart of tonight’s G minor Symphony, but the Mozart who, in Schubert’s own words, ‘blessed us with glimpses of a brighter and better life’.

Franz SchubertRondo in A for violin and strings, D438

Adagio – Rondo (Allegro giusto)

Midori violin

A year after Schubert’s death, his older brother Ferdinand off ered a large parcel of his original scores for sale, the majority of them works then completely unknown outside Schubert’s own circle. In a letter to the composer-publisher Anton Diabelli, for instance, Ferdinand mentioned a pair of concerto-like movements for violin, both composed in 1816, that, even today, are not so often performed. One, in D major (D345), with full orchestral accompaniment, Ferdinand actually referred to as a ‘concerto’, though it only consists of a single movement. The other is this, the (Adagio and) Rondo in A major (D438) – which is misleadingly diminished by its usual published title, ‘Rondo’, since the introductory Adagio is quite substantial, giving the violin soloist a fi rst prominent break out from the rest of the strings, and working up a good deal of energy toward to its own dramatic climax. But this moment of turbulence passes so quickly, and gives way to the luminously positive rondo so seamlessly and easily, that perhaps it’s right to downplay the Adagio after all.

Schubert composed it in June, early summer, and an original set of fi ve separate parts survives showing that Schubert fi rst intended it to be performed by solo violin and just four strings (two violins, one viola and one cello). The performers were almost certainly members of his family circle, among whom brother Ferdinand would usually have taken the role of leading violin, though he may also have hoped for a performance by the larger orchestra that met at the house of Otto Hatwig, in which Ferdinand also played.

But Ferdinand’s prowess may not necessarily have been all, or indeed any, of the inspiration for the composition. Schubert had been writing assiduously for the violin in solo mode during March and April 1816. He produced a set of three sonatas for violin and piano (again diminished by their published title to ‘Sonatinas’), possibly destined for the attentions of an amateur violinist Gabriel von Jenny. And in the same month that he composed this Rondo, he recorded in his diary (on 14 June) how delighted he was at hearing another violinist,

19 | Sydney Symphony

‘O Mozart, immortal Mozart, you have blessed us with so many, so endlessly many comforting glimpses of a brighter and better life!’FRANZ SCHUBERT IN HIS DIARYMartin Schlesinger, lead one of Mozart’s string quintets at

a music party:

This day will remain light, clear, and bright in my memory for the rest of my life. As from a long way off the magic sounds of Mozart’s music still haunt me softly. With such incredible strength, and yet gently, did Schlesinger’s masterful performance impress the music deep, deep into the heart . . . impressions that reveal, amid the shadows of this life, a brighter, clearer, more lovely distant place, to which we confi dently aspire. O Mozart, immortal Mozart, you have blessed us with so many, so endlessly many comforting glimpses of a brighter and better life!

After the Adagio (slow) introduction, the rondo proper is marked Allegro giusto (fast, but in a just – i.e. strict, or measured – manner), which in the circumstances was probably a warning to the leader-soloist to hold the tempo in check. Ever since Haydn, Viennese rondos typically involved some teasing of the audience, in particular stringing listeners along by holding out on the form’s trademark reprises of the opening theme (hence the name ‘rondo’, as in ‘here it comes round again’). Preparing the very fi nal reprise, soloist and band repeatedly toss a four-note fi gure between them (the same rhythm Beethoven used as motto for his Fifth Symphony). Between the various returns here, contrasting episodes provide the lead violin with plenty of opportunity for gymnastic display, before reuniting the rest of the strings in line behind it.

GRAEME SKINNER ©2010

We believe this is the Sydney Symphony’s fi rst performance of the Rondo in A.

20 | Sydney Symphony

GLOSSARY

ARIOSO – in vocal music, half-way between the more declamatory (speech-like) delivery of recitative, and the full lyrical melodiousness of the aria. It has also been used as a title for instrumental pieces that aspire to the state of song.

CONCERTO GROSSO – a genre of concerto that fl ourished in the Baroque period, featuring a group of solo instruments (concertino) in concert and in contrast with a larger ensemble (ripieno). Concerto grosso movements usually followed a simple structure in which solo episodes for the concertino are separated by a kind of refrain played by the ripieno.

MAJOR-MINOR – the characteristic that diff erentiates a major scale from a minor scale, or chord, is the relationship between the key or ‘home’ note and the note that is the third step of the scale. If the key note is D, the major third is F sharp and the minor third is F natural. If you confuse D major and D minor, and sound these two notes (F sharp and F natural) simultaneously, as Stravinsky does repeatedly in the Concerto in D, you get the most astringent dissonance of all.

MINUET, MENUETTO – a French court dance from the baroque period. Adopted in the 18th century as a tempo direction, it suggests a dance-like movement in a moderately fast triple time.

NEOCLASSICAL – in art history, a term referring to the revival of themes and techniques associated with antiquity; often applied in music to an anti-Romantic trend of the 1920s, with composers such as Stravinsky (Pulcinella), Hindemith and Prokofi ev (Classical Symphony) avoiding overt emotional display and reviving earlier techniques such as baroque-style counterpoint, balanced structures and lighter textures. It can apply more generally to any music of a more recent period that

self-consciously emulates or reinterprets traits of the Baroque and Classical eras (roughly from Bach to early Beethoven) – from Tchaikovsky’s Rococo Variations (1876) or Respighi’s Ancient Airs and Dances to Alfred Schnittke’s MozArt à la Haydn (1990), and beyond.

RONDO, RONDEAU – a musical form in which a main idea (refrain) alternates with a series of musical episodes. Classical composers such as Mozart commonly adopted rondo form for the fi nales to their concertos and symphonies. The concept is not dissimilar to the verse and chorus structure of many songs.

‘TURKISH’ MUSIC – Mozart’s last violin concerto is sometimes called the ‘Turkish’ Concerto because of the special eff ects in the last movement. For example, the cellos and double basses are directed to play coll’ arco al roverscio – ‘with bows reversed’, that is to say, with the wood of the bow instead of the hair. (See also page 13.)

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 – slow Allegretto – lively, not so fast as AllegroAllegro – fast Allegro aperto – fast, with an open feelAllegro assai – very fastAllegro giusto – fast, strict tempoAndante – at an easy walking paceAndantino – a diminutive of Andante, this term can be interpreted as either a little slower than andante or, as is more common nowadays, a little fasterMolto Allegro – very fastVivace – lively

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

21 | Sydney Symphony

MORE MUSIC

Selected Discography

MIDORI

Midori’s most recent release is a 2-CD set of catalogue material, The Essential Midori, with repertoire ranging from Paganini caprices to highlights from sonatas by Beethoven, Elgar and Saint-Saëns, and the great violin concertos by Mendelssohn, Bruch and Sibelius. Her accompanists are pianist Robert McDonald, and the Berlin, Israel and New York philharmonic orchestras with conductors Zubin Mehta and Claudio Abbado.SONY 730111

In 2008 Midori released a disc coupling Bach’s Sonata No.2 in A minor for unaccompanied violin (BWV1003) and Bartók’s Violin Sonata No.1 with pianist Robert McDonald.SONY 97745

BASEL CONCERTO

Colin Davis’s now classic English Chamber Orchestra recording is also an excellent Stravinsky coupling, containing both the Concerto in D and the Dumbarton Oaks Concerto in E fl at.DECCA 425622

MOZART VIOLIN CONCERTOS

The violin concertos rate fairly low on the Mozart hit list, but still there are 120 recordings to choose from. Isaac Stern’s was once considered the Holy Grail by Mozart traditionalists, and his coupling of Concertos Nos 4 and 5 is also convenient.CBS GREAT PERFORMANCES 37808

MOZART 40

How to choose from, on a recent count, the 190 recordings of Mozart’s G minor? The Academy of St Martin in the Fields under Neville Marriner was good enough for Amadeus and is still a comfortable half-way house between super-sized Mozart à la Bernstein or Karajan, and lean-cuisine period instruments. Mozart Meets Symphonies has both G minors, ‘Little’ and ‘Great’, together with the Jupiter Symphony (No.41). PHILIPS 707602

SCHUBERT VIOLIN MUSIC

Try Gidon Kremer’s recording with the Chamber Orchestra of Europe, which also includes Schubert’s Konzertstück for violin and orchestra (D345) and numerous original works and transcriptions for violin and piano.DEUTSCHE GRAMMOPHON 000001502

Webcast Diary

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

Broadcast Diary

JULY

Thursday 8 July, 1.05pmHAYDN AND BRUCKNER (2009)Yannick Nézet-Séguin conductorHaydn Military Symphony (No.100), Bruckner Symphony No.3

Saturday 10 July, 8pmA TRUMPET BLASTFeaturing James Morrison

Wednesday 14 July, 8pmFANTASTIQUE!Pinchas Steinberg conductorLouis Lortie pianoFranck, Ravel, Berlioz

Tuesday 20 July, 1.05pmFLOWER OF YOUTH (2009)Michael Dauth violin-directorAmir Farid pianoMendelssohn, Mozart

Saturday 24 July, 1pmMEET THE CONCERTO (2009)Richard Gill conductorGautier Capuçon celloRobert Johnson hornDvorák, Gordon

Saturday 24 July, 8pmBEETHOVEN 5David Robertson conductorGarrick Ohlsson pianoAdams, Chopin, Beethoven

Sydney Symphony Online

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2MBS-FM 102.5SYDNEY SYMPHONY 2010Tuesday 13 July, 6pm

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22 | Sydney Symphony

ABOUT THE ARTISTS

Antonello Manacorda conductor

Antonello Manacorda was born in Turin and studied violin with Sergio Lamberto at the Conservatorio Giuseppe Verdi, graduating with distinction. He was then awarded a scholarship by De Sono Associazione per la Musica, to continue his studies with Herman Krebbers, Eduard Shmider and Franco Gulli.

In 1997, in collaboration with Claudio Abbado and colleagues from the Gustav Mahler Youth Orchestra, Antonello Manacorda founded the Mahler Chamber Orchestra and was appointed vice-president and concertmaster, a position he held for eight years. He then decided to pursue a career as a conductor, and a further scholarship from De Sono enabled him to spend two years studying with Jorma Panula. He returned to conduct the Mahler Chamber Orchestra for the fi rst time in concerts celebrating the orchestra’s tenth anniversary, and subsequently opened the Bremen Festival with the orchestra.

From 2003 to 2006 he was Artistic Director for chamber music at the Académie Européenne de Musique du Festival d’Aix en Provence. In 2006 he was appointed Music Director of I Pomeriggi Musicali in Milan.

His opera engagements have included working with the Maggio Musicale Orchestra, Florence; performances of Paisiello’s Barber of Seville at the Teatro Arcimboldi, Milan; Così fan tutte at the Teatro Comunale di Treviso; and The Barber of Seville at the Teatro di San Carlo, Naples. Earlier this year he conducted a production of Don Giovanni at the Teatro La Fenice in Venice.

Antonello Manacorda has conducted the Orchestra della Svizzera Italiana, Zurich Chamber Orchestra, Scottish Chamber Orchestra, Orchestra of Scottish Opera, Ensemble Orchestral de Paris, I Virtuosi di Kuhmo in Helsinki, Västerås Sinfonietta, Helsingborg Symphony Orchestra and Gävle Symphony Orchestra. He has also directed the Britten-Pears Orchestra at the Aldeburgh Festival and coached the Jeunesses Musicales summer course in Geneva.

Other engagement highlights have included performances of Falstaff throughout the north of Italy and debuts with the Orchestre Philharmonique de Monte Carlo and Stavanger Symphony Orchestra. This is his Sydney Symphony debut.

23 | Sydney Symphony

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Midori violin

The violinist Midori made her historic debut at the age of 11 when she was introduced as a surprise guest by conductor Zubin Mehta at the New York Philharmonic’s annual New Year’s Eve concert in 1982. Since that night over 25 years ago, she has established a record of achievement which sets her apart as a master musician, an innovator and a champion of the developmental potential of children.

Her performing schedule encompasses recitals, chamber music performances and appearances with the world’s most prestigious orchestras, and these performances are combined with innovative community programs all over the world. Recent highlights have included concertos with the London Symphony Orchestra and Colin Davis, the Detroit Symphony and Leonard Slatkin and the Bavarian Radio Symphony Orchestra with Mariss Jansons; a touring program of all new music; and an International Community Engagement program in Mongolia. In the 2008–09 season Midori was designated an offi cial Messenger of Peace by Ban Ki-moon, Secretary General of the United Nations. That same season she made her fi rst tour of trio repertoire with two distinguished colleagues, pianist Jonathan Biss and cellist Johannes Moser.

In 1992 she founded Midori & Friends, bringing broad music education to public school children in New York City. She has founded two other organisations, Music Sharing (Japan) and Partners in Performance (US), which also bring music closer to the lives of people who may not otherwise have involvement with the arts. In 2001 she joined the faculty of the Manhattan School of Music and she now holds the Jascha Heifetz Chair at the University of Southern California. Her own education includes a masters degree in psychology, completed in 2004 through New York University.

Her commitment to community collaboration and outreach also includes her Orchestra and University residencies programs and her work with young violinists all over the world. In Sydney, for example, she will lead a masterclass for the Sydney Symphony Fellows.

Midori’s most recent appearance with the Sydney Symphony was in 2006, when she performed concertos by Britten and Bruch.

Midori is Japanese for ‘precious jade’.

Midori’s violin is the 1734 Guarnerius del Gesu ‘ex-Huberman’, on lifetime loan from the Hayashibara Foundation. She uses three bows, two by Dominique Peccatte and the third by François Peccatte.

24 | Sydney Symphony

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

Michael Dauth Concertmaster

Sun Yi Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Zoe Black*Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Georges LentzNicola Lewis Alexandra Mitchell

SECOND VIOLINS

Kirsty Hilton Marina Marsden Jennifer Hoy A/Assistant Principal

Shuti HuangMaria Durek Stan W Kornel Emily Long Nicole Masters Philippa Paige Maja Verunica Alexandra D’Elia#

VIOLAS

Anne-Louise Comerford Yvette Goodchild Assistant Principal

Jane Hazelwood Stuart Johnson Mary McVarish Felicity Tsai Leonid Volovelsky

CELLOS

Catherine Hewgill Jesper Svedberg*Leah Lynn Assistant Principal

Fenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis

DOUBLE BASSES

Alex Henery Steven Larson David Murray Benjamin Ward

FLUTE

Janet Webb

OBOES

Diana Doherty David Papp

CLARINETS

Lawrence Dobell Christopher Tingay

BASSOONS

Roger BrookeFiona McNamara

HORNS

Ben Jacks Marnie Sebire

Bold = PrincipalItalic= Associate Principal# = Contract Musician* = Guest Musician

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.

25 | Sydney Symphony

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.

26 | Sydney Symphony

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

27 | Sydney Symphony

PLAYING YOUR PART

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

$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 Wiliam McIlrath Charitable FoundationRuth & 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 CrouchLisa & 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 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)

To fi nd out more about becoming a Sydney Symphony patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email philanthropy@sydneysymphony.com

28 | Sydney Symphony

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

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

04 05 06

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

DIRECTORS’ CHAIRS

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE John Morschel, Chairman of ANZThe Macquarie Group Foundation

29 | Sydney Symphony

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

Ian MacdonaldDr 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, BHPBilliton

Jim Davis 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

Ian Macdonald*Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid Malouf AO

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

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen PearseJerome RowleyPaul SalteriSandra Salteri

Jacqueline 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 OwensCORPORATE RELATIONS EXECUTIVE

Stephen Attfi eldHEAD 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, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MANAGER

Kate Taylor

MARKETING & MEDIA SERVICES COORDINATOR

Alison Martin GRAPHIC DESIGNER

Christie BrewsterDATA ANALYST

Varsha Karnik

Box Offi ceMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Natasha PurkissMANAGER OF SALES & SERVICE

Mark BarnesCUSTOMER SERVICE REPRESENTATIVES

Steve ClarkeMichael DowlingErich GockelMatt LilleyRachel McLarinJohn Robertson

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

SYMPHONY AUSTRALIA LIMITEDSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphony.net.au

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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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This is a PLAYBILL / SHOWBILL publication. PUBLISHER Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064Head Office: 1017 Pacific Highway, Pymble NSW 2073Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.auExecutive Chairman Brian Nebenzahl OAM, RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production Classical Music Events Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin