Trust is proud of its long standing partnership with the Sydney Symphony and is delighted to bring you the Thursday Afternoon Symphony Series in 2007.

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1 Trust is proud of its long standing partnership with the Sydney Symphony and is delighted to bring you the Thursday Afternoon Symphony Series in In this 75th anniversary season, the Series offers perfect afternoons with some of the best-loved composers from Beethoven to Wagner. With these concerts bringing together leading conductors and soloists, you re in for a truly delightful experience. Just like the Sydney Symphony which has been the sound of the city for 75 years, entertaining hundreds of thousands of people each year, Trust has been supporting public works for over 120 years. Whether it be in administering an estate or charity, managing someone s affairs or looking after their interests via financial planning, superannuation or funds management, people come to Trust because of our independence, personalised service and commitment to ensuring their interests are being looked after. We hope that you enjoy a delightful Thursday afternoon with the Sydney Symphony. Jonathan Sweeney Managing Director Trust Company Limited

2 SEASON 2007 THURSDAY AFTERNOON SYMPHONY PRESENTED BY TRUST BEETHOVEN S PASTORAL AND EROICA SYMPHONIES Thursday 7 June 1.30pm Sydney Opera House Concert Hall Gianluigi Gelmetti conductor LUDWIG VAN BEETHOVEN ( ) Symphony No.6 in F, Op.68, Pastoral Awakening of joyful feelings on arrival in the country (Allegro ma non troppo) Scene by the brook (Andante molto moto) Merry gathering of country folk (Allegro) Thunderstorm (Allegro) Shepherd s Song: Happy and thankful feelings after the storm (Allegretto) INTERVAL Symphony No.3 in E flat, Op.55, Eroica Allegro con brio Marcia funebre (Adagio assai) Scherzo (Allegro vivace) Finale (Allegro molto) This concert will be broadcast across Australia on ABC Classic FM 92.9 on Friday 15 June at 8pm. Pre-concert talk by Gordon Kerry at 12.45pm in the Northern Foyer. Estimated timings: 39 minutes, 20-minute interval, 47 minutes The performance will conclude at approximately 3.25pm. Cover images: see page 30 for captions Program notes begin on page 5 Artist biographies begin on page 21 PRESENTING PARTNER

3 Music touches the hearts of people worldwide, bringing pleasure, creating memorable experiences and allowing people from a variety of cultures and communities to come together. It is for these reasons that the Sydney Symphony a first class orchestra in one of the world s most diverse and beautiful cities is an ideal partner for Emirates Airline. Emirates has developed an international reputation for providing a standard of service and an inflight experience to which other airlines aspire, with more than 300 major international awards for excellence. We are one of the world s fastest growing airlines, flying to around 90 destinations in Europe, North America, the Middle East, Africa, the Indian subcontinent and the Asia-Pacific. Emirates also operates 28 flights every week into New Zealand. Emirates continues to take great pleasure in supporting the Sydney Symphony and fostering the growth of arts in the community. We look forward to an exciting and memorable HH SHEIKH AHMED BIN SAEED AL-MAKTOUM CHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP

4 SEASON 2007 EMIRATES METRO SERIES BEETHOVEN S PASTORAL AND EROICA SYMPHONIES Friday 8 June 8pm Sydney Opera House Concert Hall Gianluigi Gelmetti conductor LUDWIG VAN BEETHOVEN ( ) Symphony No.6 in F, Op.68, Pastoral Awakening of joyful feelings on arrival in the country (Allegro ma non troppo) Scene by the brook (Andante molto moto) Merry gathering of country folk (Allegro) Thunderstorm (Allegro) Shepherd s Song: Happy and thankful feelings after the storm (Allegretto) INTERVAL Symphony No.3 in E flat, Op.55, Eroica Allegro con brio Marcia funebre (Adagio assai) Scherzo (Allegro vivace) Finale (Allegro molto) This concert will be broadcast across Australia on ABC Classic FM 92.9 on Friday 15 June at 8pm. Pre-concert talk by Gordon Kerry at 7.15pm in the Northern Foyer. Estimated timings: 39 minutes, 20-minute interval, 47 minutes The performance will conclude at approximately 9.55pm. Cover images: see page 30 for captions Program notes begin on page 5 Artist biographies begin on page 21

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6 INTRODUCTION Beethoven Festival In an age that celebrated the individual, innovation and sublime expression, Beethoven was the archetypal artisthero. Almost solely on the strength of this reputation and the impact of the works in his heroic style, Beethoven holds an unshakeable position as the most influential composer in Western music, and the Eroica Symphony is one of those works that shaped the way we experience music, even today. But there is more to the Eroica than the extra-musical heroic aspects and its momentary dedication to Napoleon. It communicates a powerful symphonic ideal, a sense of integration and thematic unity and a broad conception of structure. On the surface of the symphony there is a dramatic rhetoric, but the music, as music, engages us at every level, and echoes in its nature the fundamentals of heroism: conflict and strength. Three years after the public premiere of the Eroica Symphony in 1805, Beethoven completed a very different symphony, one that represented the poetry in music. This symphony, the Pastoral, seems gentler and more serene it even ends quietly. Where the Eroica is expansive in its sheer size, the Pastoral is expansive in character. But it, too, shows Beethoven as hero, reflecting the courage of a composer who cannot hear the shepherd s pipe in the next valley but nevertheless immerses himself in creativity. CAPTURE THE MEMORY Register now for future releases on the Sydney Symphony s live recording label. Additional forms and registration box at the customer service desk in the foyer 5 Sydney Symphony

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8 ABOUT THE MUSIC Ludwig van Beethoven Symphony No.6 in F, Op.68, Pastoral Awakening of joyful feelings on arrival in the country (Allegro ma non troppo) Scene by the brook (Andante molto moto) Merry gathering of country folk (Allegro) Thunderstorm (Allegro) Shepherd s Song: Happy and thankful feelings after the storm (Allegretto) Beethoven often referred to himself as a Tondichter (literally sound poet ) rather than a Tonkünstler (sound artist), which was the usual word for a musician. In doing so he revealed himself to be a musician of the Romantic age a poet concerned with feelings, expression and abstract ideals, rather than an artist given to literal representation. Program music was hardly a new concept to Beethoven s generation. Vivaldi s Four Seasons concertos famously depicted nature and life in music. Haydn s oratorios The Seasons and The Creation continued the tradition. In Beethoven s own time virtuoso pianists were churning out picturesque salon pieces: Dussek s Sufferings of the Queen of France depicts everything from the separation of Marie Antoinette from her children to the fall of the guillotine, each musical cliché carefully captioned. Battle symphonies had perennial appeal, as Beethoven himself well knew. United by their attempts to imitate and portray nature and events, these works were concerned with an 18th-century ideal: painting in tones. During the 19th century program music took a different turn. This was an era when, as Carl Dahlhaus describes it, experience was shaped by reading and when literature on a subject was scarcely less important than the subject itself. (It is no accident that for the first time in history we encounter interpretative writing about music in the form of explanatory program notes.) In a sense all music could be programmatic because all music, even the most classical and abstract of symphonies, could be interpreted and analysed in a literary way. E.T.A. Hoffmann s famous review of Beethoven s Fifth Symphony follows a highly individual program, not so much suggesting that the music really represents the events and feelings Hoffmann attributes to it but as a means of illuminating its musical processes. Keynotes BEETHOVEN Born Bonn, 1770 Died Vienna, 1827 Beethoven is the master of the absolute or abstract symphony. Yet two of his symphonies bear descriptive or evocative titles, and others, such as the Fifth, have attracted fanciful interpretations almost from the outset. The monumental Eroica Symphony was the first of Beethoven s so-called heroic works, but that same period of composition also saw the more reflective Pastoral Symphony, which speaks to the human spirit in a very different way. PASTORAL SYMPHONY At its premiere the Pastoral was billed as Recollections of Country Life and each movement is given a descriptive heading. The headings don t outline a story so much as suggest the kinds of feelings that Beethoven wanted the music to express feelings that he believed listeners would be able to discover for themselves. Because of the emotional journey that it follows, the symphony is in five movements rather than four, and the third, fourth and fifth are played without pauses: from peasant gathering to a sudden thunderstorm and on to the gentle song of thanksgiving that concludes the symphony. The symphony was premiered on 22 December 1808 in the famous all-beethoven concert that also included the Fifth Symphony and the Fourth Piano Concerto. 7 Sydney Symphony

9 Adolf Bernhard Marx compared such musical imagery to the speech of the birds (which all can hear but few can understand). According to the aesthetic of the age, the ability to hear visual and psychological images suggested by music was a mark of a sophisticated listener, not an immature one. That Beethoven saw himself as a poet rather than a painter in sound is confirmed by his comments about his Sixth Symphony (his Sinfonia pastorale): The whole work can be perceived without description it is more an expression of feelings rather than tone-painting. Elsewhere he says that the hearers should be able to discover the situation for themselves. When Beethoven does stoop to overt musical depiction it tends to parody, as in his own battle symphony Wellington s Victory. His Pastoral Symphony emerged from an old musical tradition that includes the tiny pastoral sinfonia in Handel s Messiah, while obeying a Romantic and French Enlightenment call for a return to nature. Beethoven himself retreated frequently to the rural areas around Vienna to compose, and is once said to have preferred a tree to the company of men. His Recollections of Country Life, as the symphony was billed in the original concert program, conveys above all this love of nature. Listening Guide Beethoven s Pastoral Symphony brings a serenity and relaxed expansiveness to the symphonic genre, all the more striking since it was completed at around the same time as the fiery Fifth Symphony. It is cast in five movements, the last three of which are played without pause. Beethoven s arrival in the countryside is signalled by a suitably rustic drone from the violas and cellos, while the violins introduce the serene but lively first theme, the awakening of joyful feelings. If the Fifth Symphony had begun by confronting its listeners, the Sixth was intent on lulling them into Arcadian bliss. The bucolic mood is maintained with uncharacteristically simple harmonies and textures, and themes evocative of peasant dances. The scene by the brook contains a stroke of poetic genius two solo muted cellos sustain a swaying figure for the murmuring of the stream while towards the end Beethoven makes a whimsical concession to the more literal minded of his listeners, labelling in the score suitably avian cadenzas for the nightingale (flute), quail (oboe), and cuckoo (clarinet). Sketch of Beethoven from 1808 or 1809 (Ludwig Ferdinand Schnorr von Carolsfeld). The whole work can be perceived without description it is more an expression of feelings rather than tone-painting. BEETHOVEN 8 Sydney Symphony

10 The third movement is the scherzo of the symphony, a merry gathering of country folk. Again we glimpse Beethoven s humour as he parodies the village band not always in tune! But the scherzo is prevented from coming to a proper conclusion, the boisterous round dances are rudely interrupted by a thunderstorm, with cellos and double basses providing the first distant rumbles. The timpani enters for the first time, along with the piccolo and two trombones that Beethoven has held in reserve for this moment. Similarly he has kept the more interesting and complex harmonies for the storm, with its rain, lightning and electric energies. When the storm eventually subsides, the winds introduce the shepherd s song of the final movement, the hymn of gratitude, a rainbow of promise conveyed by harmonious thirds and tranquil rhythms in a spacious rondo. The precise representational aspects of the symphony provide the most gratifying landmarks for listeners the piping shepherds, the bird calls, a storm, country dances. Beethoven may not have wanted us to place too much store by his descriptive movement headings but they are a sure guide to this calm and expansive symphony. However, it is in the expression of feelings, the poetry, that the Pastoral Symphony finds its real strength and imagination: the infinite repetition of pattern in nature conveyed through rhythmic cells, its immensity through sustained pure harmonies. With its five movements rather than the expected four, it has been argued that the Pastoral Symphony sacrifices purity of form to the demands of the extra-musical program. Yet the fourth movement can be seen as an extended introduction to the finale, and at the same time the whole work behaves as a kind of multi-movement sonata form, with the storm as the development and the finale as the recapitulation. The symphony retains the classical proportions and structure that we expect of this sound poet, more concerned, writes musicologist Anthony Hopkins, with writing a symphony than we normally accept. YVONNE FRINDLE 2001/2004 Beethoven s Pastoral Symphony calls for piccolo and pairs of flutes, oboes, clarinets, bassoons, horns, trumpets and trombones; timpani and strings. In this concert Maestro Gelmetti doubles the main woodwind parts, performing the symphony with four each of flutes, oboes, clarinets and bassoons. The Sixth Symphony is a profound reflection Its composition is not only a descriptive feat, but capable of provoking new sensations in the human spirit. GELMETTI Gelmetti talks of his vision for Beethoven s symphonies at: gelmettisbeethoven The Sydney Symphony s first recorded performance of the Pastoral Symphony was in 1938 under George Szell. The most recent performance was in 2001 under Osmo Vänskä. 9 Sydney Symphony

11 Beethoven Symphony No.3 in E flat, Op.55, Eroica Allegro con brio Marcia funebre (Adagio assai) Scherzo (Allegro vivace) Finale (Allegro molto) It can be misleading to read too much of the personal circumstances of a composer into the character of his music. (Does Beethoven s Second Symphony convey the feelings of a man struggling with encroaching deafness and despair?) Even so, it is a characteristic of the heroic works of Beethoven s middle period that they contain more than a little of Beethoven the man, or at least our conception of Beethoven as hero. From that viewpoint, who can the hero of the Eroica Symphony be but the composer himself? At face value Beethoven was an unlikely hero unattractive, quarrelsome and uncompromising but he was embraced by the Viennese aristocracy who recognised his musical genius. Beethoven s various patrons encouraged him to disregard the more conservative criticism he encountered and to foster the novel character and technical difficulties of his music. This he had done to varying degrees and, on the whole, he had been well-received even in his more eccentric moments. But the Eroica Symphony of 1803 represented a rapid development in style and a serious challenge. The dedicatee of the Eroica, Prince Lobkowitz, actually purchased the rights to the symphony for his own use prior to publication and presented several performances before its public premiere on 7 April Even then, reception was polarised on the one hand were listeners who judged the symphony a masterpiece and considered those it didn t please insufficiently cultivated, on the other listeners who heard only a wilful and unnecessary departure from the style that had pleased them so much in the first two symphonies. With the Eroica the symphony as a genre ceased to be a diversion, it demanded serious attention of its listeners and became the focal point of the concert program. No longer was its motivation entirely musical, or even representational, despite the title. The extramusical association was not entirely new, but the subjective outlook of the work was. The symphony was Keynotes EROICA SYMPHONY When the Eroica Symphony was premiered it was the longest symphony that had ever been written: more than 45 minutes. This gave it a grandeur of physical scale that went with the universal tone of its final title, Heroic Symphony, composed to celebrate the memory of a great man. You can read about how the symphony was inspired by Napoleon and then the dedication was scratched out. But according to Beethoven the meaning of the symphony could be heard in the first eight notes played by the cellos the outline of a simple chord. In other words, for all its heroic character, the symphony is about music. The first movement is followed by a tragic funeral march; the intensity is broken by the playful scherzo; and the finale expands on a theme taken from Beethoven s ballet, The Creatures of Prometheus. The Prometheus theme is first heard in the string section plucked not bowed and then transformed again and again. The Eroica Symphony was completed in There were private performances the following year, and in 1805 it was given its public premiere. 10 Sydney Symphony

12 now considered capable of expressing ideals, of speaking for as well as to humanity. In this alone the Eroica was critical in the history of the symphony, matched in impact only by Beethoven s Ninth. In purely musical terms it was equally revolutionary. It was purposely written much longer than is usual and is twice as long as any of the symphonies composed by Haydn or Mozart. It expands the classical forms to monumental proportions, filling them with an abundance of thematic ideas and subjecting them to an unprecedented complexity and density of working out. This was the first of Beethoven s symphonies to carry an extra-musical association and an evocative title, Sinfonia eroica. The inspiration was Napoleon s expedition to Egypt, and Beethoven saw in the First Consul of the Republic an apostle of new ideas and perhaps a little of his own uncompromising will. But when Beethoven heard that Napoleon had crowned himself Emperor the words intitolato Bonaparte were scratched out and replaced by Heroic Symphony, composed to celebrate the memory of a great man. With this gesture the symphony was freed from any risk of petty pictorialism, in much the same way that the symphony itself freed music. The conflicts of the symphony became idealised; the Funeral March, supposedly prompted by the rumour of Nelson s death in the Battle of Aboukir, grew in significance, too big to lead to the tomb of a single man. The hero is not Napoleon he had shown himself to be nothing but an ordinary man or any other individual, and no identifiable nations are party to the struggle (that must wait for Napoleon s downfall in Wellington s Victory). The Third Symphony is the most diversely interpreted, a result of its initial dedication to Napoleon, which was subsequently struck out. Let s remember that Beethoven was full of contradictions: he had a universal love for the world, but on the other hand an enlarged ego. GELMETTI Gelmetti talks of his vision for Beethoven s symphonies at: gelmettisbeethoven Listening Guide In one sense the Eroica s battles are entirely musical and music is the hero. When asked what the Eroica meant Beethoven went to the piano and played, by way of an answer, the first eight notes of the symphony s main theme. It is a simple motif, outlining the key of the symphony by tracing the notes of an E flat major chord, and Beethoven introduces it not with his customary disorienting introduction but with two authoritative thunderclaps from the orchestra. This apparently meagre material is all the more powerful for its directness and 11 Sydney Symphony

13 Beethoven develops it into a vast but detailed movement. The second movement, a funeral march, draws on the rhetoric of the revolutionary music and seemed to speak most directly to the first audiences. One contemporary reviewer declared it a triumph of invention and design of which only a true genius was capable. Following this expression of intense grief, the third movement is blessedly playful and humorous, a Scherzo by name as well as by nature. For the first time the contrasting trio section with its connotations of the hunt is integrated into the movement. The monumental scale of the symphony demands an adaptation of Classical forms and suddenly a simple pair of alternating dances is insufficient to the weight of material and expression. The Finale is based on a passacaglia-like theme from Beethoven s ballet The Creatures of Prometheus (1801) and the connection with another hero cannot be accidental. The theme had turned up again in a set of contredanses and, more significantly, is the theme of the Piano Variations Op.35, completed in The theme is simple and impulsive, as befits its dance origins, but in this final, symphonic embodiment Beethoven transforms it into a hymn to the generous sentiments of the Revolution: freedom and equality. The early reviews of the Eroica emphasised its unity of structure and material, a marked shift from the prevailing assessment of Beethoven s music as fantastic, wild and unconstrained. It has been suggested that the Prometheus theme was also the primary source for the material of the other three movements, demonstrating how quickly Beethoven had shifted the focus and weight of his symphonic thinking from the first movement to the last. This shift was inevitable in a composer for whom beauty, purpose and truth could only be won through a struggle, and whose music is an expression of human experience. Beethoven transforms a simple and impulsive theme into a hymn to the generous sentiments of the Revolution: freedom and equality. YVONNE FRINDLE 2001 Beethoven s Eroica Symphony calls for pairs of flutes, oboes, clarinets and bassoons; three horns, two trumpets, timpani and strings. In this concert Maestro Gelmetti doubles the woodwind parts, performing the symphony with four each of flutes, oboes, clarinets and bassoons. The Sydney Symphony s earliest recorded performance of the Eroica Symphony was in 1939 under George Szell. The most recent performance was in 2006 under Gianluigi Gelmetti. 12 Sydney Symphony

14 INTERLUDE Had Napoleon heard the Eroica Andrew Riemer contemplates what the reaction would have been. Of the many celebrated anecdotes in the history of music, none is better known than Beethoven s angry reaction to the news that Napoleon Bonaparte, the epitome of the republican ideal, had been crowned Emperor of France. Legend has it that Beethoven tore up the title page of the manuscript of the Symphony in E flat, Opus 55, which bore a dedication to Napoleon, the First Consul, champion of the rights of man and preserver of liberty. Napoleon s name is nevertheless inextricably linked with the Eroica Symphony. In a strange book entitled Napoleon Symphony, the British novelist and composer Anthony Burgess attempted to fashion an historical novel based on Napoleon s life in which the form of the novel mirrors the structure of the Eroica Symphony; and recordings of the Eroica frequently feature on their covers one of those strutting portraits of the Emperor, intended to preserve for all time his heroism and glory. It is interesting, therefore, to entertain fantasies about how Napoleon would have reacted to this work had the dedication not been excised and, even more improbably, if he had taken off sufficient time from conquest and posturings to listen to a dissonant, hour-long piece by an obscure German living in distant, provincial Vienna. In all probability he would have been bored and exasperated. Beethoven s musical language and lengthy instrumental works in general were alien to the traditions of Parisian music in the last decades of the 18th century and the opening years of the 19th. Not that Napoleon was unmusical; he loved music. But the music he loved was not the complex, intellectually demanding works of the Viennese symphonists, but much simpler, more sensuously Italianate music. For him, as indeed for French culture of the time, music was more or less synonymous with the human voice. Blanghi, a violinist, reported that Napoleon liked to sing, out of tune most of the time, yet with a good ear. His favourite air was Già il sol from Paisiello s Nina, and the composer whose music was to make the greatest impression on him during his years of power was another Italian, Gasparo Spontini. Spontini s opera Not that Napoleon was unmusical; he loved music. But the music he loved was not the complex, intellectually demanding works of the Viennese symphonists 13 Sydney Symphony

15 La vestale (1807), a grandiloquent work calling for a massive orchestra and spectacular scenic resources, is in many ways the characteristic product of the musical and cultural aspirations of Napoleonic France, aspirations which had little in common with Beethoven s highly cerebral celebration of the heroic ideal. The Eroica is nevertheless intimately connected with the French culture and political idealism an idealism which Napoleon s assumption of the imperial crown in 1805 had completely negated. With the storming of the Bastille on 14 July 1789 much more than political institutions of the ancien régime came to an end. A new spirit informed the musical elements in the great republican pageants and ceremonies of the 1790s. Music became an instrument of the state policy and propaganda. The ideological basis of the Revolution liberty, equality and fraternity which had been enunciated by writers and philosophers in the course of the previous half century, now provided the program for the music of the new dispensation. The music of revolutionary France was supposed to embody those ideals which had come into being on the day the Bastille fell, and which were to last into eternity though by the time of the Terror of 1793 they had proved to be as specious as the ideological slogans of any political orthodoxy. In such a cultural climate there was little taste for orchestral and instrumental music. As always in France at least until the end of the 19th century the centre of musical culture was the opera. And the revolutionary spirit left its mark on Beethoven s single essay in the form, Fidelio, a characteristically idiosyncratic example of the rescue opera, which was one of the dominant forms seen on the stages of French theatres in the years around The new operas were in marked contrast to the aristocratic lyric operas of the earlier 18th century, with their classical conventions and decorum. They dealt with urgent contemporary themes, often incorporated spoken dialogue instead of sung recitative, and dealt with ordinary men and women, rather than mythological abstractions. The Eroica is far removed from the world of those republican operas. But it does reflect certain other elements of the music of the Revolution which emerged from the same spirit of idealism, where the dignity of the individual human being and the inevitable victory of justice were celebrated in sonorous and striking terms. Some of the most significant characteristics of the musical The music of revolutionary France was supposed to embody those ideals which had come into being on the day the Bastille fell, and which were to last into eternity 14 Sydney Symphony

16 When Napoleon declared himself Emperor, Beethoven revoked the Eroica dedication. culture of the revolution were to be found in the great open-air celebrations with which the new order attempted to aggrandise itself. It is not improbable that Beethoven, in a reactionary Vienna hostile to the new France (which had after all chopped off the head of Queen Marie Antoinette, an Austrian princess), would have yearned for the coming of both revolution and of musical forms that made manifest its abiding concepts of liberty, equality and fraternity. In any event the Eroica reflects consciously or unconsciously the spirit of the music composed for the great civic ceremonies of Paris. As with any cultural form driven by an official ideology and subservient to political demands, such music sought to impress by its scale and dramatic impact. The overture to the opera Démophon by Vogel, for instance, was performed on one of those public occasions in the Champs de Mars by an orchestra of 1200 players including a dozen tam-tams. Some of these open-air celebrations, in which musical numbers were interspersed with patriotic speeches, recitations and tableaux, lasted longer than any of the notoriously long operas of the old order. The Eroica was, at the time of its composition, the longest symphony ever written. It also called for larger forces, especially a third horn, which is used with such a dramatic (and for Beethoven s contemporaries scandalous) effect on the famous discord towards the end of the opening movement. The key in which it is written E flat major was a key much favoured by republican composers for their expansive, noble melodies in works such as Gossec s Hymne à la liberté and Hymne à Voltaire the Eroica reflects consciously or unconsciously the spirit of the music composed for the great civic ceremonies of Paris. 15 Sydney Symphony

17 and Cherubini s Ode sur le 18 Fructidor possibly the first work to acknowledge the new republican calendar. Moreover, Beethoven s second movement, the celebrated Funeral March, is conceived very much in the spirit of the popular ceremonies in which the heroes and martyrs of the Revolution were honoured. It is nevertheless in its programmatic implications that Beethoven s Eroica declares an affinity with the spirit of the Revolution at least as the composer saw it from faraway, reactionary Vienna. Beethoven had used the principal theme of the Finale in several works, notably in the ballet The Creatures of Prometheus. There seems reason to believe that the peroration, so to speak, of this heroic Symphony is an allusion to the subject matter of that work: the celebration of Prometheus, who had defied the gods and created the human race in his own image. Prometheus is one of those benefactors of humanity and opponents of tyranny that stood at the heart of the political rhetoric of the Revolution. The Eroica is, therefore, imbued with the spirit of the Revolution. But by the time of its composition the idealism of 1789 had been compromised by the brutality that culminated in the Terror of 1793, which made it possible for Napoleon to seize power. Though Napoleon spoke of honouring the ideals of the Revolution he nevertheless refashioned French cultural and political life to such an extent that by the time of his coronation a new world had come into being. That new world had little sympathy for the ideals that went into the conception of Beethoven s symphonic tribute. The Empire Style is represented by the monumental bombast of the Arc de Triomphe, by the huge official canvasses commissioned by the Emperor such as David s representation of his coronation and by the stage spectacle of La vestale, a story concerning a vestal virgin s near-disastrous love for a Roman general, which provided the prototype for the vulgar operatic spectacles contrived by Meyerbeer later in the century. It is not beyond the bounds of possibility, therefore, that had Beethoven decided to dedicate the work to Napoleon after all, the Emperor himself would have torn up its title page in disgust provided of course that he recognised how much the German s musical tribute contradicted his own imperial aspirations. Beethoven s Eroica declares an affinity with the spirit of the Revolution at least as the composer saw it from faraway, reactionary Vienna. ADAPTED FROM AN ARTICLE BY ANDREW RIEMER Sydney Symphony

18 GLOSSARY CADENZA a virtuoso passage for a solo instrument CONTREDANSE country dance. A kind of social dance originating in England, adopted by French dancers by the end of the 17th century, and later cultivated by Mozart and Beethoven. THE CREATURES OF PROMETHEUS a ballet, choreographed by Salvatore Vigaro. This score is the only instance of Beethoven including harp in his orchestra. ORATORIO a semi-dramatic wok for choir, vocal soloists and orchestra. The origin of the oratorio as a permissible entertainment for Lent (when performances of operas were banned) gave rise to its defining character: a biblical opera without sets, costumes or staging. PASSACAGLIA a musical form with Baroque origins, which, since its revival in the 19th century, has been characterised by its recurring ground bass, providing the support for an extended set of variations, and by its serious tone. PASTORAL SINFONIA an instrumental work evoking a rural scene or atmosphere. Because the pastoral sinfonia was normally peopled by shepherds (with their piping and droning), it became common in Christmas-themed music: in Part I of Handel s Messiah, for example, and Corelli s Christmas Concerto. PROGRAM MUSIC music that is inspired by and claims to express a non-musical idea, usually with a descriptive title and sometimes with a literary narrative, or program as well. Program music has been known in some form since at least the 16th century, but flourished in the 19th century, with works such as Berlioz s Symphonie fantastique. SCHERZO literally, a joke; the term generally refers to a movement in a fast, light triple time, which may involve whimsical, startling or playful elements. Most scherzo movements in symphonies include a contrasting central section called a TRIO. In much of the classical repertoire, movement titles are taken from the Italian words that indicate the tempo and mood. A selection of terms from this program is included here. Adagio assai very slow Allegretto lively, not so fast as Allegro Allegro fast Allegro con brio with spirit Allegro ma non troppo but not too much Allegro molto very fast Allegro vivace fast and lively Andante molto moto at a walking pace, with much movement This glossary is intended only as a quick and easy guide, not as a set of comprehensive and absolute definitions. Most of these terms have many subtle shades of meaning which cannot be included for reasons of space. 17 Sydney Symphony

19 75 YEARS: HISTORICAL SNAPSHOT Listening In As you look at the stage, you ll probably see microphones. Most likely, too, you ll be able to hear this concert, again, in a broadcast. The ABC was broadcasting this kind of music before there was a Sydney Symphony, and indeed brought the orchestra into existence for this very purpose. The Concert Hall of the Sydney Opera House used to be referred to in ABC radio as Studio 227. But it was a broadcast studio only when there was an audience for public concerts. The ABC s Sydney Symphony Orchestra was, soon after its beginnings in 1932, much more a concert than a broadcasting orchestra. This came as a surprise, to some a nasty one. Before the formation of the ABC, commercial entrepreneurs had imported high-flying soloists, and even conductors, in the hope of making money. Now these promoters faced a formidable competitor, subsidised by the public purse. The ABC held a trump card: its new orchestras. At first orchestral resources were traded for broadcast rights to privately promoted concerts. But, frustrated at the limited broadcasts they were obtaining, the ABC soon began to present their own Celebrity Concerts, by subscription. Their competitors especially the Tait Brothers/J.C. Williamson combine threatened legal action. In 1938 the ABC cleverly bluffed its way out of a court case, deflecting the complainants with the argument that the ABC s concerts were also broadcasts, which enabled them to reach listeners in who would otherwise never be able to hear such concerts. And so it became an unwritten law that at least part of every ABC concert was also a broadcast. It would seem that the first concert broadcast by the new ABC involving their Sydney orchestra was on 1 July 1932, when the National Broadcasting Symphony Orchestra was conducted by E.J. Roberts, with Isador Goodman as soloist. The broadcasting of the orchestra by the ABC continues. Sydney would no doubt eventually have acquired a full-time professional symphony orchestra, but without a public broadcaster that became a major concert promoter who can say when and how? The audience, then and now, has been formed and shaped by the broadcaster s heavy bias towards the kind of music you have come to hear. David Garrett, a historian and former programmer for Australia s symphony orchestras, is studying the history of the ABC as a musical organisation. Television usually required studio production rather than simply putting microphones (and cameras) in front of a live concert. This photo shows the SSO in a television concert from the 1960s. 18 Sydney Symphony

20 MORE MUSIC Selected Discography Broadcast Diary GIANLUIGI GELMETTI Beethoven Choral Fantasy (DVD) Gerhard Oppitz, piano, and the Stuttgart Radio Symphony Orchestra and Choir; a Region 1 (USA & Canada) release. GENEON (DVD) Nino Rota Film Music Music from The Leopard, War and Peace, La Strada, Waterloo Monte Carlo Philharmonic EMI ENCORE Rossini The Thieving Magpie Live recording with the RAI Torino (3CDs) SONY S3K Rossini The Barber of Seville (DVD) Teatro Real Madrid production with Juan Diego Flórez (Count Almaviva), María Bayo (Rosina), Pietro Spagnoli (Figaro) DECCA DH2 Rossini Overtures and highlights from The Barber of Seville Thomas Hampson, Susanne Mentzer; Stuttgart Radio Symphony Orchestra, Toscana Orchestra EMI Salieri Les Danaïdes with Monserrat Caballé and the RAI Orchestra (2CDs) DYNAMIC 489/1-2 SYDNEY SYMPHONY: LIVE RECORDINGS FROM THE SYDNEY OPERA HOUSE Strauss and Schubert R. Strauss Four Last Songs; Schubert Symphony No.8 (Unfinished); J. Strauss II Blue Danube Waltz Gianluigi Gelmetti ( conductor), Ricarda Merbeth (soprano) SSO1 Glazunov and Shostakovich Glazunov The Seasons; Shostakovich Symphony No.9 Alexander Lazarev (conductor) SSO2 Further Reading GELMETTI ON BEETHOVEN S SYMPHONIES Visit ABC CLASSIC FM 92.9 JUNE RELIVE THE BEETHOVEN FESTIVAL Gianluigi Gelmetti conductor Gerhard Oppitz piano Wed 13 June 2.30pm Moonlight Sonata (Gerhard Oppitz) Wed 13 June 8pm Symphonies No.4 and No.7 Thu 14 June 8pm Symphony No.2 and Piano Concerto No.4 Fri 15 June 8pm Symphonies No.3, Eroica and No.6, Pastoral Sat 16 June 12.05pm Symphony No.5 and Piano Concerto No.5 (Emperor) Sat 16 June 8pm Symphony No.8 and Piano Concerto No.3 Mon 18 June 8pm LIVE BROADCAST Gerhard Oppitz recital Beethoven sonatas, including the Appassionata Tue 19 June 8pm Symphonies No.1 and No.9 (Choral) 2MBS-FM SYDNEY SYMPHONY 2007 Tue 12 June 6pm What s on in concerts, with interviews and musical samples. Webcast Diary In 2006 selected Sydney Symphony concerts were recorded for webcast by Telstra BigPond. These can be viewed at: sydneysymphony.com Visit the Sydney Symphony online for concert information, podcasts, and to read your program book in advance of the concert. 19 Sydney Symphony

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22 THE ARTISTS Gianluigi Gelmetti CHIEF CONDUCTOR AND ARTISTIC DIRECTOR Gianluigi Gelmetti, Chief Conductor and Artistic Director of the Sydney Symphony, studied with Sergiu Celibidache, Franco Ferrara and Hans Swarowsky. For ten years he conducted the Stuttgart Radio Symphony Orchestra; he has conducted many of the leading orchestras in the world and appears regularly at international festivals. Since 2000 he has been Music Director of the Teatro dell Opera di Roma. Highlights of past seasons include engagements in France, Germany, Great Britain, America, Australia, Japan, Switzerland and Italy, where he conducted Mascagni s Iris and Respighi s La fiamma at the Teatro dell Opera di Roma and William Tell at the Rossini Opera Festival. In 1999 he was awarded the Rossini d Oro Prize. Gianluigi Gelmetti has also worked regularly at the Royal Opera House, Covent Garden. His interpretation of Mozart s The Marriage of Figaro earned him the title Best Conductor of the Year from the German magazine Opernwelt, and in 1997 he won the Tokyo critics prize for the best performance of the year of Beethoven s Symphony No.9. He has been honoured as Chevalier de l Ordre des Arts et des Lettres in France and Grande Ufficiale della Repubblica Italiana in Italy. Gianluigi Gelmetti s recording catalogue includes operas by Salieri, Rossini, Puccini and Mozart, the complete orchestral music of Ravel, the late symphonies of Mozart and works by many 20th-century composers, including Stravinsky, Berg, Webern, Varèse and Rota. Among his recent recordings are William Tell, Iris, La fiamma, Bruckner s Symphony No.6 and Rossini s Stabat Mater. Gianluigi Gelmetti is also a composer; his recent works include In Paradisum Deducant Te Angeli, written to commemorate the tenth anniversary of Franco Ferrara s death, Algos, and Prasanta Atma, in memory of Sergiu Celibidache. Since summer 1997 he has been teaching at the Accademia Chigiana in Siena. 21 Sydney Symphony

23 THE SYDNEY SYMPHONY PATRON Her Excellency Professor Marie Bashir AC CBO, Governor of New South Wales JOHN MARMARAS Founded in 1932, the Sydney Symphony has evolved into one of the world s finest orchestras as Sydney has become one of the world s great cities. Resident at the iconic Sydney Opera House where the Sydney Symphony gives more than 100 performances each year, the Orchestra also performs concerts in a variety of venues around Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the Orchestra world-wide recognition for artistic excellence. Critical to the success of the Sydney Symphony has been the leadership given by its former Chief Conductors including: Sir Eugene Goossens, Nikolai Malko, Dean Dixon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Stuart Challender and Edo de Waart. Also contributing to the outstanding success of the Orchestra have been collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. Maestro Gianluigi Gelmetti, whose appointment followed a ten-year relationship with the Orchestra as Guest Conductor, is now in his fourth year as Chief Conductor and Artistic Director of the Sydney Symphony, a position he holds in tandem with that of Music Director at the prestigious Rome Opera. The Sydney Symphony is reaping the rewards of Maestro Gelmetti s directorship through the quality of sound, intensity of playing and flexibility between styles. His particularly strong rapport with French and German repertoire is complemented by his innovative programming in the Shock of the New concerts and performances of contemporary Australian music. The Sydney Symphony s award-winning Education Program is central to the Orchestra s commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony maintains an active commissioning program promoting the work of Australian composers and in 2005 Liza Lim was appointed Composer-in-Residence for three years. In 2007, the Orchestra celebrates its 75th anniversary and the milestone achievements during its distinguished history. 22 Sydney Symphony

24 MUSICIANS Gianluigi Gelmetti Chief Conductor and Artistic Director Michael Dauth Chair of Concertmaster supported by the Sydney Symphony Board and Council Dene Olding Chair of Concertmaster supported by the Sydney Symphony Board and Council First Violins Second Violins First Violins 01 Kirsten Williams Associate Concertmaster Sun Yi Associate Concertmaster 02 Fiona Ziegler Ian & Jennifer Burton Chair of Assistant Concertmaster 03 Julie Batty 04 Gu Chen 05 Amber Davis 06 Rosalind Horton 07 Jennifer Hoy 08 Jennifer Johnson 09 Georges Lentz 10 Nicola Lewis 11 Alexandra Mitchell Moon Design Chair of Violin 12 Léone Ziegler Sophie Cole 23 Sydney Symphony Second Violins 01 Marina Marsden 02 Susan Dobbie Associate 03 Emma West Assistant 04 Pieter Bersée 05 Maria Durek 06 Emma Hayes 07 Shuti Huang 08 Stan Kornel 09 Benjamin Li 10 Nicole Masters 11 Philippa Paige 12 Biyana Rozenblit 13 Maja Verunica Guest Musicians Dimity Hall First Violin Emily Qin First Violin # Emily Long First Violin # Leigh Middenway First Violin Martin Silverton First Violin Alexandra D Elia Second Violin # Thomas Dundas Second Violin Victoria Jacono Second Violin Belinda Jezek Second Violin Alexander Norton Second Violin # Jennifer Curl Viola # Jacqueline Cronin Viola # Rosemary Curtin Viola Shelley Jamison Viola Vera Marcu Viola Minah Choe Cello Rowena Crouch Cello # Patrick Murphy Cello # Martin Penicka Cello Janine Ryan Cello Jennifer Druery Double Bass # Lauren Brandon Double Bass Dorit Herskovitz Double Bass Peter McLean Double Bass Kiri Birtles Flute Michael Hallit Flute Elizabeth Chee Oboe # Simone Walters Bassoon Lisa Wynne-Allen Horn # Euan Harvey Horn * Andrew Evans Trumpet Joshua Davis Trombone # Key: # Contract Musician Sydney Symphony Fellowship * Courtesy of New Zealand Symphony Orchestra

25 MUSICIANS Violas Cellos Double Basses Harp Flutes Piccolo Violas 01 Roger Benedict 02 Anne Louise Comerford Associate 03 Yvette Goodchild Assistant 04 Robyn Brookfield 05 Sandro Costantino 06 Jane Hazelwood 07 Graham Hennings 08 Mary McVarish 09 Justine Marsden 10 Leonid Volovelsky 11 Felicity Wyithe Cellos 01 Catherine Hewgill 02 Nathan Waks 03 Kristy Conrau 04 Fenella Gill 05 Leah Lynn 06 Timothy Nankervis 07 Elizabeth Neville 08 Adrian Wallis 09 David Wickham Double Basses 01 Kees Boersma Brian and Rosemary White Chair of Double Bass 02 Alex Henery 03 Andrew Raciti Associate 04 Neil Brawley Emeritus 05 David Campbell 06 Steven Larson 07 Richard Lynn 08 David Murray Harp Louise Johnson Mulpha Australia Chair of Harp Flutes 01 Janet Webb 02 Emma Sholl Mr Harcourt Gough Chair of Associate Flute 03 Carolyn Harris Piccolo Rosamund Plummer 24 Sydney Symphony

26 MUSICIANS Oboes 01 Cor Anglais Clarinets Bass Clarinet Bassoons Contrabassoon Horns Trumpets Trombones Bass Trombone Tuba Timpani Percussion Piano Oboes 01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Oboe 02 Shefali Pryor Associate Cor Anglais Alexandre Oguey Clarinets 01 Lawrence Dobell 02 Francesco Celata Associate 03 Christopher Tingay Bass Clarinet Craig Wernicke Bassoons 01 Matthew Wilkie 02 Roger Brooke Associate 03 Fiona McNamara Contrabassoon 01 Noriko Shimada Horns 01 Robert Johnson 02 Ben Jacks 03 Geoff O Reilly 3rd 04 Lee Bracegirdle 05 Marnie Sebire Trumpets 01 Daniel Mendelow 02 Paul Goodchild Associate 03 John Foster 04 Anthony Heinrichs Trombone 01 Ronald Prussing NSW Department of State and Regional Development Chair of Trombone 02 Scott Kinmont Associate 03 Nick Byrne Rogen International Chair of Trombone Bass Trombone Christopher Harris Trust Foundation Chair of Bass Trombone Tuba Steve Rossé Timpani 01 Richard Miller 02 Brian Nixon Assistant Timpani (contract) Percussion 01 Rebecca Lagos 02 Colin Piper Piano Josephine Allan (contract) 25 Sydney Symphony

27 SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS The Company is assisted by the NSW Government through Arts NSW PLATINUM PARTNER MAJOR PARTNERS GOLD PARTNERS 26 Sydney Symphony

28 SILVER PARTNERS REGIONAL TOUR PARTNERS BRONZE PARTNERS MARKETING PARTNERS PATRONS Australia Post Beyond Technology Consulting Bimbadgen Estate Wines J. Boag & Son Vittoria Coffee Avant Card Blue Arc Group Lindsay Yates and Partners 2MBS Sydney s Fine Music Station The Sydney Symphony gratefully acknowledges the many music lovers who contribute to the Orchestra by becoming Symphony Patrons. Every donation plays an important part in the success of the Sydney Symphony s wide ranging programs. The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence, innovation and creativity. 27 Sydney Symphony

29 DIRECTORS CHAIRS A leadership program which links Australia s top performers in the executive and musical worlds. For information about the Directors Chairs program, please contact Corporate Relations on (02) Mulpha Australia Chair of Harp, Louise Johnson 02 Mr Harcourt Gough Chair of Associate Flute, Emma Sholl 03 Sandra and Paul Salteri Chair of Artistic Director Education, Richard Gill OAM 04 Jonathan Sweeney, Managing Director Trust with Trust Foundation Chair of Bass Trombone, Christopher Harris 05 NSW Department of State and Regional Development Chair of Trombone, Ronald Prussing 06 Brian and Rosemary White Chair of Double Bass, Kees Boersma 07 Board and Council of the Sydney Symphony supports Chairs of Concertmaster Michael Dauth and Dene Olding 08 Gerald Tapper, Managing Director Rogen International with Rogen International Chair of Trombone, Nick Byrne 09 Stuart O Brien, Managing Director Moon Design with Moon Design Chair of Violin, Alexandra Mitchell 10 Ian and Jennifer Burton Chair of Assistant Concertmaster, Fiona Ziegler 11 Andrew Kaldor and Renata Kaldor AO Chair of Oboe, Diana Doherty 28 Sydney Symphony

30 PLAYING YOUR PART The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Because we are now offering free programs and space is limited we are unable to list donors who give between $100 and $499 please visit sydneysymphony.com for a list of all our patrons. Patron Annual Donations Levels Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999 To discuss giving opportunities, please call Caroline Mark on (02) Maestri Brian Abel & the late Ben Gannon AO Geoff & Vicki Ainsworth * Mr Robert O Albert AO * Alan & Christine Bishop Sandra & Neil Burns * Mr Ian & Mrs Jennifer Burton The Clitheroe Foundation * Patricia M. Dixson * Penny Edwards * Mr J O Fairfax AO * Dr Bruno & Mrs Rhonda Giuffre * Mr Harcourt Gough Mr David Greatorex AO & Mrs Deirdre Greatorex Mr Andrew Kaldor & Mrs Renata Kaldor AO H. Kallinikos Pty Ltd Mr David Maloney Mr B G O Conor The Paramor Family * Mr Paul & Mrs Sandra Salteri Mrs Joyce Sproat & Mrs Janet Cooke Mr Brian & Mrs Rosemary White Anonymous (1) * Virtuosi Mrs Antoinette Albert Mr Robert & Mrs L Alison Carr Mr John C Conde AO Mr John Curtis Irwin Imhof in Memory of Herta Imhof Mr Stephen Johns Mr & Mrs Gilles T Kryger Helen Lynch AM Mr E J Merewether & Mrs T Merewether OAM * Miss Rosemary Pryor * Bruce & Joy Reid Foundation * John Roarty in memory of June Roarty Rodney Rosenblum AM & Sylvia Rosenblum Mrs Helen Selle Dr James Smith David Smithers AM & family Michael & Mary Whelan Trust Anonymous (2) Soli Ms Jan Bowen * Mr Chum Darvall Ian Dickson & Reg Holloway * Hilmer Family Trust Mr Paul & Mrs Susan Hotz Mr Rory Jeffes Paul Lancaster & Raema Prowse Mrs Joan MacKenzie Mr James & Mrs Elsie Moore Ms Kathleen Parer Ms Gabrielle Trainor Mr R Wingate Anonymous (2) Tutti Mr C R Adamson Mr Henry W Aram Mr David Barnes Mr Alex & Mrs Vera Boyarsky Mrs F M Buckle Debby Cramer & Bill Caukill Libby Christie & Peter James Mr Bob & Mrs Julie Clampett Mr John Cunningham SCM Mr & Mrs J B Fairfax AM Mr Ian Fenwicke & Prof Neville Wills Mrs Dorit & Mr William Franken Mr & Mrs J R W Furber Mr Arshak & Ms Sophie Galstaun In Memory of Hetty Gordon Mrs Akiko Gregory Miss Janette Hamilton Mr A & Mrs L Heyko-Porebski Dr Paul Hutchins & Ms Margaret Moore Mrs Margaret Jack Mr John W Kaldor AM Mr & Mrs E Katz Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Mr Gary Linnane Ms Karen Loblay Mr & Mrs R. Maple-Brown Mrs Alexandra Martin & the late Mr Lloyd Martin AM Justice Jane Mathews Mrs Mora Maxwell Judith McKernan Mrs Barbara McNulty OBE Mr & Mrs John Morschel Mr R A Oppen Mr Robert Orrell Dr Timothy Pascoe Ms Robin Potter Mr Nigel Price Mr & Mrs Ernest Rapee Mrs Patricia H Reid Mr Brian Russell & Ms Irina Singleman Gordon & Jacqueline Samuels Ms Juliana Schaeffer Robyn Smiles Derek & Patricia Smith Catherine Stephen Mr Fred & Mrs Dorothy Street Mr Georges & Mrs Marliese Teitler Mr Stephen Thatcher Mr Ken Tribe AC & Mrs Joan Tribe Mr John E Tuckey Mrs Kathleen Tutton Ms Mary Vallentine AO Henry & Ruth Weinberg Mr & Mrs Bruce West Jill Wran Mrs R Yabsley Anonymous (10) Supporters over $500 Mr Roger Allen & Ms Maggie Gray Mr Lachlan Astle John Augustus Mr Warwick Bailey Mr Marco Belgiorno-Zegna AM Mr G D Bolton Pat & Jenny Burnett Hon. Justice J C & Mrs Campbell * Mr & Mrs Michel-Henri Carriol Mrs B E Cary Mr Leo Christie & Ms Marion Borgelt Mr Peter Coates Mr B & Mrs M Coles Mrs Catherine Gaskin Cornberg Stan & Mary Costigan * Mrs M A Coventry Ms Rowena Danziger Mr & Mrs Michael Darling Lisa & Miro Davis * Mrs Patricia Davis Mrs Ashley Dawson-Damer Mr Paul Espie Mr Russell Farr Mr & Mrs David Feetham Mr Richard & Mrs Diana Fisher Rev H & Mrs M Herbert * Ms Michelle Hilton-Vernon Mr and Mrs Paul Holt Mr Eric C Howie Mr & Mrs P Huthnance Ms Judy Joye Mrs Jeannette King * Mrs J Lam-Po-Tang Dr Barry Landa Mrs Joan Langley Ms Jan Lee Martin & Mr Peter Lazar Mr David & Mrs Skye Leckie Margaret Lederman Mr & Mrs Ezzelino Leonardi Mr Bernard & Mrs Barbara Leser Erna & Gerry Levy AM * Mr and Mrs S C Lloyd Mr Andrew & Mrs Amanda Love Mr Matthew McInnes Mr Tony & Mrs Fran Meagher Mr Andrew Nobbs Moon Design Mrs R H O Conor Ms Patricia Payn Mr Adrian & Mrs Dairneen Pilton Mr & Mrs Michael Potts Mrs B Raghavan Mrs Caroline Ralphsmith Dr K D Reeve AM * Mr & Mrs A Rogers Dr Jane & Mr Neville Rowden Mrs Margaret Sammut In memory of H St P Scarlett * Blue Mountain Concert Society Inc Mr Ezekiel Solomon Mr Andrew & Mrs Isolde Tornya Miss Amelia Trott Mrs Merle Turkington The Hon M. Turnbull MP & Mrs L. Hughes Turnbull Mr & Mrs Franc Vaccher Ronald Walledge Louise Walsh & David Jordan Mr Geoff Wood and Ms Melissa Waites Miss Jenny Wu Mr Michael Skinner & Ms Sandra Yates AO Anonymous (12) Allegro Program supporter * Emerging Artist Fund supporter Stuart Challender Fund supporter Orchestra Fund supporter 29 Sydney Symphony