WELCOME TO THE AUSGRID MASTER SERIES

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1 WELCOME TO THE AUSGRID MASTER SERIES Welcome to this Ausgrid Master Series concert at the Sydney Opera House. This week is a momentous one for the orchestra, marking the last program in the two-year Mahler Odyssey. With Mahler s Second Symphony, the Resurrection, this Odyssey comes to an uplifting conclusion. Vladimir Ashkenazy and the Sydney Symphony will be joined by two guest vocal soloists Australian Emma Matthews and American Michelle DeYoung and the Sydney Philharmonia Choirs, to perform music that s guaranteed to leave all who hear it emotionally moved. We in the audience couldn t wish for a more exhilarating finish to what has been a remarkable journey. The Ausgrid network includes the poles, wires and substations that deliver electricity to more than 1.6 million homes and businesses in New South Wales. Ausgrid is transforming the traditional electricity network into a grid that is smarter, more reliable and more interactive something we are very proud of. We re also extremely proud of our partnership with the Sydney Symphony and our support of the orchestra s flagship Master Series. We trust that you will enjoy tonight s performance and we look forward to seeing you at the final Ausgrid Master Series concert in 2011, Beethoven s Eroica. George Maltabarow Managing Director

2 2011 SEASON AUSGRID MASTER SERIES Wednesday 23 November 8pm Friday 25 November 8pm Saturday 26 November 8pm 7 Monday 28 November 7pm Sydney Opera House Concert Hall MAHLER 2: RESURRECTION Vladimir Ashkenazy conductor Emma Matthews soprano Michelle DeYoung mezzo-soprano Sydney Philharmonia Choirs Brett Weymark chorusmaster GUSTAV MAHLER ( ) Symphony No.2 in C minor, Resurrection 1. Allegro maestoso. With serious and solemn expression throughout A pause of about five minutes 2. Andante moderato. Very leisurely 3. [Scherzo] Calmly flowing 4. Urlicht [Primordial Light]. Very solemn but simple. Like a chorale 5. Finale. In the tempo of the scherzo Slowly Allegro energico Slowly The last three movements are played without pause Monday s performance will be broadcast live across Australia on ABC Classic FM. Monday s performance will be webcast by BigPond. Visit bigpondmusic.com/ sydneysymphony or watch live via the Sydney Symphony mobile app or on Telstra T-box. Pre-concert talk by Nicholas Carter in the Northern Foyer, 45 minutes before each performance. Visit sydneysymphony.com/talk-bios for speaker biographies. Approximate durations: 22 minutes, 5-minute pause, 58 minutes The concert will conclude at approximately 9.30pm (8.30pm on Monday). There is no interval. PRESENTING PARTNER

3 LEBRECHT MUSIC & ARTS The final page of Mahler s manuscript score for the Second Symphony, dated by the composer. 6 Sydney Symphony

4 INTRODUCTION Mahler 2: Resurrection Nearly two years ago we embarked on our Mahler Odyssey a journey, but no ordinary journey. This cycle of Mahler symphonies, led by Vladimir Ashkenazy, has been a true adventure. No matter how many or how few Mahler Odyssey concerts you may have attended over the past two seasons, you re here with us tonight for the final program not Mahler s final symphony, but certainly one of his grandest and most stirring finales. The Mahler of the Second Symphony is only five years older than the Mahler we met at the beginning of the Odyssey, but already his ambition and vision have grown. In the second symphony the hero of the first is, in Mahler s words, borne to his grave, his life being reflected, as in a clear mirror, from a high vantage point. And already, Mahler s song-symphony instinct latent in the First Symphony is literally finding its voice. The Resurrection Symphony is the first of his symphonies to introduce not just quotations from his song settings but vocal soloists and chorus. This is also a symphony in which Mahler shares his vision of immortality, and this yields, in Ashkenazy s words, a spectacular ending, an ending that conveys a spirit of hope and optimism that makes this absolutely the right way to end our Mahler Odyssey. We thank you for sharing the journey with us. 7 Sydney Symphony

5 ABOUT THE MUSIC Gustav Mahler Symphony No.2 in C minor, Resurrection 1. Allegro maestoso. With serious and solemn expression throughout A pause of about five minutes 2. Andante moderato. Very leisurely 3. [Scherzo] Calmly flowing 4. Urlicht [Primordial Light]. Very solemn but simple. Like a chorale 5. Finale. In the tempo of the scherzo Slowly Allegro energico Slowly The last three movements are played without pause Emma Matthews soprano Michelle DeYoung mezzo-soprano Sydney Philharmonia Choirs My new work is to the one you know [my First Symphony] as a man to an infant, Mahler wrote to Richard Strauss after he had completed the finale of his Second Symphony. To another correspondent he declared: It is the most important thing that I have done. It had been a troubled and piecemeal process of composition, taking him seven years, and had grown from a single 22-minute movement to a work 85 minutes long, requiring a very large orchestra as well as a choir and vocal soloists. Mahler began work on the first movement, a massive funeral rite, in 1887, when he was second conductor at the Leipzig Opera. At this stage it was called Todtenfeier (Rites for the Dead), and by September 1888 he had completed this first version of it. He would play it through to friends, but was not sure what kind of second movement could follow it. He would not find a solution to this problem until 1893, and at one point decided that the work might stand alone as a single-movement tone poem. The next major event in the life of this symphony took place in Hamburg where, in 1891, Mahler took up the post of Chief Conductor of the Opera. His endeavours there earned the approval of Hans von Bülow, the great pianist and conductor who had given the first performances of Wagner s Tristan und Isolde and The Mastersingers of Nuremberg. Mahler, anxious to have Bülow conduct Todtenfeier, played it to him on the piano, but at the end of the recital the older man blocked his ears, saying: Compared with this, Tristan is like a Haydn symphony! This incident in effect froze Mahler s work on the piece Keynotes MAHLER Born Kalischt, 1860 Died Vienna, 1911 Mahler believed that a symphony must embrace the world. His own symphonies are large-scale, requiring huge orchestras (and sometimes voices) and often lasting more than an hour; they cover a tremendous emotional range; and they have sometimes been described as Janus-like in the way they blend romantic and modern values, self-obsession and universal expression, idealism and irony. RESURRECTION SYMPHONY The stimulus for Mahler s completion of his Second Symphony in 1894 was a Resurrection ode by 18thcentury religious poet Friedrich Klopstock. The ode gave him the basis for the choral finale as well as the unifying concept for the symphony. It commences with a stormy movement, dominated by funeral march motifs. It s complex and epic in scale. What can follow such music? Mahler specifies a 5-minute pause. The dance-like second movement offers relief. The third movement, a scherzo, refers to a satirical song setting, St Anthony of Padua s Sermon to the Fishes. This runs directly into a tiny (fourminute) setting of Urlicht in which the human voice is heard for the first time, and in turn leads a 30-minute finale that begins with a fanfare of terror before making the journey from despair to a rapturous affirmation of the promise of eternal life. 8 Sydney Symphony

6 Mahler s composing hut on the Attersee completely, and he could not find a way forward until Bülow s death three years later. He knew he wanted to use voices in the finale, but was daunted by the model of Beethoven s Ninth, and feared accusations of imitation. Then, at Bülow s funeral service, the choir performed a setting of Klopstock s Resurrection Ode, and at once Mahler recognised the verses that would form the resolution of his Todtenfeier. As he later described this experience: My mood as I sat there thinking of the man who had died was wholly in tune with the work that was growing in my mind Klopstock s chorale Auferstehn was like a flash of lightning the flash that all creative artists wait for the whole work now stood clearly before me. Almost immediately he completed his revisions to the first movement and began work on the finale. The bulk of his work on the last movement took place in June 1894, in a new summerhouse (really a composing cottage) he had built for himself in Steinbach on the Attersee, near Salzburg. As he wrote, he also came to a decision about the symphony s inner sections, deciding on a series of interludes that would provide contrast with the big outer movements. He had already written his setting of Urlicht, probably in 1892, and in the summer of 1893 he elaborated and re-orchestrated another Wunderhorn song, St Anthony of Padua s Sermon to the Fishes, with a view to including it in the symphony. The second movement, the Andante moderato, was also completed at this time. By December 1894 Mahler had completed the symphony, and had placed the movements in their current order. at one point Mahler decided that the first movement might stand alone as a singlemovement tone poem, Todtenfeier. 9 Sydney Symphony

7 Today, you ll be taken away to Vienna by Gustav Mahler. Have you packed your bags? For further information please contact the Vienna Tourist Board: Phone:

8 Klopstock s poem had given Mahler the dramatic structure he needed to complete the symphony. He conducted the first three movements in Berlin in March 1895, to a generally hostile critical reception. On the other hand, the first complete performance, also in Berlin, in December of that year, was Mahler s first real public success as a composer. Listening Guide In 1896, at the request of the young music critic and composer Max Marschalk, Mahler set down the ideas behind the symphony. He expanded this description five years later for a Dresden performance. In the composer s words, then, the first movement asks: What is life and what is death? Why did you live? Why did you suffer? Is it nothing but a huge, frightful joke? We must answer these questions in some way, if we want to go on living. These questions are posed within a large sonata form structure in C minor, and the symphony opens searingly with cellos and basses stating the main funeral march theme we are already on the edge of the abyss, and will return there repeatedly. But there is great variety of texture and tempo; the second subject, on the violins, brings compassion, and there is much pastoral music introduced by the woodwind instruments. In the development section Mahler introduces several new themes, including a mournful tune first played by cor anglais and bass clarinet. The plainchant Dies irae is transformed into a shining chorale culminating in E flat, the ultimate key of the finale which is obliterated by the funeral march. With a series of shattering chords on the brass, almost threatening complete disintegration, we are led into the recapitulation, and the movement closes with a huge chromatic scale played by most of the orchestra, suggesting a mood of bitter despair. At this point Mahler asks for a five-minute pause before the second movement is played. The rest of the symphony is Mahler s attempt to answer the question: Why did you live? His responses are contrasted with one another as dramatically as possible, each movement reacting to rather than flowing from its predecessor. In this way the work resembles a series of panels rather than a single great canvas, and this was undoubtedly Mahler s intention, not simply a symptom of the work s chequered compositional history. After the anguished conclusion of the opening movement the Andante recalls moments of life s joy in a stream of German poet Friedrich Klopstock ( ) What is life and what is death? LEBRECHT AUTHORS 11 Sydney Symphony

9 Gustav Mahler 1896 melody set to the gentle rhythm of the ländler, an Austrian country dance with which Mahler would have been familiar since his childhood. As he described it, this movement depicts the image of a long-dead hour of happiness, which now enters your soul like a sunbeam that nothing can obscure. But it is obscured during the trio section, by the cellos, basses and trombones, after which the return of the principal ländler theme restores the mood of peace and tranquillity. Violent timpani strokes open the scherzo, as Mahler s hero awakens from this wistful dream and returns into the confusion of life, beholds the tumult of appearances and despairs of himself and God. The world and life become for him a disorderly apparition; disgust for all being and becoming lays hold of him with an iron grip and drives him to cry out in desperation. Mahler s song about St Anthony s futile sermon to the fishes becomes a dance of life, adopting many different faces cynicism, false cheer, fright and interrupted on its way by woodwind interjections. There is joy and beauty in the two trios the first an exuberant country dance, the second a sentimental close-harmony tune for the trumpets but the mood of futility and emptiness again becomes all-pervasive, culminating in a terrible cry of disgust which is dispelled by a return to the dance of life music, now descending through the orchestra until the final stroke on the tam-tam. the image of a longdead hour of happiness which now enters your soul like a sunbeam that nothing can obscure MAHLER 12 Sydney Symphony

10 Mahler wrote of his response to the St Anthony story: look at the congregation swimming away as soon as the sermon is over Not one of them is the wiser for it, even though the Saint has performed for them. But only a few people will understand my satire on mankind. There is no break between the third and fourth movements. After the hollow sounds of the scherzo have died away, the mezzo-soprano begins the song Urlicht. In the words of the writer Philip Barford, the entry of the voice here serves as a pivotal point, transfiguring the symphonic scheme with light and depth. Urlicht O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht ich im Himmel sein! Da kam ich auf einen breiten Weg; Da kam ein Engelein und wollt mich abweisen. Ach nein! Ich liess mich nicht abweisen: Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben! Primordial Light Little red rose! Humankind lies in greatest need! Humankind lies in greatest pain! How I wish I were in heaven! Then I came upon a broad path; an angel appeared and wanted to turn me away. Ah no! I did not let myself be turned away. I came from God and would return to God! Dear God will give me a little light, will light my way to the eternal, blessed life! Without pause we hear the cry of disgust once again, ushering in the longest and most complex movement of all. We are confronted once more with terrifying questions, the composer wrote of this moment. The last judgement is at hand, and the horror of the day of days has come upon us. This gives way to a passage of great peace, confidence and spaciousness, in preparation for the call to resurrection. We are now launched firmly into the episodic development section, where themes from previous movements (except the second) are recalled, and, from the later choral sections of the current movement, anticipated. The Dies irae is heard again, then a clear, confident theme appears for the first time, on the trombone, and is transformed into a series of rapturous slow fanfares. After a tremendous crescendo for percussion alone, a great march of the dead now begins. The earth trembles, graves burst open, the dead arise and step forth in long endless files, Mahler wrote. The cry for mercy and grace falls terrifyingly on our ear. This march rises to a fearful climax, only to be succeeded by another march, first heard off-stage, that climaxes with a cry of disgust even more 13 Sydney Symphony

11 ferocious than the one which opened this movement. A solo horn now plays the passage later sung by the mezzo-soprano as O believe, my heart believe, but is soon overwhelmed by off-stage horns announcing the call to resurrection, answered this time by two groups of off-stage trumpets. We seem to be between heaven and earth, as the call to the afterlife is mingled with a nightingale s call on the flute, like a last quivering echo of earthly life. Then, in hushed tones, the choir sings the first verses of Klopstock s ode, with the soprano soloist joining them to create an effect of breathtaking beauty. The new stanzas Mahler wrote himself, to answer explicitly the first movement s questions, are given to the two vocal soloists. The music gradually builds in confidence and moves through different keys and textures towards E flat, in which key the Resurrection chorale shines forth, crowning one of the most remarkable of all symphonic creations. Mahler s description of the score s final pages is the only possible one: An overwhelming love lightens our being. We know and are. Auferstehung Resurrection Chorus and soprano Aufersteh n, ja aufersteh n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben Wird der dich rief dir geben. Wie der aufzublüh n wirst du gesä t! Der Herr der Ernte geht Und sammelt Garben uns ein, die starben! Mezzo-soprano O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, Dein, ja Dein, was du gesehnt! Dein, was du geliebt, Was du gestritten! Soprano O glaube: Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten! Chorus Was entstanden ist, das muss vergehen! Was vergangen, auferstehen! Hör auf zu beben! Bereite dich zu leben! You will rise again, rise again, My mortal dust, after a brief rest. Immortal life! the one who called you will give you immortal life. You are sown to flower. The lord of the harvest goes forth And gathers us in sheaves, we who have died. Believe, O my heart, believe: you have lost nothing. All that you longed for is yours, yes, yours: all you loved, all you fought for is yours. O believe: You were not born in vain! You did not live or suffer in vain. All that is created must die. All that has died must rise again! Cease your trembling! Prepare to live! 14 Sydney Symphony

12 Soprano, mezzo-soprano and chorus O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd ich entschweben Zum Licht, zu dem kein Aug gedrungen! Mit Flügeln, die ich mir errungen Werde ich entschweben! Sterben werd ich, um zu leben! Aufersteh n, ja aufersteh n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen! O Pain that pierced me through, I have torn free of you! O Death, the conqueror of all, now you are defeated! On the wings I won in the fierce striving for love I will soar to the light that no eye has seen! On the wings I won I will soar! I will die so I may live! You will rise again, yes, rise again, my heart, in an instant! The blows you have struck will carry you to God! PHILLIP SAMETZ 1995/2004 TRANSLATIONS: SYMPHONY AUSTRALIA 2003 In addition to the vocal soloists and large chorus, Mahler s Resurrection Symphony calls for an orchestra comprising four flutes (all doubling piccolo), four oboes (two doubling cor anglais), five clarinets (including bass clarinet and E flat clarinets) and four bassoons (one doubling contrabassoon); ten horns and ten trumpets (some of which are heard from offstage); four trombones and tuba; timpani and a large percussion section; two harps, organ and strings. Perhaps you ve noticed there are 11 horns on stage. The role of the additional player, known as a bumper, is to assist and provide respite for the first horn by doubling in selected passages and by briefly taking over the first horn part when an important solo is approaching. The Sydney Symphony gave the first Australian performance of Mahler s Resurrection Symphony in 1950, conducted by Otto Klemperer, with soloists Valda Bagnall and Florence Taylor and the Hurlstone Choral Society. (This performance is available on recording.) The most recent performance was in 1995, conducted by Edo de Waart with Clare Gormley and Elizabeth Campbell as soloists and the Sydney Philharmonia Choirs. Take the orchestra with you Download our FREE mobile app for music excerpts, live webcasts, program books and more Sydney Symphony

13 FAREWELL DANIEL MENDELOW This week s performances mark the retirement of Daniel Mendelow. In his 33 years as Principal Trumpet he has made a significant contribution to the life of the orchestra as both an outstanding musician and an exemplary colleague. Ronald Prussing, Principal Trombone, recalls working alongside Dan: He immediately impressed me with his beautiful sound. Dan was able to arch over the orchestra with brilliance and ease, and yet change the sound to the most beautiful sotto voce when required. There are too many musical highlights to list them all, but they would certainly include his stamina in music such as Richard Strauss s Alpine Symphony, his incomparable lyricism in Mahler symphonies and his outstanding control when playing piccolo trumpet in music from Handel to Stravinsky. Dan s unerring sense of style and his outstanding musicianship have long been admired. Equally admired is his generosity in sharing knowledge and encouraging talent many of his students now hold orchestra positions here in Australia Visit sydneysymphony.com/daniel_mendelow to read a feature-profile. and overseas, ensuring the legacy of his influence. Dan, your friends and fans wish you health, happiness and everything you could wish for in your retirement! With thanks to Ronald Prussing PHOTO: VAL ANASCO NOW AVAILABLE! Purchase at the concert Also available sydneysymphony.com/recordings Concert Hall Foyer All good record stores

14 GLOSSARY CHROMATIC SCALE a scale that uses all 12 notes of the octave in succession; if played on a piano it would require all the white keys and all the black keys. CLOSE HARMONY a technique in which the notes of a chord are played or sung within a narrow range. Close harmony gives barbershop quartets and groups such as the Beach Boys their distinctive sound. DIES IRAE (Latin for Day of wrath ) a liturgical poem forming part of the Roman Catholic Mass for the Dead. Its distinctive plainchant melody is often quoted by composers: Saint-Saëns Danse macabre, Liszt s Totentanz, various works by Rachmaninoff, and most famously in Berlioz Symphonie fantastique. LÄNDLER a popular Austrian country dance in triple time. A forerunner of the waltz, it is slower and heavier than the Viennese waltz. SCHERZO literally, a joke; the scherzo as a genre was a creation of Beethoven. For composers such as Mozart the third movement of a symphony had typically been a minuet (in a dance-like triple time and featuring a contrasting trio). In Beethoven s hands it acquired a joking and playful mood (sometimes whimsical and startling) as well as a much faster tempo; later composers such as Mahler and Shostakovich often gave the scherzo a cynical, driven, or even diabolical character less playful and more disturbing. SONATA FORM this term was conceived in the 19th century to describe the harmonically based structure most classical composers had adopted for the first movements of their sonatas and symphonies. It involves the EXPOSITION, or presentation of themes and subjects: the first in the tonic or home key, the second in a contrasting key. The tension between the two keys is intensified in the DEVELOPMENT, where the themes are manipulated and varied as the music moves further and further away from the ultimate goal of the home key. Tension is resolved in the RECAPITULATION, where both subjects are restated in the tonic. Sometimes a CODA ( tail ) is added to enhance the sense of finality. TONE POEM (also symphonic poem ) a genre of orchestral music that is symphonic in scope but adopts a freer structure in service of an extra-musical program or narrative that provides the narrative or scene. Liszt was the first to use the term and Richard Strauss also championed the symphonic poem in preference to writing regular symphonies. TRIO in a minuet or scherzo movement, the trio is the contrasting middle section of the movement. Originally (in ensemble music) it was performed by an actual trio of instruments, contrasting with the larger group, but later composers opted for less literal contrasts of colour and texture. In much of the classical repertoire, names of movements and major sections of music are taken from the Italian words that indicate the tempo and mood. Examples of terms from this program are included here. Allegro energico fast, energetic Allegro maestoso fast, majestically Andante moderato an easy walking pace, moderately The universal vocabulary of musicians Italian was developed during the baroque period, at a time when Italian music was dominant. It is not always linguistically correct or even capable of direct translation, but as a lingua franca it is profoundly meaningful to musicians throughout the world. But Mahler also made a point of providing often quite elaborate instructions for expression and interpretation in his native German. We ve translated these where they occur, since they re not standard musical terms. 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

15 MORE MUSIC Selected Discography Broadcast Diary MAHLER 2 Naturally, we d encourage you to build your Mahler symphony collection from our Mahler Odyssey releases as they are released. But if you simply can t wait for your Mahler symphonies, the Rafael Kubelik set with the Bavarian Radio Symphony Orchestra is recommended. DEUTSCHE GRAMMOPHON Also recommended, despite its historic sound, is one of the orchestra s earliest surviving recordings of significance, documenting Otto Klemperer s performances of Mahler 2 with the Sydney Symphony Orchestra in The soloists were Valda Bagnall and Florence Taylor, and the chorus was the fore-runner of the Sydney Philharmonia Choirs, the Hurlstone Choral Society. The most recent release of this recording formed part of the Sydney Symphony 75th Anniversary boxed set. ABC CLASSICS ASHKENAZY WITH THE SYDNEY SYMPHONY Vladimir Ashkenazy s recordings with the Sydney Symphony now include performances of Elgar symphonies and Prokofiev symphonies and piano concertos, as well as the Mahler symphonies and selected song cycles, which are being recorded during the course of the Mahler Odyssey ( ). These recordings, issued on Exton/ Triton or on the Sydney Symphony s own label, are available from our website, in record shops and in the foyer at interval. DECEMBER Wednesday 7 December, 9.10pm MOZART IN THE CITY Roger Benedict viola-director Geoffrey Lancaster piano-director Brahms, Mozart, Haydn Friday 9 December, 8pm BEETHOVEN S EROICA: HERO/ANTIHERO Osmo Vänskä conductor Alisa Weilerstein cello Tchaikovsky, Prokofiev, Beethoven Tuesday 13 December, 1.05pm EVGENY KISSIN IN RECITAL All-Liszt program, including the Sonata in B Minor Thursday 15 Dec, 1.05pm KISSIN PLAYS GRIEG Vladimir Ashkenazy conductor Evgeny Kissin piano Brahms, Grieg Saturday 17 Dec, 1pm KISSIN PLAYS CHOPIN Vladimir Ashkenazy conductor Evgeny Kissin piano Chopin, Rachmaninoff EMMA MATTHEWS Emma Matthews most recent solo release was Emma Matthews in Monte Carlo, a collection of bel canto arias accompanied by the Monte Carlo Philharmonic and conductor Brad Cohen. ABC CLASSICS MBS-FM SYDNEY SYMPHONY 2011 Tuesday 13 December, 6pm Musicians, staff and guest artists discuss what s in store in our forthcoming concerts. Webcasts MICHELLE DEYOUNG Hear Michelle DeYoung sing Mahler s Second Symphony in a recording with the Vienna Philharmonic and Vienna Singverein, conducted by Pierre Boulez. The soprano is Christine Schäfer. DEUTSCHE GRAMMOPHON Monday night s performance of MAHLER 2 will be webcast live on BigPond and Telstra T-Box (Channel 919) and made available for later viewing On Demand. Visit: bigpondmusic.com/sydneysymphony Sydney Symphony Online Join us on Facebook facebook.com/sydneysymphony Follow us on Twitter twitter.com/sydsymph Watch us on YouTube Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert. Stay Tuned Sign up to receive our fortnightly e-newsletter sydneysymphony.com/staytuned Mobile App Download our free app for iphone or Android sydneysymphony.com/mobile_app 18 Sydney Symphony

16 ABOUT THE ARTISTS Vladimir Ashkenazy conductor In the years since Vladimir Ashkenazy first came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career, not only as one of the most renowned and revered pianists of our times, but as an inspiring artist whose creative life encompasses a vast range of activities. Conducting has formed the largest part of his musicmaking for the past 20 years. He has been Chief Conductor of the Czech Philharmonic ( ), and Music Director of the NHK Symphony Orchestra, Tokyo ( ). Since 2009 he has held the position of Principal Conductor and Artistic Advisor of the Sydney Symphony. Alongside these roles, Vladimir Ashkenazy is also Conductor Laureate of the Philharmonia Orchestra, with whom he has developed landmark projects such as Prokofiev and Shostakovich Under Stalin (a project which he toured and later developed into a TV documentary) and Rachmaninoff Revisited at the Lincoln Center, New York. He also holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras, including the Cleveland Orchestra (where he was formerly Principal Guest Conductor), San Francisco Symphony, and Deutsches ymphonie Orchester Berlin (Chief Conductor and Music Director, ), as well as making guest appearances with orchestras such as the Berlin Philharmonic. Vladimir Ashkenazy continues to devote himself to the piano, building his comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara s Piano Concerto No.3 (which he commissioned), Rachmaninoff transcriptions, Bach s Wohltemperierte Klavier and Beethoven s Diabelli Variations. His most recent release is a recording of Bach s six partitas for keyboard. A regular visitor to Sydney over many years, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with his five-program Rachmaninoff festival forming a highlight of the 75th Anniversary Season in Vladimir Ashkenazy s artistic role with the Sydney Symphony includes collaborations on composer festivals, recording projects and international touring. KEITH SAUNDERS 19 Sydney Symphony

17 Emma Matthews soprano Emma Matthews is a highly acclaimed coloratura soprano who has performed with the Sydney and Melbourne symphony orchestras, Australian Chamber Orchestra and Orchestre Philharmonique de Monte Carlo, with such conductors as Vladimir Ashkenazy, Charles Mackerras and Yakov Kreizberg. She has also appeared in the Sydney, Melbourne, Adelaide and Huntington festivals, and as a special guest with José Carreras in his Sydney concerts. Last year she made her Royal Opera House Covent Garden debut in the title role of The Cunning Little Vixen. In demand on the concert platform, her repertoire includes the Mozart, Fauré and Brahms requiems; Poulenc, Villa Lobos, Haydn masses and Handel s Messiah. She made her debut with Opera Australia in 1993, and has since sung the title roles in Lulu, Lakmé, Lucia di Lammermoor and The Cunning Little Vixen. Other roles have included Cleopatra (Giulio Cesare), Juliette (Roméo et Juliette), Marie (La Fille du Régiment), Gilda (Rigoletto), Konstanze (Die Entführung aus dem Serail), Amina (La Sonnambula), Pamina (The Magic Flute), Almirena (Rinaldo), Sophie von Faninal (Der Rosenkavalier), Giulietta (I Capuleti e i Montecchi), Zwaantie (Batavia by Richard Mills), the four heroines (The Tales of Hoffmann) and Ismene (Mitridate). Most recently, she performed the title roles in Partenope (Handel) and Lakmé, Leila (The Pearl Fishers) and Philomele (The Love of the Nightingale by Richard Mills) for Opera Australia and Amina (La Sonnambula) for State Opera of South Australia. Next year she will sing Violetta (La Traviata) and Lucia (Lucia di Lammermoor) for Opera Australia, and also for West Australian Opera. Future concert appearances will include Mahler s Fourth Symphony (Melbourne Symphony Orchestra), and A German Requiem by Brahms (West Australian Symphony Orchestra). Her accolades include six Helpmann Awards, nine Green Room Awards, a Mo Award and the Remy Martin Australian Opera Award. She recently released a solo album of bel canto arias, Emma Matthews in Monte Carlo. Emma Matthew s most recent appearance with the Sydney Symphony was in 2010, when she sang Mahler s Fourth Symphony. BRIDGET ELLIOT 20 Sydney Symphony

18 Michelle DeYoung mezzo-soprano Michelle DeYoung has established herself as one of the most exciting artists of her generation. She is in demand throughout the world, appearing regularly with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, the Met Orchestra, Vienna Philharmonic, BBC Symphony Orchestra, Philharmonia Orchestra, Orchestre de Paris, Berliner Staatskapelle, and the Concertgebouw Orchestra. In addition she has performed at the Ravinia, Tanglewood, Saito Kinen (Japan), Edinburgh and Lucerne festivals. Equally at home on the opera stage, she has appeared with such major houses as the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera, Houston Grand Opera, La Scala, Bayreuth Festival, Berlin State Opera, Paris Opera and the Tokyo Opera. Her award-winning discography includes Kindertotenlieder, Mahler s Third Symphony and Das Klagende Lied with Michael Tilson Thomas and the San Francisco Symphony; The Trojans with Colin Davis and the London Symphony Orchestra; Das Lied von der Erde with the Minnesota Orchestra and tenor Jon Villars, conducted by Eiji Oue; and recordings of Mahler s Third Symphony with Chicago Symphony Orchestra and Bernard Haitink and with the Pittsburgh Symphony and Manfred Honeck. She has recently released her first solo disc. This season, Michelle DeYoung sings the title role in The Rape of Lucretia (Houston Grand Opera) and Dalila in Samson et Dalila (Washington Concert Opera), and makes appearances with the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, San Francisco Symphony Orchestra, National Symphony Orchestra, Phillharmonia Orchestra and the Hong Kong Philharmonic. This is her Sydney Symphony debut. CHRISTIAN STEINER 21 Sydney Symphony

19 Sydney Philharmonia Choirs Formed in 1920, Sydney Philharmonia Choirs is Australia s largest choral organisation. The three principal choirs the Chamber Singers, Symphony Chorus and the young adult choir VOX perform a diverse repertoire each year, ranging from early a cappella works to challenging contemporary music. Sydney Philharmonia Choirs presents an annual concert series featuring sacred and secular choral masterpieces, and has premiered several commissioned works, most recently Peter Sculthorpe s To Music. In 2002, Sydney Philharmonia was the first Australian choir to sing at the BBC Proms, performing Mahler s Eighth Symphony under Simon Rattle. Other highlights have included Beethoven s Ninth for the Nagano Winter Olympics, concerts with Barbra Streisand and Britten s War Requiem at the 2007 Perth Festival. Appearances with the Sydney Symphony have included Mahler s Eighth for the Olympic Arts Festival in 2000 and again in 2010, Mahler s Third Symphony, Stravinsky s Oedipus Rex and Symphony of Psalms (2010 Sydney Festival), and Midsummer Shakespeare for this year s Symphony in the Domain. In February, VOX made its first independent appearance with the orchestra, performing in Grieg s Peer Gynt. Last year, Sydney Philharmonia Choirs celebrated 90 years of music-making and made a return appearance at the Proms. Brett Weymark Artistic and Musical Director Brett Weymark studied singing at the University of Sydney and conducting at the Sydney Conservatorium. In 2003 he was appointed Musical Director of Sydney Philharmonia Choirs, which he has conducted in premieres of works by composers such as Elena Kats-Chernin and Peter Sculthorpe, and prepared for concerts with conductors such as Charles Mackerras, Charles Dutoit and Simon Rattle. Most recently he has conducted the Brighton to Bondi program for Sydney Philharmonia Choirs and Die Fledermaus at the West Australian Academy of Performing Arts in Perth, and in 2012 he will conduct the OzOpera tour of Don Giovanni. Carolyn Watson Assistant Chorusmaster Carolyn Watson is a conductor and music educator. During she conducted orchestras in Germany, Austria, Czech Republic, Hungary, Bulgaria and Romania and assisted on a production of Carmen at the Israeli National Opera. She also assisted Charles Mackerras and worked with musicians of the Berlin Philharmonic Orchestra in Interaction Carolyn Watson is the recipient of the Charles Mackerras Conducting Prize (Australian Music Foundation in London), Opera Foundation Australia s Bayreuth Opera Award and the Nelly Apt Conducting Scholarship. She is currently Conductor-in- Residence at the Sydney Conservatorium High School and Associate Conductor of the Tasmanian Discovery Orchestra. 22 Sydney Symphony

20 Brett Weymark Artistic & Musical Director Lisa Nolan General Manager Carolyn Watson Assistant Chorusmaster Josephine Allan, Michael Curtain, Fiona McCabe Rehearsal pianists Sopranos Shelley Andrews* Ruth Beecher Anne Blake Jodie Boehme Nikki Bogard Larissa Burak Claire Burrell-McDonald Elizabeth Cartmer Anne Cooke Pam Cunningham Charmaine Cusack Rouna Daley Catherine De Luca Shamistha De Soysa* Soline Epain-Marzac Natalie Fisher Judith Gorry Alice Green Caroline Gude Gillian Haslehust-Smith Ellen Hopper Sue Justice Victoria Laverick Yvette Leonard Carolyn Lowry Lyanne Macfarlane Amelia Myers Jayne Oishi Sarah Parker Dympna Paterson Laura Platts Georgia Rivers Susie Roberts Maya Schwenke Meg Shaw Rachel Sibley Simone Toldi Maree Tyrell Karen Walmsley Sara Watts Jacqui Wilkins Altos Leonie Armitage Katie Blake Jan Borrie Gae Bristow* Ruth Collerson Pip Davies Catriona Debelle Ruth Edenborough Helen Esmond Jan Fawke Phoebe Ferguson Elizabeth Galloway Penny Gay Linda Gerryts Jennifer Gillman Rebecca Gladys-Lee Jemma Golding Edith Gray Tracy Hall Sue Harris Jenny Harry Fiona Hart Kathryn Harwood Vesna Hatezic Karen Henwood Margaret Hofman Sarah Howell Sanne Hulst Melinda Jefferson Pia Kostiainen Rachel Maiden Rachel Mansted Hannah Mason Janice McKeand Tijana Miljovska Penny Morris Eugenia Munro Helen Pedersen Judith Pickering Beverley Price Clodagh Reid Frances Ruocco Arwen Seccombe Jan Shaw Megan Solomon Vanessa South* Erica Svampa Robyn Tupman Sheli Wallach Catherine Wilson Priscilla Yuen Tenors Matthew Allchurch Michael Clark Daniel Comarmond Malcolm Day Robert Elliott Denys Gillespie* Steven Hankey Jude Holdsworth Keyan Karroobee Michael Kertesz David Larkin Selwyn Lemos Vincent Lo Thomas MacDonald Stephen McDonnell Mark Meehan Brian Moloney Dimitry Moraitis Daniel Sloman* Paul Soper Robert Thomson Alex Walter* Basses Martin Baird John Bartholomaeus Dominic Blake Simon Boileau Peter Callaghan Edwin Carter Julian Coghlan Daryl Colquhoun Paul Couvret Robert Cunningham Tom Forrester-Paton Robert Green Jang Hee Han Eric Hansen Derek Hodgkins Angus Johnson Fintan Keane Martin Kuskis Johann Loibl Ian McCulloch Mark McGoldrick Peter Poole Michael Ryan Antony Strong Ryan Tan Edwin Tomlins Nicholas Tong Jannie Van Deventer Robert Williams Arthur Winckler David Wood Ken Zhang * indicates section leaders 23 Sydney Symphony

21 MUSICIANS KEITH SAUNDERS Vladimir Ashkenazy Principal Conductor and Artistic Advisor supported by Emirates KEITH SAUNDERS Dene Olding Concertmaster Nicholas Carter Associate Conductor supported by Symphony Services International & Premier Partner Credit Suisse Performing in this concert FIRST VIOLINS Dene Olding Concertmaster Sun Yi Associate Concertmaster Kirsten Williams Associate Concertmaster Katherine Lukey Assistant Concertmaster Fiona Ziegler Assistant Concertmaster Julie Batty Jennifer Booth Marianne Broadfoot Brielle Clapson Sophie Cole Amber Davis Georges Lentz Nicola Lewis Nicole Masters Alexandra Mitchell Léone Ziegler SECOND VIOLINS Marina Marsden Kirsty Hilton Emma West Assistant Principal Jennifer Hoy A/Assistant Principal Susan Dobbie Principal Emeritus Maria Durek Emma Hayes Stan W Kornel Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Emma Jardine* VIOLAS Roger Benedict Tobias Breider Anne-Louise Comerford Robyn Brookfield Sandro Costantino Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Leonid Volovelsky Jacqueline Cronin# Nicole Forsyth* CELLOS Catherine Hewgill Leah Lynn Assistant Principal Fenella Gill Timothy Nankervis Elizabeth Neville Adrian Wallis David Wickham Rowena Crouch# Mee Na Lojewski* Rachael Tobin# DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley Principal Emeritus David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward Bold = Principal Italic= Associate Principal * = Guest Musician # = Contract Musician = Sydney Symphony Fellow FLUTES Janet Webb Emma Sholl Carolyn Harris Rosamund Plummer Principal Piccolo OBOES Diana Doherty Shefali Pryor David Papp Alexandre Oguey Principal Cor Anglais CLARINETS Lawrence Dobell Francesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet Rowena Watts BASSOONS Matthew Wilkie Roger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon HORNS Robert Johnson Ben Jacks Geoffrey O Reilly Principal 3rd Lee Bracegirdle Euan Harvey Marnie Sebire Ed Allen* Carla Blackwood* Katy Grisdale Jenny McLeod* Brendan Parravicini* TRUMPETS Daniel Mendelow Paul Goodchild Joshua Clarke* John Foster Anthony Heinrichs Alexandra Bieri* Andrew Evans* Colin Grisdale* Justin Lingard* Phill O Neill* TROMBONES Ronald Prussing Scott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone TUBA Steve Rossé TIMPANI Richard Miller Mark Robinson Assistant Principal PERCUSSION Rebecca Lagos Colin Piper John Douglas* Kevin Man* Alison Pratt* Philip South* HARP Louise Johnson Genevieve Lang* ORGAN David Drury* To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: If you don t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer. 24 Sydney Symphony

22 THE SYDNEY SYMPHONY PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR Vladimir Ashkenazy PATRON Her Excellency Professor Marie Bashir AC CVO JOHN MARMARAS Founded in 1932 by the Australian Broadcasting Commission, 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 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 worldwide recognition for artistic excellence, most recently in a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival. The Sydney Symphony s first 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, Zdeněk Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra s history also boasts collaborations with legendary figures 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, Gordon Kerry and Georges Lentz, and a 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. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label. This is the third year of Ashkenazy s tenure as Principal Conductor and Artistic Advisor. 25 Sydney Symphony

23 SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body The Sydney Symphony is assisted by the NSW Government through Arts NSW PREMIER PARTNER COMMUNITY PARTNER PLATINUM PARTNER MAJOR PARTNERS GOLD PARTNERS SILVER PARTNERS Television - Audio REGIONAL TOUR PARTNERS BRONZE PARTNER Emanate BTA Vantage MARKETING PARTNER 2MBS Sydney s Fine Music Station 26 Sydney Symphony

24 PLAYING YOUR PART The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499. PLATINUM PATRONS $20,000+ Brian Abel Geoff Ainsworth AM & Vicki Ainsworth Robert Albert AO & Elizabeth Albert Terrey Arcus AM & Anne Arcus Tom Breen & Rachael Kohn Sandra & Neil Burns Mr John C Conde AO Robert & Janet Constable In memory of Hetty & Egon Gordon The Hansen Family Ms Rose Herceg The Estate of Mrs E Herrman James N. Kirby Foundation Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Justice Jane Mathews AO Mrs Roslyn Packer AO Dr John Roarty in memory of Mrs June Roarty Paul & Sandra Salteri Mrs Penelope Seidler AM Mrs W Stening Mr Fred Street AM & Mrs Dorothy Street Mr Peter Weiss AM & Mrs Doris Weiss Westfield Group Ray Wilson OAM in memory of James Agapitos OAM Mr Brian and Mrs Rosemary White June & Alan Woods Family Bequest Anonymous (1) GOLD PATRONS $10,000 $19,999 Alan & Christine Bishop Ian & Jennifer Burton The Estate of Ruth M Davidson The Hon Ashley Dawson-Damer Paul R. Espie Ferris Family Foundation James & Leonie Furber Dr Bruno & Mrs Rhonda Giuffre Ross Grant Helen Lynch AM & Helen Bauer Mrs Joan MacKenzie Ruth & Bob Magid Tony & Fran Meagher Mrs T Merewether OAM Mr B G O Conor Mrs Joyce Sproat & Mrs Janet Cooke Ms Caroline Wilkinson Anonymous (1) SILVER PATRONS $5,000 $9,999 Mark Bethwaite AM & Carolyn Bethwaite Jan Bowen Mr Alexander & Mrs Vera Boyarsky Mr Robert Brakspear Colin Draper & Mary Jane Brodribb Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Mrs Gretchen M Dechert Penny Edwards Mr James Graham AM & Mrs Helen Graham Mr David Greatorex AO & Mrs Deirdre Greatorex Ian Dickson & Reg Holloway Michael & Gabrielle Field Mrs Jennifer Hershon Michelle Hilton Stephen Johns & Michele Bender Judges of the Supreme Court of NSW Mr Ervin Katz Gary Linnane Mr David Livingstone David Maloney & Erin Flaherty William McIlrath Charitable Foundation Eva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum Manfred & Linda Salamon Sherry-Hogan Foundation David & Isabel Smithers Mrs Hedy Switzer Ian & Wendy Thompson Michael & Mary Whelan Trust Dr Richard Wingate Jill Wran Anonymous (2) BRONZE PATRONS $2,500 $4,999 Dr Lilon Bandler Stephen J Bell Marc Besen AO & Eva Besen AO Mr David & Mrs Halina Brett Lenore P Buckle Howard Connors Ewen & Catherine Crouch Vic & Katie French Mr Erich Gockel Kylie Green Janette Hamilton Ann Hoban Irwin Imhof in memory of Herta Imhof R & S Maple-Brown Greg & Susan Marie Mora Maxwell J A McKernan Justice George Palmer AM QC James & Elsie Moore Bruce & Joy Reid Foundation Mary Rossi Travel Georges & Marliese Teitler Gabrielle Trainor J F & A van Ogtrop Geoff Wood & Melissa Waites Anonymous (3) BRONZE PATRONS $1,000 $2,499 Charles & Renee Abrams Andrew Andersons AO Mr Henri W Aram OAM Claire Armstrong & John Sharpe Dr Francis J Augustus Richard Banks Doug & Alison Battersby David Barnes Michael Baume AO & Toni Baume Phil & Elese Bennett Nicole Berger Mrs Jan Biber Julie Bligh M Bulmer In memory of R W Burley Mr Donald Campbell & Dr Stephen Freiberg Eric & Rosemary Campbell Dr John H Casey Dr Diana Choquette & Mr Robert Milliner Joan Connery OAM & Maxwell Connery OAM Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Lisa & Miro Davis Matthew Delasey John Favaloro Mr Edward Federman Mr Ian Fenwicke & Prof N R Wills Firehold Pty Ltd Warren Green Anthony Gregg & Deanne Whittleston Akiko Gregory In memory of the late Dora & Oscar Grynberg Janette Hamilton Barbara & John Hirst Dorothy Hoddinott AO Paul & Susan Hotz Bill & Pam Hughes The Hon. David Hunt AO QC & Mrs Margaret Hunt Dr & Mrs Michael Hunter Mr Peter Hutchison Dr Michael Joel AM & Mrs Anna Joel The Hon. Paul Keating In Memory of Bernard M H Khaw Anna-Lisa Klettenberg Justin Lam Wendy Lapointe Macquarie Group Foundation Mr Robert & Mrs Renee Markovic Ms Jan Lee Martin & Mr Peter Lazar Kevin & Deidre McCann Robert McDougall Ian & Pam McGaw Matthew McInnes Harry M. Miller, Lauren Miller Cilento & Josh Cilento Miss An Nhan Mrs Rachel O Conor Mr R A Oppen Mr Robert Orrell Mr & Mrs Ortis Maria Page Piatti Holdings Pty Ltd Adrian & Dairneen Pilton Dr Raffi Qasabian Ernest & Judith Rapee Kenneth R. Reed Patricia H Reid Endowment Pty Ltd John Saunders Juliana Schaeffer Mr & Mrs Jean-Marie Simart Catherine Stephen John & Alix Sullivan The Hon. Brian Sully QC Mildred Teitler Andrew & Isolde Tornya Gerry & Carolyn Travers John E Tuckey Mrs M Turkington In memory of Dr Reg Walker Henry & Ruth Weinberg The Hon. Justice A G Whealy Mr R R Woodward Dr John Yu & Dr George Soutter Anonymous (13) BRONZE PATRONS $500 $999 Mr C R Adamson Mr & Mrs Garry S Ash Mr Peter J Armstrong Ms Baiba B. Berzins & Dr Peter Loveday Dr & Mrs Hannes Boshoff Minnie Briggs Dr Miles Burgess Pat & Jenny Burnett Ita Buttrose AO OBE Stephen Byrne & Susie Gleeson Hon. Justice J C & Mrs Campbell Percy Chissick Mrs Catherine J Clark Jen Cornish Greta Davis Elizabeth Donati Dr James & Dr Nita Durham Greg Earl & Debbie Cameron Mr & Mrs Farrell Robert Gelling Dr & Mrs C Goldschmidt Vivienne Goldschmidt Mr Robert Green Mr Richard Griffin AM Jules & Tanya Hall Mr Hugh Hallard Ken Hawkings Mrs A Hayward Roger Henning Rev Harry & Mrs Meg Herbert Sue Hewitt Mr Joerg Hofmann Dominique Hogan-Doran Alex Houghton Bill & Pam Hughes Geoff & Susie Israel Mrs W G Keighley Mr & Mrs Gilles T Kryger Mrs M J Lawrence Dr & Mrs Leo Leader Margaret Lederman Mrs Yolanda Lee Martine Letts Anita & Chris Levy Erna & Gerry Levy AM Dr Winston Liauw Mrs Helen Little Sydney & Airdrie Lloyd Mrs A Lohan Mrs Panee Low Carolyn & Peter Lowry OAM Dr David Luis Melvyn Madigan Mr K J Martin Dr Jean Malcolm Alan & Joy Martin Geoff & Jane McClellan Mrs Flora MacDonald Mrs Helen Meddings David & Andree Milman Kenneth N Mitchell Chris Morgan-Hunn Nola Nettheim Mrs Margaret Newton Mr Graham North Dr M C O Connor AM A Willmers & R Pal Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont Dr Natalie E Pelham Mr Allan Pidgeon Robin Potter Lois & Ken Rae Pamela Rogers Agnes Ross In memory of H.St.P Scarlett Dr Mark & Mrs Gillian Selikowitz Caroline Sharpen Mrs Diane Shteinman AM Dr Agnes E Sinclair Doug & Judy Sotheren Mrs Elsie Stafford Mr Lindsay & Mrs Suzanne Stone Mr D M Swan Mr Norman Taylor Ms Wendy Thompson Kevin Troy Judge Robyn Tupman Gillian Turner & Rob Bishop Professor Gordon E Wall Mr Robert & Mrs Rosemary Walsh Ronald Walledge David & Katrina Williams Audrey & Michael Wilson Dr Richard Wing Mr Robert Woods Mr & Mrs Glenn Wyss Mrs Robin Yabsley Anonymous (16) To find out more about becoming a Sydney Symphony Patron please contact the Philanthropy Office on (02) or philanthropy@sydneysymphony.com 27 Sydney Symphony

25 MAESTRO S CIRCLE Peter Weiss AM Founding President & Doris Weiss John C Conde AO Chairman Geoff & Vicki Ainsworth Tom Breen & Rachael Kohn The Hon. Ashley Dawson-Damer In memory of Hetty & Egon Gordon Andrew Kaldor & Renata Kaldor AO Roslyn Packer AO Penelope Seidler AM Mr Fred Street AM & Mrs Dorothy Street Westfield Group Ray Wilson OAM in memory of the late James Agapitos OAM SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO, Credit Suisse, Australia Alan Fang, Chairman, Tianda Group Macquarie Group Foundation John Morschel, Chairman, ANZ Andrew Kaldor, Chairman, Pelikan Artline Lynn Kraus, Sydney Office Managing Partner, Ernst & Young Shell Australia Pty Ltd James Stevens, CEO, Roses Only DIRECTORS CHAIRS JEFF BUSBY KEITH SAUNDERS KEITH SAUNDERS KEITH SAUNDERS KEITH SAUNDERS KEITH SAUNDERS 01 Richard Gill OAM Artistic Director Education Sandra & Paul Salteri Chair 02 Jane Hazelwood Viola Veolia Environmental Services Chair 03 Nick Byrne Trombone RogenSi Chair 04 Diana Doherty Principal Oboe Andrew Kaldor & Renata Kaldor AO Chair 05 Shefali Pryor Associate Principal Oboe Rose Herceg Chair 06 Paul Goodchild Associate Principal Trumpet The Hansen Family Chair 07 Catherine Hewgill Principal Cello Tony & Fran Meagher Chair 08 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair 09 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus Chair We also gratefully acknowledge the following patrons: Ruth & Bob Magid supporting the position of Elizabeth Neville, cello Justice Jane Mathews AO supporting the position of Colin Piper, percussion. For information about the Directors Chairs program, please call (02) Sydney Symphony

26 MAHLER 2 SCORE The Sydney Symphony thanks the following patrons who, through their dedicated gifts, have made possible these performances of Mahler s Resurrection Symphony. Jan Bowen John C Conde AO Ross & Jo Grant David Greatorex AO & Deirdre Greatorex Judges of the Supreme Court of NSW D & I Kallinikos Helen Lynch AM & Helen Bauer Members of the Maestro s Circle Ruth & Bob Magid Eva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum Sherry-Hogan Foundation Hedy Switzer Jill Wran Anonymous (1) BEHIND THE SCENES Sydney Symphony Board CHAIRMAN John C Conde AO Terrey Arcus AM Ewen Crouch Ross Grant Jennifer Hoy Sydney Symphony Council Rory Jeffes Andrew Kaldor Irene Lee David Livingstone Goetz Richter David Smithers AM Geoff Ainsworth Andrew Andersons AO Michael Baume AO* Christine Bishop Ita Buttrose AO OBE Peter Cudlipp John Curtis AM Greg Daniel AM John Della Bosca Alan Fang Erin Flaherty Dr Stephen Freiberg Donald Hazelwood AO OBE* Dr Michael Joel AM Simon Johnson * Regional Touring Committee member Yvonne Kenny AM Gary Linnane Amanda Love Helen Lynch AM Ian Macdonald* Joan MacKenzie David Maloney David Malouf AO Julie Manfredi-Hughes Deborah Marr The Hon. Justice Jane Mathews AO* Danny May Wendy McCarthy AO Jane Morschel Greg Paramor Dr Timothy Pascoe AM Prof. Ron Penny AO Jerome Rowley Paul Salteri Sandra Salteri Juliana Schaeffer Leo Schofield AM Fred Stein OAM Gabrielle Trainor Ivan Ungar John van Ogtrop* Peter Weiss AM Mary Whelan Rosemary White 29 Sydney Symphony