2012 SEASON. Ariel s Music. Rhapsody for Clarinet MEET THE MUSIC. Wed 7 November 6.30pm Thu 8 November 6.30pm

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1 2012 SEASON Ariel s Music Rhapsody for Clarinet MEET THE MUSIC Wed 7 November 6.30pm Thu 8 November 6.30pm

2 INTRODUCTION Ariel s Music Rhapsody for Clarinet Programming a concert is a bit like assembling a playlist. But there s one key difference: the process involves discussion and collaboration and reflects in the end the ideas and strengths of the performers. And the two longest pieces on tonight s program are connected to soloist David Thomas and conductor Richard Gill respectively. David Thomas is an advocate for contemporary repertoire for solo clarinet and he brings with him Brett Dean s powerful and emotive concerto, Ariel s Music. The inspiration is the tragic story of Ariel Glaser, one of the earliest child victims of AIDS, and the courage of her mother Elisabeth. Dean s music doesn t try to tell the story, but it does convey a sense of yearning and lamenting, of struggle and anxiety, and of a lonely voice fighting to be heard. Richard Gill is also an advocate for the making of (new) music and Australia s most passionate champion of music education. He is the motivation and inspiration behind Barry Conyngham s Symphony. Sharing the program with these Australians is French composer Claude Debussy, represented by two pieces. One is a tiny but colourful and brilliant rhapsody for clarinet and orchestra, which we ve never performed in a mainstage concert before. The other is Ibéria, an equally colourful and brilliant composition that evokes to perfection the atmosphere of Spain in the streets, at night, and on the morning of festival. It s all the more impressive given that Debussy spent exactly one afternoon in Spain! Ariel s Picture. In 1988, before she lost her battle with AIDS, the seven-year-old Ariel Glaser painted a picture. It s a child s painting that shows an optimistic vision of the world: a beautiful garden, bright and sunny. This image was later adopted as the logo for the Elisabeth Glaser Pediatric AIDS Foundation. 2 sydney symphony

3 2012 season meet the music presented by ausgrid Wednesday 7 November, 6.30pm Thursday 8 November, 6.30pm Sydney Opera House Concert Hall Ariel s Music: Rhapsody for Clarinet Richard Gill CONDUCTOR David Thomas CLARINET Claude Debussy ( ) Ibéria from Images for orchestra Par les Rues et par les chemins (Through the streets and byways) Les Parfums de la nuit (The fragrances of the night) Le Matin d un jour de fête (Morning of a festival day) Brett Dean (born 1961) Ariel s Music Clarinet Concerto I Elegy II Circumstances Thursday s performance will be recorded for later broadcast by ABC Classic FM. Pre-concert talk by Genevieve Lang in conversation with Barry Conyngham at 5.45pm in the Northern Foyer. Visit bit.ly/ssospeakerbios for speaker biographies. Estimated durations: 20 minutes, 25 minutes, 20-minute interval, 8 minutes, 23 minutes The concert will conclude at approximately 8.30pm. INTERVAL Debussy Première Rhapsodie for clarinet and orchestra Barry Conyngham (born 1944) Symphony (The symphony is in four untitled movements.) PREMIERE This concert will be introduced by Andrew Ford, award-winning composer, writer and broadcaster, and presenter of The Music Show on ABC Radio National.

4 ABOUT THE MUSIC CLAUDE DEBUSSY French composer ( ) Ibéria (from Images for orchestra) Ibéria is divided into three movements. Par les Rues et par les chemins (Through the streets and byways) is in a spirited dance tempo, and is dominated by the rhythmic idea presented at the very opening and an elegant clarinet melody that appears soon afterwards. The energetic mood is interrupted first by a more subdued section, and then by a fanfare-like passage for the brass. The opening returns, but the movement ends quietly. Les Parfums de la nuit (The fragrances of the night) is the heart of Ibéria, and the longest of the three movements. It is a typically luxurious, sensual Spanish nocturne (night music), with harps and much-divided strings making important contributions to the richness of the effect. Most of the thematic ideas are taken almost exactly from the first movement, but are presented in a completely different light. Le Matin d un jour de fête (Morning of a festival day) follows without a break. Debussy was particularly proud of the transition from night to morning, which he achieved with the sound of distant bells. The movement consists of a rapid series of apparently unrelated events in harsh juxtaposition. This is Debussy at his most realistic, giving the listener the sort of jumbled succession of sounds and images you might be left with after a day in the heat and confusion of a Spanish festival parade. Ibéria comes from a long tradition of evocations of Spain by French composers (other examples being Bizet s Carmen, Chabrier s España and numerous works by Ravel). Debussy only ever visited Spain for one afternoon, so most of Ibéria is purely imaginary in inspiration. No actual folk melodies are quoted, but the music is filled with the authentic sounds of Spanish music castanets, tambourines, and the strings imitating the strumming of guitars. And no less a figure than Manuel de Falla, Spain s most eminent composer of the time, regarded it as the best example of a French work on a Hispanic subject. The use of the orchestra in all the Images pieces far outdoes any of Debussy s earlier music in sophistication Navigating Ibéria Postcard in Technicolor 4 sydney symphony

5 and brilliance of effect, with prominent use of instrumental timbres previously absent from Debussy s scores. The effect is of a riot of colour, but it never gets out of hand. Roger Nichols describes Debussy s greatest achievement in Ibéria as his skill in flirting with vulgarity without ever losing his aristocratic poise. Images was Debussy s last orchestral work, composed over a period of about eight years. It consists of three substantial movements (Gigues, Ibéria and Spring Rounds), of which Ibéria was the first to be completed, in They were initially performed as standalone pieces, and published as separate scores, with the words Images pour orchestre appearing in each case as a subtitle. In addition, the intention of Images to create musical evocations of three different European countries suggests diversity rather than consistency. All of which justifies performances of individual movements, as we do tonight with Ibéria. By the time he composed Ibéria and the First Rhapsodie for clarinet, Debussy was established as a leading figure in French musical life. Over the 20 years since his groundbreaking Prelude to the Afternoon of a Faun, his orchestral pieces had included the Nocturnes and La Mer, he was widely performed beyond France. His opera Pelléas et Mélisande had appeared in 1902 and was recognised for its quietly revolutionary qualities, and he had been honoured by awards and elections to positions of influence in the musical scene. Other major projects at the time included the first book of Préludes for piano, and he was developing an interest in music for the stage, with the ballets Jeux (about a nocturnal tennis match) and Khamma (set in ancient Egypt), and the incidental music to D Annunzio s play Le Martyre de Saint Sébastien (The Martyrdom of St Sebastian). Images for orchestra About the composer sydney symphony 5

6 ROBERT PICCOLI BRETT DEAN Australian composer (born 1961) Ariel s Music Clarinet Concerto The concerto is in two contrasting movements, unified by common motifs. Brett Dean describes each movement this way: Elegy begins with a delicate texture heard in violins and cymbals, which then spreads through the string section while the solo clarinet introduces the most telling of the work s motifs, a tender, yearning leap of a major 9th. This utterance, very hushed at first, collects other ideas along the way, waking more and more of the orchestra until the clarinet has to battle to have its song heard. Heading towards the work s first peak, the solo voice seems to be losing the struggle and is swallowed up, when an unexpected change of texture gives the clarinet a new lease of life. The following interplay between soloist and flutes, harp, piano and celesta, leads through various playful moments, but the slow downward sliding of the strings pulls the music back to the distant, lamenting character of the opening. New energy is found again at the beginning of Circumstances. The brass section announces the dotted rhythmic motto first heard briefly in the first movement. This time it remains as a driving force throughout the ensuing Todestanz (Dance of Death). The clarinet soloist embodies an anxious figure; forever trying to establish a dialogue with other solo voices within the orchestra (e.g. piano, viola, oboe, flutes). Circumstances refers to the way this inherently lonely figure reacts to the varied situations confronting it, by turns agitated and restless, suddenly sensitive and somewhat injured, desperate and angry, even defiant. At the climax, the full orchestra makes a jagged, aggressive exclamation of the rhythmic motto and forces the soloist to a final, impassioned cry in the form of a high, tumbling cadenza against repeated whips from the orchestra. With all energy then spent and the battle seemingly lost, the elegiac atmosphere of the first movement returns and the piece ebbs away, rocking gently into the distance. Ariel s Music 6 sydney symphony

7 The idea for writing a clarinet concerto came into discussion in the early 1990s when Brett Dean was performing and recording trios with pianist Stephen Emmerson and his brother Paul. It was originally intended to be a double concerto, a companion piece for the Bruch double concerto (programmed with the premiere of Ariel s Music), but it evolved into a solo concerto for clarinet, accompanied by a largish orchestra. That orchestra comprises three flutes, two oboes and three bassoons (but no clarinets); four horns, two trumpets, two trombones and tuba; timpani and three percussionists; harp and piano doubling celesta. The Ariel of the title is not the Ariel of Shakespeare s Tempest. Instead it refers to an American girl, Ariel Glaser, who died of AIDS in 1988, aged seven. Her mother, Elisabeth Glaser, had contracted the virus in 1981 during advanced pregnancy when an emergency blood transfusion was necessary. Wife of actor and director Paul Michael Glaser, Elisabeth went public with her family s tragic story shortly after Ariel s death. She became an outspoken AIDS campaigner and did much to increase public awareness and government recognition of the social consequences of the disease at a time when this was by no means taken for granted. Ariel s Music doesn t contain specifically programmatic inventions or follow a narrative-based structure, but it pays tribute to this heroic woman who raised more than $30 million for paediatric AIDS research before her own death from AIDS-related illness in December Ariel s Music was completed in 1995 and won an award from the UNESCO International Rostrum of Composers that year. The Sydney Symphony first performed it in the 2001 Meet the Music series with principal clarinet, Lawrence Dobell, as soloist and Yan Pascal Tortelier conducting. Brett Dean studied in Brisbane before moving to Germany in 1984, where he was a viola player in the Berlin Philharmonic ( ). His first compositions were semi-improvised film scores and he is almost entirely self-taught as a composer. He returned to Australia in 2000 to concentrate on his composing career and his works have been championed by such artists as Simon Rattle. Notable works include his opera Bliss, premiered in Sydney in 2010, and his violin concerto The Lost Art of Letter Writing, which the Sydney Symphony performed with its dedicatee Frank Peter Zimmermann in In 2009 Lost Art won Dean the prestigious and valuable Grawemeyer Award, the equivalent of a Nobel prize for music. Inspiration Who is Ariel? Ariel and Elisabeth Glaser Performance history About the composer sydney symphony 7

8 DEBUSSY First Rhapsody Debussy s Première Rhapsodie for clarinet and orchestra is a short single-movement work with four principal thematic ideas. The tempo markings in the score indicate the incrementally faster tempo of each section: rêveusement lent (dreamily slow), poco mosso (more movement), modérément animé (moderately animated) and scherzando (playfully). The rhapsody has a mercurial, almost improvised feel, and it offers scope for the soloist to show a huge range of different tone colours and technical facility. The diaphanous accompaniment is played by an unexpectedly large orchestra: three flutes, two oboes, cor anglais, two clarinets and three bassoons; four horns and two trumpets (but no low brass); two percussionists; two harps(!) and strings. Unlike Brett Dean and many other composers of concertante works for clarinet, Debussy doesn t exclude the clarinet from the body of the orchestra itself. Debussy composed the First Rhapsody (there is no second rhapsody, by the way) when he was a member of the Superior Council of the Paris Conservatoire. The music belongs to a category of works known as examination pieces. These are typically short works, designed to show off as much of the student s musical and technical capacity as possible within the space of about ten minutes. A common structure for a Paris examination piece is a slow, expressive introduction followed by a much faster and virtuosic section, but Debussy adopts a freer and more rhapsodic approach. Composer Gordon Kerry describes it as a sophisticated rondo-like form, allowing the contrasting sections to be regarded from different vantage points. The Rhapsody was originally composed for clarinet and piano, as would have been required by the format of the Paris Conservatoire exams. The following year, in January 1911, Debussy made an orchestral version for clarinettist Prosper Mimart and dedicated it to him, ironically, as a sign of sympathy. Perhaps Mimart, like Debussy, had had to listen to ten or more nondescript student performances of the piece, all on the one day! However, after Mimart s performance, Debussy said (without irony) that it was one of his works that pleased him most. Navigating the rhapsody An examination piece Sympathy and pleasure SYDNEY SYMPHONY 2012 Program notes for this concert adapted in part from notes by ELLIOTT GYGER (Ibéria), BRETT DEAN, GORDON KERRY (Rhapsody) and BARRY CONYNGHAM. 8 sydney symphony

9 Symphony BARRY CONYNGHAM Australian composer (born 1944) Barry Conyngham s Symphony is in four movements moderate, slow, dance-like, and fast which he describes this way: Movement 1. The first minute contains the thematic and harmonic material of the whole work. By focusing on specific elements, the remainder of the first movement develops this material with an emphasis on cascading textures and an exploration of orchestral colours. The movement ends with a declaration of the dominant harmonic colour of the whole piece, an ambiguity of resolution. Movement 2. With muted strings, the mood is nostalgic and tentative but also has an underlying sense of discovery. Then there is a shift to playfulness with woodwinds, marimba and pizzicato (plucked) strings. The opening atmosphere returns but a more contemplative development of the thematic material dissolves into calm and silence. Movement 3. What is this? Why is this? Is it connected? Is it a strange game? Perhaps playful shadows of something from the first two movements uncertain ambiguous unmusical? Movement 4. The movement begins with fast, restless strings then is joined by the familiar. The energy builds but is interrupted by a new dance-like texture, mostly in three-time, from duo to trio. As this concludes, there is a reminder of the opening. The restless energy of the strings returns, rushing to a conclusion with the final full revelation of the main theme, joined by the trio, building, building to the climax of the climax itself unexpected, but familiar. The symphony calls for three flutes (with piccolo and alto flute doubling), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and three percussionists; harp, piano and celesta; and strings. In a number of his works, Barry Conyngham pays homage to great musicians: Toru Takemitsu in Passing (1999), Peter Sculthorpe in Dreams Go Wandering Still (2004), and Hiroyuki Iwaki in Gardener of Time (2011), with each title reflecting the non-musical images and feelings that lie at the heart of the work. Navigating the Symphony Homage to Richard Gill sydney symphony 9

10 The composer writes My Symphony continues the trend in that it is a celebration of a great teacher and musician, Richard Gill. Based on the images I wished to draw upon, it should have been called Learning or The Teacher, but it is not, because a number of years ago Richard challenged me to write a symphony and to call it a symphony. I have had to come to terms with the expectations even obligations created by this title. Accommodating my own orchestral voice with the form has been as important as reflecting on the dynamics, emotions and moods involved in teaching and learning. I suspect the final work reflects not only a further evolution in my now long-term love affair with the orchestra, but also a much greater concern with development, motivic cohesion, emotional expansion, rhythmic contrast, diffusion, accumulation, texture, speed, stillness and energy. Even the overall structure of four discrete movements echoes past symphonic forms and reflects an attempt to draw upon the traditional symphony while not abandoning my own orchestral voice. Yes, the piece does echo the feelings, moods and trajectories one associates with the act of learning: struggle, frustration, ambiguity, urgency, enthusiasm, hesitancy, excitement, exhaustion and, finally, triumph and satisfaction. But I also learnt from, and was challenged by, this being a symphony. The great musician and extraordinary educator, my friend and colleague, Richard Gill has done it again! Barry Conyngham says he first fell in love with the orchestra as a young man hearing Stravinsky and Bartók for the first time. In the mid-1960s he found a mentor in Peter Sculthorpe, who encouraged him to explore the music of Japan. This brought him in contact with composer Takemitsu, who became an important influence. After Takemitsu s death in 1996, Conyngham composed an orchestral work for the Sydney Symphony, Passing, which celebrated his life. In setting out to write orchestral music, he sought to create a new voice for the orchestra, a complex instrument that struck him as perfect for the task he set himself: to express what it meant to be an Australian. In Conyngham s case, what it meant to be a mid-20th-century Australian, raised in a big, coastal city (Sydney), but viscerally attached to the Australian landscape, living at a distance from the artistic centres of the world, and subject to what he has always called floating nostalgia. This perspective is reflected in work titles such as Horizons, Southern Cross and Vast. In 2007 the Sydney Symphony gave the Australian premiere of Conyngham s Monuments (1989) with soloist Michael Kieran Harvey and conductor Richard Mills. In the past ten years the Sydney Symphony has also performed his Viola Concerto, Decades, Fix, Passing and Southern Cross (in Meet the Music 1994). About the composer Conyngham s Symphony was commissioned for Richard Gill and the Sydney Symphony by the Hon. Justice Jane Mathews AO. It is dedicated to Richard Gill in celebration of his 20th anniversary this year as artistic director of the Sydney Symphony s Education Program, and receives its first performances this week. 10 sydney symphony

11 ABOUT THE ARTISTS Richard Gill CONDUCTOR Richard Gill oa is the Artistic Director of the Sydney Symphony s Education Program and the founding Music Director of Victorian Opera. He has also been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra and the Adviser for the Musica Viva in Schools program. For the Sydney Symphony he conducts Meet the Music and Discovery concerts, and directs the orchestra s Sinfonietta Project for young composers. He has also conducted the Melbourne, Queensland, Tasmanian and Canberra symphony orchestras, Orchestra Victoria, Sydney Philharmonia Choirs, the Australian, West Australian and Sydney youth orchestras, and productions for Opera Australia and Opera Queensland. He was Chairman of the Jury for the ABC/OA Operatunity OZ project ( ), music director for the Sydney Theatre Company production of The Threepenny Opera, and a speaker at TEDxSydney in He recently published a memoir, Give Me Excess of It. Artistic Director, Education Sandra & Paul Salteri Chair JEFF BUSBY David Thomas CLARINET David Thomas studied clarinet at Melbourne University with Phillip Miechel and the Vienna Conservatorium with Roger Salander. He has been Principal Clarinet of the Melbourne Symphony Orchestra since 2000, and was previously Associate Principal Clarinet of the West Australian Symphony Orchestra. He has appeared with orchestras throughout Australia, performing concertos by Mozart, Weber, Copland and Françaix, as well as contemporary works. He gave the premiere of Ross Edwards Clarinet Concerto, dedicated to him, and has since recorded it with the MSO and Arvo Volmer. He also premiered Richard Mills Diary of Transformations for clarinet and string quartet. He has performed with the Australian, Flinders and Goldner string quartets, and pianists Michael Kieran Harvey and Elyane Laussade, and he regularly performs in the MSO Chamber Players series. He also teaches clarinet and chamber music at the University of Melbourne and the Australian National Academy of Music. sydney symphony 11

12 ANNIVERSARY CELEBRATION Richard Gill a profile in sonata form Naomi Johnson spoke to Richard Gill about Conyngham s Symphony and his 20 years and counting! at the helm of the Sydney Symphony s education programs. Exposition There s nothing like the live music experience, says Richard Gill, and the exposure must begin in childhood. Music is the only thing children deal with in the arts that is quintessentially abstract, he says, and the power of evocation and suggestion which results is both challenging and unique. It s this determination to bring music to as many young minds as possible that has inspired Barry Conyngham s Symphony, a work that explores the struggles and joys of teaching in the most abstract of traditional musical forms. Development The culture of the Sydney Symphony s education programs under Gill is one of continual development. They extend from family and schools concerts to the Discovery and Meet the Music concert series. Fundamental to the programs are the orchestral musicians themselves, both Sydney Symphony players and the participants in the Sinfonia and Fellowship training programs. Learning about music, whether as a listener, a performer or a mentor is central to Gill s philosophy everyone is simply at a different stage of the musical journey. Once a level of understanding has been reached, it is time to start passing on that knowledge. Although Gill s involvement in music education goes well beyond kindergarten concerts, he gives the impression that these are still his favourite. I ve programmed Schoenberg, Mahler and Webern for kindergarten children, he says, and it s been received absolutely positively. Programming for children is really easy, because they have no bias, no prejudices. They can make their own decisions about the music without labelling it as contemporary, accessible or otherwise. He is keen for audiences of all ages to come away from concerts with the idea that they understood some of the music, that they came to grips more or less with most of it, and then there would be some of it that they didn t understand and would benefit from hearing another time. Entertainment is highly desirable, he says, but not the primary motivation. We ll encourage people to come more often to hear live music, he believes, if we set listeners a challenge, a piece that, although it s interesting, isn t immediately accessible. Program a concert of easy listening and there is no challenge and no education. 12 sydney symphony

13 KEITH SAUNDERS Programming for children is really easy, because they have no bias, no prejudices. RICHARD GILL The challenge of Conyngham s Symphony is one of tradition he has written large-scale orchestral works before, but up till now has avoided the title symphony and its implications. Gill explains that audiences tend to associate the symphonic style with classicism and romanticism, up to about Mahler and Stravinsky, so the title is fairly uncommon in contemporary orchestral works. Nevertheless, the symphonic tradition is long and honoured, and it is maybe with the thought of both old and new ideas in mind that Gill challenged Conyngham to write a symphony and to call it one. Recapitulation Conyngham s Symphony dedicated to Richard Gill the teacher has been programmed with Debussy s Première rhapsodie and his Ibéria (something to understand) and Ariel s Music by Australian composer Brett Dean (something to come to grips with). It s a terrific contrast to Ibéria and Ariel s Music, says Gill of Conyngham s Symphony, although he doesn t dwell on the idea of struggles and joys of learning. I get the spirit of it, absolutely, he says, but he also feels that we in the audience will experience the music ever abstract in our own way. Coda After 20 years, does Gill feel that he s got the Sydney Symphony s education program running perfectly? Yes and no. The notion of programming is evolving, because children evolve and change. The minute you become complacent, the minute you feel you ve cracked it, that s when it will go astray. Or, in other words, we re always learning. NAOMI JOHNSON, AYO MUSIC PRESENTATION FELLOW 2012 sydney symphony 13

14 MUSICIANS Vladimir Ashkenazy Principal Conductor and Artistic Advisor supported by Emirates Dene Olding Concertmaster Jessica Cottis Assistant Conductor supported by Premier Partner Credit Suisse FIRST VIOLINS Kirsten Williams Associate Concertmaster Roy Theaker* Fiona Ziegler Assistant Concertmaster Sophie Cole Jennifer Hoy Nicola Lewis Alexander Norton Léone Ziegler Laura D Angelo* Claire Herrick Monique Irik* Elizabeth Jones Lisa Stewart* Lucy Warren Dene Olding Concertmaster Sun Yi Associate Concertmaster Julie Batty Jennifer Booth Marianne Broadfoot Brielle Clapson Amber Davis SECOND VIOLINS Kirsty Hilton Alexander Read Emily Long A/Assistant Principal Susan Dobbie Principal Emeritus Maria Durek Shuti Huang Stan W Kornel Benjamin Li Nicole Masters Biyana Rozenblit Alexandra D Elia Emily Qin Marina Marsden Emma West Assistant Principal Emma Hayes Philippa Paige Maja Verunica VIOLAS Roger Benedict Tobias Breider Sandro Costantino Graham Hennings Stuart Johnson Felicity Tsai Leonid Volovelsky Ella Brinch* Jacqueline Cronin Tara Houghton Anne-Louise Comerford Justin Williams Assistant Principal Robyn Brookfield Jane Hazelwood Justine Marsden CELLOS Umberto Clerici* Kristy Conrau Timothy Nankervis Elizabeth Neville Christopher Pidcock Adrian Wallis David Wickham Mee Na Lojewski* Catherine Hewgill Leah Lynn Assistant Principal Fenella Gill DOUBLE BASSES Neil Brawley Principal Emeritus David Campbell Steven Larson Richard Lynn Benjamin Ward Douglas Rutherford Kees Boersma Alex Henery David Murray FLUTES Emma Sholl Carolyn Harris Rosamund Plummer Principal Piccolo Katie Zagorski Janet Webb OBOES Diana Doherty David Papp Alexandre Oguey Principal Cor Anglais Shefali Pryor CLARINETS Francesco Celata Craig Wernicke Principal Bass Clarinet Rowena Watts Lawrence Dobell Christopher Tingay BASSOONS Nicole Tait Fiona McNamara Noriko Shimada Principal Contrabassoon Melissa Woodroffe Matthew Wilkie Roger Brooke HORNS Robert Johnson Sharn McIver Brendan Parravicini* Rachel Shaw Ben Jacks Geoffrey O Reilly Principal 3rd Marnie Sebire Euan Harvey TRUMPETS Paul Goodchild John Foster Anthony Heinrichs David Elton TROMBONES Scott Kinmont Nick Byrne Mitchell Nissen* Ronald Prussing Christopher Harris Principal Bass Trombone TUBA Steve Rossé TIMPANI Mark Robinson Assistant Principal Richard Miller PERCUSSION Rebecca Lagos Colin Piper Joshua Hill* Brian Nixon* Philip South* HARP Louise Johnson Genevieve Lang* KEYBOARDS Ying Ho* Bold = Principal Italics = Associate Principal * = Guest Musician = Contract Musician = Sydney Symphony Fellow Grey = Permanent member of the Sydney Symphony not appearing in this concert 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. The men of the Sydney Symphony are proudly outfitted by Van Heusen. 14 sydney symphony

15 SYDNEY SYMPHONY Vladimir Ashkenazy, Principal Conductor and Artistic Advisor PATRON Her Excellency Professor Marie Bashir AC CVO JOHN MARMARAS Founded in 1932 by the Australian Broadcasting Corporation, 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 Sydney Opera House, the Sydney Symphony also performs in venues throughout Sydney and NSW and makes regular international tours. 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, Zdenek Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. David Robertson will take up the position of Chief Conductor in 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 Live label has captured performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The orchestra has also released recordings with Ashkenazy on the Exton/Triton labels, and numerous recordings for ABC Classics. Sydney Symphony Board John C Conde ao Chairman Terrey Arcus am Ewen Crouch Ross Grant Jennifer Hoy Rory Jeffes Andrew Kaldor Irene Lee David Livingstone Goetz Richter sydney symphony 15

16 SYDNEY SYMPHONY PATRONS Maestro s Circle Peter Weiss am HonDLitt Founding President & Doris Weiss John C Conde ao Chairman Geoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael Kohn 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 Brian & Rosemary White 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 Tony Grierson, Braithwaite Steiner Pretty Insurance Australia Grou p Macquarie Group Foundation John Morschel, Chairman, ANZ Directors Chairs Andrew Kaldor, Chairman, Pelikan Artline Lynn Kraus, Sydney Office Managing Partner, Ernst & Young Shell Australia Pty Ltd James Stevens, CEO, Roses Only Stephen Johns, Chairman, Leighton Holdings, and Michele Johns Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair 02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair 03 Diana Doherty Principal Oboe Andrew Kaldor & Renata Kaldor ao Chair 04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair 05 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair 06 Robert Johnson Principal Horn James & Leonie Furber Chair 07 Elizabeth Neville Cello Ruth & Bob Magid Chair 08 Colin Piper Percussion Justice Jane Mathews ao Chair 09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair For information about the Directors Chairs program, please call (02) Sydney Symphony Vanguard Vanguard Collective Justin Di Lollo Chair Kees Boersma Rose Herceg David McKean Amelia Morgan-Hunn Jonathan Pease Members Matti Alakargas Nikki Andrews James Armstrong Stephen Attfield Andrew Baxter Mar Beltran Kees Boersma Peter Braithwaite Andrea Brown Ian Burton Jennifer Burton Hahn Chau Ron Christianson Matthew Clark Benoît Cocheteux George Condous Michael Cook Paul Cousins Justin Di Lollo Rose Gallo Sam Giddings Derek Hand Rose Herceg Jennifer Hoy Damian Kassagbi Chris Keher Elizabeth Lee Antony Lighten Gary Linnane David McKean Hayden McLean Amelia Morgan-Hunn Hugh Munro Fiona Osler Peter Outridge Archie Paffas Jonathan Pease Seamus R Quick Michael Reede Jacqueline Rowlands Bernard Ryan Adam Wand Jon Wilkie Jonathan Watkinson Darren Woolley Misha Zelinsky 16 sydney symphony

17 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. Donations of $50 and above are acknowledged on our website at 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 Michael Crouch ao & Shanny Crouch James & Leonie Furber Dr Bruno & Mrs Rhonda Giuffre In memory of Hetty & Egon Gordon Ms Rose Herceg Mr Andrew Kaldor & Mrs Renata Kaldor ao D & I Kallinikos James N Kirby Foundation Joan MacKenzie Violin Scholarship, Sinfonia Justice Jane Mathews ao Mrs Roslyn Packer ao Paul & Sandra Salteri Mrs Penelope Seidler am G & C Solomon in memory of Joan MacKenzie Mrs W Stening Mr Fred Street am & Mrs Dorothy Street Mr Peter Weiss am HonDLitt & Mrs Doris Weiss Westfield Group Mr Brian & Mrs Rosemary White Ray Wilson oam in memory of James Agapitos oam Kim Williams am & Catherine Dovey June & Alan Woods Family Bequest Gold Patrons $10,000 $19,999 Mr C R Adamson Stephen J Bell Alan & Christine Bishop Ian & Jennifer Burton Copyright Agency Limited The Hon. Ashley Dawson-Damer Edward Federman Ferris Family Foundation Nora Goodridge Mr Ross Grant The Estate of the late Ida Gugger Helen Lynch am & Helen Bauer Ruth & Bob Magid The Hon. Justice AJ Meagher & Mrs Fran Meagher Mrs T Merewether oam Mr B G O Conor Mrs Joyce Sproat & Mrs Janet Cooke Henry & Ruth Weinberg Anonymous (2) Silver Patrons $5000 $9,999 Doug & Alison Battersby Mr Alexander & Mrs Vera Boyarsky Mr Robert Brakspear Mr David & Mrs Halina Brett Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Howard Connors Ewen & Catherine Crouch Ian Dickson & Reg Holloway Colin Draper & Mary Jane Brodribb Penny Edwards The Greatorex Foundation Mrs Jennifer Hershon The Sherry Hogan Foundation Mr Rory Jeffes Stephen Johns & Michele Bender Judges of the Supreme Court of NSW Mr Ervin Katz The Estate of the late Patricia Lance Mr David Livingstone Timothy & Eva Pascoe William McIlrath Charitable Foundation David Maloney & Erin Flaherty Dr John Roarty oam in memory of Mrs June Roarty Rodney Rosenblum am & Sylvia Rosenblum Manfred & Linda Salamon JF & A van Ogtrop Michael & Mary Whelan Trust Ms Caroline Wilkinson Jill Wran Anonymous (2) Bronze Patrons $2,500 $4,999 Mr Marc Besen ao & Mrs Eva Besen ao Jan Bowen M Bulmer Firehold Pty Ltd Stephen Freiberg & Donald Campbell Anthony Gregg & Deanne Whittleston Vic & Katie French Warren Green Mrs Jennifer Hershon Ann Hoban In memory of Bernard M H Khaw Gary Linnane Matthew McInnes J A McKernan R & S Maple-Brown Greg & Susan Marie Alan & Joy Martin Mora Maxwell James & Elsie Moore Drs Keith & Eileen Ong In memory of H St P Scarlett David & Isabel Smithers Mrs Hedy Switzer Marliese & Georges Teitler Dr Richard Wingate Mr & Mrs T & D Yim Anonymous (2) Bronze Patrons $1,000 $2,499 Charles & Renee Abrams Mrs Antoinette Albert Andrew Andersons ao Mr Henri W Aram oam Dr Francis J Augustus Richard and Christine Banks David Barnes Michael Baume ao & Toni Baume Nicole Berger Mrs Jan Biber Allan & Julie Bligh Dr & Mrs Hannes Boshoff Lenore P Buckle In memory of RW Burley Eric & Rosemary Campbell The Hon. Justice JC & Mrs Campbell Dr John H Casey Joan Connery oam & Maxwell Connery oam Constable Estate Vineyards Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Greta Davis Lisa & Miro Davis Matthew Delasey Mr & Mrs Grant Dixon John Favaloro Mr Ian Fenwicke & Prof. Neville Wills Michael & Gabrielle Field Dr & Mrs C Goldschmidt Mr James Graham am & Mrs Helen Graham Akiko Gregory Edward & Deborah Griffith In memory of Dora & Oscar Grynberg Janette Hamilton Dorothy Hoddinott ao The Hon. David Hunt ao qc & Mrs Margaret Hunt Dr & Mrs Michael Hunter Mr Peter Hutchison Michael & Anna Joel Anna-Lisa Klettenberg Mr Justin Lam Mr Peter Lazar am Associate Professor Winston Liauw sydney symphony 17

18 Sydney & Airdrie Lloyd Carolyn & Peter Lowry oam Deirdre & Kevin McCann Robert McDougall Ian & Pam McGaw Macquarie Group Foundation Renee Markovic A Nhan Ms Jackie O Brien Mr R A Oppen Mr Robert Orrell Mr & Mrs Ortis Mr Andrew C Patterson In memory of Sandra Paul Piatti Holdings Pty Ltd Andy & Deirdre Plummer Robin Potter Pottinger Ernest & Judith Rapee Kenneth R Reed Patricia H Reid Endowment Pty Ltd Caroline Sharpen Dr Agnes E Sinclair Catherine Stephen John & Alix Sullivan The Hon. Brian Sully qc Mildred Teitler John E Tuckey Mrs M Turkington In memory of Joan & Rupert Vallentine Dr Alla Waldman In memory of Dr Reg Walker The Hon. Justice A G Whealy Ann & Brooks Wilson am Geoff Wood & Melissa Waites Mr Robert & Mrs Rosemary Walsh Mr R R Woodward In memory of Lorna Wright Dr John Yu Anonymous (14) Bronze Patrons $500 $999 Mr Peter J Armstrong Mr & Mrs Garry S Ash Barlow Cleaning Pty Ltd Mrs Margaret Bell Minnie Biggs Pat & Jenny Burnett Mr & Mrs Coates Arnaldo Buch The Hon. Justice JC & Mrs Campbell Dr Rebecca Chin Mrs Sarah Chissick Mrs Catherine J Clark R A & M J Clarke Mrs Joan Connery oam Jen Cornish Mr David Cross Phil Diment am & Bill Zafiropoulos Elizabeth Donati The Dowe Family Dr Nita & Dr James Durham Malcolm Ellis & Erin O Neill Mrs Margaret Epps In memory of Peter Everett Mr & Mrs Farrell Mr Tom Francis Tony Grierson Vivienne Goldschmidt Clive & Jenny Goodwin Mr Richard Griffin am Ian R L Harper Ken Hawkings Mrs A Hayward Mr Roger Henning Harry & Meg Herbert Sue Hewitt Mr Joerg Hofmann Mrs Kimberley Holden Mr Gregory Hosking Alex Houghton Bill & Pam Hughes Beauty Point Retirement Resort Niki Kallenberger Mrs W G Keighley Mrs Margaret Keogh Dr Henry Kilham Chris J Kitching Mr Aron & Mrs Helen Kleinlehrer Mr & Mrs Gilles T Kryger Sonia Lal Mr Luigi Lamprati Dr & Mrs Leo Leader Margaret Lederman Irene Lee Anita & Chris Levy Erna & Gerry Levy am Mrs A Lohan Mrs Panee Low Dr David Luis Dr Jean Malcolm Philip & Catherine McClelland Mrs Flora MacDonald Mrs Helen Meddings Mrs Toshiko Meric P J Miller David & Andree Milman Kenneth N Mitchell Chris Morgan-Hunn Mrs Milja Morris Coffs Airport Security Car Park Dr Mike O Connor am Mr Graham North Dr A J Palmer Justice George Palmer am Dr Kevin Pedemont Dr Natalie E Pelham Michael Quailey Lois & Ken Rae Renaissance Tours Anna Ro Pamela Rogers Lesley & Andrew Rosenberg Agnes Ross Mrs Pamela Sayers Garry Scarf & Morgie Blaxill William Sewell Mrs Diane Shteinman am Ms Stephanie Smee Ms Tatiana Sokolova Doug & Judy Sotheren Mrs Judith Southam Margaret Suthers Mr Lindsay & Mrs Suzanne Stone Norman & Lydia Taylor Dr Heng Tey & Mrs Cilla Tey Mrs Alma Toohey & Mr Edward Spicer Kevin Troy Judge Robyn Tupman Gillian Turner & Rob Bishop Prof Gordon E Wall Mrs Margaret Wallis Ronald Walledge Mr Palmer Wang Ms Elizabeth Wilkinson Audrey & Michael Wilson A Willmers & R Pal Dr Richard Wing Dr Peter Wong & Mrs Emmy K Wong Mr Robert Woods Mrs Everly Wyss Mrs Robin Yabsley Anonymous (15) To find out more about becoming a Sydney Symphony Patron, please contact the Philanthropy Office on (02) or philanthropy@sydneysymphony.com 18 sydney symphony

19 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 PARTNERS EDUCATION PARTNER MAJOR PARTNERS GOLD PARTNERS SILVER PARTNERS executive search REGIONAL TOUR PARTNERS MARKETING PARTNER Fine Music sydney symphony 19

20 ORCHESTRA NEWS NOVEMBER DECEMBER 2012 Photo: Val Anasco NERVES OF STEEL Principal Percussion Rebecca Lagos talks hurdles, radars and democracy. If ever there were a section in an orchestra that needed a strong sixth sense to play precisely together, it would have to be the percussion section. Timing unison entries, says principal percussionist Rebecca Lagos, calls for a mystery radar thing. I can t describe it any other way. We ll all take a big breath in, and play, and it all comes together. As Colin [Piper, fellow percussionist] says, you can t teach that sort of thing. You really can t learn it anywhere except on the job. Rebecca acknowledges that there can be many hurdles for an aspiring young percussionist. You have to accumulate masses of gear, find somewhere to store it, possibly find somewhere else to practice. All this could be a real stumbling block to success. Her own path to becoming a professional musician was relatively straightforward. I ve been quite blessed in terms of falling into jobs early. Twenty-five years ago, when she first joined the Sydney Symphony, Rebecca also joined the percussion ensemble Synergy. It was the perfect foil for all the orchestral stuff. Two of her Synergy colleagues, Colin Piper and Ian Cleworth, were also fellow Sydney Symphony musicians. When you re only playing with three other percus- Some people have a feel for metal. Some people have a feel for skin. sionists, rhythmic ensemble is relatively easy. We tended to feel things the same way. Playing in an orchestra calls on some different skills. Together as Synergy we d become so used to how we played, it made for a great section. But then in the orchestra, you re negotiating with 90 other people, and working out how to place things rhythmically is a different skill. As principal, Rebecca says her job requires her to play with nerves of steel and confidence, putting herself on the line like the other principal players think of the snare drum part in Ravel s Bolero, for instance. Sometimes, however, the role of principal in her section isn t clear-cut the percussion section often functions with greater democracy than other sections of the orchestra. Percussion is a little bit weird, says Rebecca. Works like Bernstein s West Side Story, or Messiaen s Chronochromie, have two or three equally weighted parts that are similarly soloistic or contain comparable technical challenges. I try really hard to put people on parts that play to their strengths. That s the best way, Rebecca says, to build a really good section. Some people have a feel for metal. Some people have a feel for skin.

21 From the Managing Director Ask a Musician Our Development Manager Amelia Morgan-Hunn has her own Ask a Musician question: Is Tobias Breider s viola bigger than everyone else s? Photo: Keith Saunders Our recent tour to China offered ample opportunity for reflection on the year. And what a year it s been. In the orchestra s 80th year, some of our anniversary programs have highlighted historical visits by Igor Stravinsky and Aaron Copland. We ve also recognised important musical events in the orchestra s history, including our re-creation of the official opening concert of the Sydney Opera House. It s been a significant year also with the appointment of our next Chief Conductor and Artistic Director, David Robertson, who takes over from Vladimir Ashkenazy in As 2012 draws to a close, we have one celebration left up our sleeve. Ashkenazy will conduct a threeweek mini festival of Russian masters. The centrepiece is a concert performance of Tchaikovsky s opera The Queen of Spades. And we present the Australian premiere of Rachmaninoff s Piano Concerto No.4 in its original version. I hope you ll agree it s been an amazing year of music-making. Thank you for your support in coming to our concerts. After all, as Confucius says, If an orchestra plays, and no one s there to hear it, did it ever really happen? RORY JEFFES The short answer is yes, Tobias s viola is bigger than most. But why? Of all the orchestral instruments, the viola poses the greatest design challenges. In order to match the acoustic properties of its cousin the violin, the lower-pitched viola would have to be about 51cm long, making it almost impossible to play. A compromise must be reached. Over the centuries, viola makers have experimented with sizes and shapes of the instrument, adjusting proportional relationships between the length of the neck and position of the bridge, and the dimensions of the body, all the while seeking to maintain that signature sound of the viola. Naturally, violists come in all shapes and sizes too. Tobias, standing at 6-foot-and-quite-a-bit, has a longer reach than many of his colleagues, and can thus play on an instrument closer to the theoretical ideal. I guess I m just one of the lucky ones! he says. The National Centre for the Performing Arts in Beijing known as The Egg dwarfs our musicians in this group shot. Beijing was the second stop on the orchestra s tour of China, which also took in Tianjin, Guangzhou, Wuhan, Shanghai and Qingdao. Our thanks to tour partner Tianda for their support of this cultural exchange. Proud sponsor of the Sydney Symphony in their 80th year of timeless entertainment

22 Community Focus MUSIC 4 HEALTH MUSIC 4 EVERYONE The hills and valleys of Western Sydney were alive with the sound of music recently when Mount Pritchard & District Community Club hosted over 400 students with autism and their carers in a day of musical expression. It really is the best hour of the year for us, said Grace Fava, president and founder of the Liverpool-based Autism Advisory and Support Service. The look on the kids faces, in their eyes, said it all for me. Given the complex needs these kids have, to see how music brings them all together is wonderful. Cabramatta Labor MP Nick Lalich was also in attendance, and was so moved that he spoke about it at the next sitting of state parliament: There was a wonderful atmosphere in the auditorium that day. The space was filled with the fun and enthusiasm felt by the children and their carers and teachers. Each child in the auditorium was given a percussion instrument to play. Some had triangles and others had castanets. The conductor then got each side of the room to play to a different beating rhythm while the Sydney Symphony provided the melody. It was something to behold. The continual and audible cheering of the children showed how music can cut through their condition. The performance was led by violinist Stan Kornel, with violinists Sophie Cole and Léone Your Say What an inspired piece of programming! [Symphony for the Common Man, September] L après-midi d un faune, so sensitively played, was a perfect prelude to the Takemitsu, which seemed to take us into a new sort of orchestral idiom in the same way Debussy did in As for the Copland symphony, it won in the decibel stakes, but the phrase came to mind: full of sound and fury, signifying Frank Langley Ziegler, cellist Rowena Crouch and double bassist Richard Lynn accompanying the students, from kindergarten to Year 12, as they played on percussion instruments. Other students were invited to the stage to take turns at conducting, or to sing along. The Sydney Symphony s Music4Health program of community engagement aims to provide a transformative experience for those with health, disability and aged care needs, and their carers. Members of the orchestra have performed for children aided by the Autism Advisory and Support Service several times in recent years. If you d like to find out more about our Music4Health programs, philanthropy@sydneysymphony.com or call (02) It was one of the most pleasurable evenings I am sure to experience [Ravel s Bolero, October]. Amy Dickson was fabulous and the orchestra were, as always, brilliant. The percussion section put in a lot of work and they deserved the appreciation that was displayed. The SSO Night Lounge seemed like a big hit. The chamber music was awesome. The mingling felt a bit awkward but I d do it again if the orchestra was planning another! Timothy Borge The Score Ashkenazy s Sibelius At the end of the our Sibelius festival in 2004, conductor Vladimir Ashkenazy turned to the audience and declared that he had never heard Sibelius played better! Now, celebrating five years at the orchestra s helm, Ashkenazy still feels a great affinity with Sibelius s Nordic nature. He will begin 2013 with two of the composer s earliest orchestral works: Kullervo and the Lemminkäinen Suite. These tone poems mark the beginning of the Sibelius s uniquely Finnish style of composition, drawing on his country s rich folklore to create music of great individuality and beauty. Both works are shaped by a narrative, each focusing on the story of a hero from the Finnish epic poem, the Kalevala. The tale of Kullervo, a wandering magician, is told through the human voice, calling for a bassbaritone (Kullervo), a soprano (his sister) and chorus in two of its five movements. The sound world of Lemminkäinen is purely instrumental, and the popular third movement, The Swan of Tuonela, features an expansive, song-like solo for the cor anglais. This is the creation of a young composer still working to master the orchestral form, but elements of the snow-covered Finnish landscape are already audible. Ashkenazy, who nominates Sibelius as one of his favourites, says this is some of the composer s best music. NJ Legends by the Sea (Lemminkäinen) Wed 6 Feb 8pm Fri 8 Feb 8pm Sat 9 Feb 8pm A Finnish Epic (Kullervo) Fri 15 Feb 8pm Sat 16 Feb 2pm Akseli Gallen-Kallela

23 CODA HONOURS Philanthropist Peter Weiss was recently honoured by the University of Sydney with an Honorary Doctorate of Letters (HonDLitt). The conferring ceremony was an intimate affair in the Vice Chancellor s office conducted by Her Excellency Professor Marie Bashir AC CVO. We ve been fortunate to have a long relationship with Peter, and are delighted that he has been recognised in this way. BRAVO BEN Congratulations to double bassist Benjamin Ward who has been selected as a 2012 Churchill Fellow. His project is a comparison of the diverse approaches to the double bass in the major orchestras of Europe and Britain. Ben says: It s a chance for me to inform my own playing, and bring that learning home to then help students through the Sydney Symphony education programs and in private teaching. Bravo Ben! RICHARD GILL ANNIVERSARIES 2012 is Richard Gill s 20th year as Artistic Director of our Education program. To celebrate, we commissioned a new work by Barry Conyngham Symphony which Richard is conducting in the Meet the Music series in November. It s also 50 years since Richard began teaching and to mark this auspicious event he recently published a memoir, In Excess of It. DID YOU KNOW? Our Education program has built up an impressive reach. Here are just a few of its vital statistics: approximately 50 schools concerts, for an audience of 30,000 schoolaged students. accredited professional learning workshops annually to approximately 400 teachers and 100 student teachers. producing six books of lesson resources which are then purchased by teachers all over Australia, and even as far away as Egypt! workshops in five states. And advice from the coalface: You gotta be quick! This year s series of schools concerts at the ABC sold out in 2011, before the season had even begun. BRAVO EDITOR: Genevieve Lang BRAVO EDITOR Genevieve Lang CONTRIBUTOR: Naomi Johnson sydneysymphony.com/bravo sydneysymphony.com/bravo SYDNEY OPERA HOUSE TRUST Mr Kim Williams AM [Chair] Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM, Dr Thomas Parry AM, Mr Leo Schofield AM, Mr John Symond AM EXECUTIVE MANAGEMENT Clocktower Square, Argyle Street, The Rocks NSW 2000 GPO Box 4972, Sydney NSW 2001 Telephone (02) Box Office (02) Facsimile (02) All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. 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