2011 SEASON BEETHOVEN S EGMONT THE PERFECT HERO FRI 21 OCTOBER 11AM TEA & SYMPHONY PRESENTED BY

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1 2011 SEASON BEETHOVEN S EGMONT THE PERFECT HERO FRI 21 OCTOBER 11AM TEA & SYMPHONY PRESENTED BY

2 WELCOME TO TEA & SYMPHONY It is my great pleasure to welcome you to this fi nal concert in the 2011 Tea & Symphony series. This morning the Sydney Symphony performs two contrasting works in a program which spans a century. Charles Ives an innovator who dealt in insurance by day and imaginative scores by night was always striving for greater meaning in his life and work. We are invited to ponder the mystery of existence when he asks The Unanswered Question. Some hundred years earlier Beethoven was doing much the same: his incidental music for Goethe s heroic tale of Count Egmont and his oppressors reminds us of the power of personal integrity. Each composer stayed true to his ideals as a revolutionary, pushing the artistic boundaries the day one the father of romanticism, the other the harbinger of modernism. Kambly has epitomised the Swiss tradition of the fi nest biscuits for three generations. Each masterpiece from the Emmental Valley is a small thank you for life; a declaration of love for the very best; the peak of fi ne, elegant taste. Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fi tting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people s love of live symphonic music. Kambly is proud to be in its fourth year as sponsor of the Tea & Symphony series. We hope you enjoy this morning s program and look forward to welcoming you to future concerts in the series throughout Oscar A. Kambly Chairman Kambly of Switzerland

3 2011 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY Friday 21 October 11am Sydney Opera House Concert Hall BEETHOVEN S EGMONT: THE PERFECT HERO Richard Gill conductor Eddie Perfect narrator Kiandra Howarth soprano CHARLES IVES ( ) The Unanswered Question Ludwig van Beethoven ( ) Egmont Incidental music, Op.84 Text by Gordon Kalton Williams after Goethe and Grillparzer Overture (Sostenuto, ma non troppo Allegro) Song Die Trommel gerühret (Beat the drum) Zwischenakt I (Andante Allegro con brio) Zwischenakt II (Larghetto) Song Freudvoll und leidvoll (Joyful and sorrowful) Zwischenakt III (Allegro) March (Vivace) Zwischenakt IV (Poco sostenuto e risoluto Andante agitato) Death of Clara Melodrama Victory Symphony (Allegro con brio) Kiandra Howarth Clara Eddie Perfect Narrator and Egmont The music on this program, together with Nigel Westlake s Missa Solis, can be enjoyed again via the BigPond webcast, available On Demand. Visit bigpondmusic.com/sydneysymphony Audio for our webcasts is provided courtesy of ABC Classic FM. Estimated durations: 6 minutes, 40 minutes The concert will conclude at approximately 11.55am. PRESENTING PARTNER Biscuits at Tea & Symphony concerts kindly provided by Kambly

4 ABOUT THE MUSIC IVES The Unanswered Question Frequently Asked Questions Q. Who was Charles Ives? A. Ives came from a well-off New England family with its fair share of eccentricity ( odd, but in a nice way, said his wife). He studied music at Yale then became a successful life insurance salesman who composed for the love of it. This freed him to be completely original without needing to court publishers and concert presenters. He didn t belong to a particular stylistic school but he was hugely influential as the father of modern American music. When his Third Symphony won the Pulitzer prize he said Prizes are for boys I m grown up! (He was 72.) Q. What were his musical influences? A. When Charles was a boy his father, a leading bandmaster, made him sing songs in one key while he accompanied him on the piano in a different key, which seems to have given him a healthy disdain for conventional harmony. Similarly, he was fascinated by things that we would call wrong : a mis-harmonised hymn tune, or the competing sounds of town bands marching in different directions, each playing their own music. CHARLES IVES American composer ( ) Q. What kind of music did he write? A. Ives wrote in nearly every genre, including symphonies, string quartets, piano sonatas, organ music and songs. He often quotes hymns and popular tunes, and the influence of folk music is strong. But the risk of sentimentality is countered by playful experiments with harmony and rhythm. Q. How did he come to write The Unanswered Question? A. The Unanswered Question was one of a pair of pieces, first performed as interludes in a New York theatre (the other was Central Park in the Dark) and together known as Two Contemplations. The flexibility of the theatreorchestra tradition is reflected in the instrumentation: trumpet (which can be replaced by English horn, oboe or clarinet), flute quartet (third and fourth flutes replaceable 4 Sydney Symphony

5 by oboe and clarinet) and string orchestra or string quartet. Another theatrical aspect of the piece emerges in the staging instructions, which include placing instruments offstage. Around this time, 1906, Ives was busy experimenting with new musical ideas. He revised The Unanswered Question in the 1930s and composer Elliott Carter arranged for its formal premiere in Q. What does the title mean? A. The original title was A Contemplation of a Serious Matter or The Unanswered Perennial Question. (Central Park in the Dark was A Contemplation of Nothing Serious.) Ives own comments suggest metaphysical themes behind the music: The quiet strings represent the conventional life. We get up, and go to the office, and come home again, have dinner with the family, sit around in the evening But sometimes there comes a Question: Is this all my life is good for? Shouldn t I be doing something courageous for the good of humanity? This question crosses the conventional life, doesn t fit with it. The flutes and other people try to answer, more and more intensely, but can t seem to get through. Meanwhile the conventional life goes on, and when the Question is asked for the last time, it is still not answered. Q. What will it sound like? a healthy disdain for conventional harmony. YVONNE FRINDLE 2008 This performance of Ives Unanswered Question uses a scoring of four flutes, one trumpet and, positioned off stage, a string quartet. The Sydney Symphony first performed the work in a 1968 Town Hall Proms Concert, conducted by John Hopkins, and most recently in 2001, conducted by Bruno Weil. 5 Sydney Symphony

6 BEETHOVEN Egmont Incidental music, Op.84 Beethoven is associated in the popular mind with the ideals of the French Revolution liberty, equality and fraternity. Details of his public career support this: the sentiments of the opera Fidelio, and the incident in which he tore up the original dedication to Napoleon on the front page of the Eroica Symphony upon hearing the news of Napoleon s self-coronation ( Now he also will trample on all human rights and indulge his ambition. He will place himself above everybody else and become a tyrant. ). But Beethoven probably identified less with equality than with the idea of a meritocracy. He wrote in 1820, admittedly some years after the Eroica and Fidelio, that the common citizen should be excluded from higher men. And it was probably the Wise Ruler, personified notably by Don Fernando, the Minister of State in Fidelio, who most faithfully reflected his political ideal. Goethe s Egmont likewise is no Spartacus. He does not die for the overthrow of the aristocracy. However he does oppose the unnecessarily harsh reinforcement of the status quo. And it is easy to see how Goethe s story, with its politicised heroine (Clara, or Klärchen), its depiction in the early scenes of a contented, benignly-ruled live-andlet-live society, and the stand of a brave individual against that society s cruel suppression, appealed to Beethoven s particular political orientation. Lamoral, Count Egmont, was the 16th-century hero of the Low Countries. A war hero who had driven back the invading French, he led the people in resisting Spanish domination but was eventually executed by the Spanish in Brussels in His death was regarded as the harbinger of the eventual revolt and liberation of the northern provinces. Goethe s five-act tragic drama was first produced in 1789; Beethoven was commissioned in 1809 by the Burgtheater in Vienna to write incidental music for the long-awaited Viennese premiere in Beethoven so admired the work that he refused a fee from the theatre. Besides the overture, which is so justly famous, Beethoven wrote nine other numbers for Egmont. These are rarely LUDWIG VAN BEETHOVEN German composer ( ) 6 Sydney Symphony

7 played in concerts, which is remarkable. Hearing the complete Egmont incidental music allows us to grasp the grandness of the theatrical conception in a way that isolated performances of the overture cannot do. Composers appreciated Goethe s poetry for its concrete imagery, clear narrative exposition, and vibrant rhythms. Beethoven s admiration was reflected in a number of settings of the poet s work. The Song of the Flea (from Faust) and the cantata Calm Sea and Prosperous Voyage are two examples that spring to mind. However, the meeting between the two men at the Bohemian spa of Teplitz in 1812 was rather a tense occasion. Goethe s polished urbanity clashed with the manners of Beethoven, a self-made man who, when he sensed he was being patronised by an aristocrat, had a habit of exaggerating his rough edges. A story, perhaps apocryphal, tells of Goethe s annoyance as people bowed to him along a path and of Beethoven s response: Don t give it a thought, your Excellency, the compliments are perhaps meant for me. Goethe had not heard Beethoven s Egmont music by the time of this meeting (his respect for Beethoven s musicianship was limited to his piano playing), but when he heard the Egmont music in a concert performance in 1821 he remarked of the last scene, Egmont s melodrama: Beethoven has followed my intentions with admirable genius. That concert performance in 1821 presented Beethoven s numbers with linking text supplied by Friedrich Mosengeil. In 1834 Franz Grillparzer, the leading Austrian poet of his day, revised this text in unrhymed verse. It is this text which serves as the basis of this morning s presentation. Elements of Goethe s original play that were retained by Grillparzer remain in our version. These are the two song texts and the melodrama (the orchestrally accompanied spoken monologue) that ends the play. While providing an effective narrative for the incidental music, Grillparzer s text removes detail from the political aspect of Goethe s play and leans more heavily towards the romantic relationship between Egmont and Clara. Characters such as Margaret of Parma the Spanish Regent, Machiavelli her advisor, and the Duke of Alva s two henchman (Gomez and Silva) are omitted. Though today s version does The Historical Egmont Goethe s play is set in the Spanish Netherlands territories annexed some time before by the Burgundian court. In the 16th century they were under the suzerainty of the Holy Roman Emperor Charles V. Lamoral, count of Egmont, was a loyal Flemish servant of the Emperor, a Catholic and a brilliant general in various campaigns against the French, who, in the words of Goethe s character Machiavelli, advances with a bold step, as if the world were all his own. When Charles abdicated in 1556, his heir Philip II of Spain passed over Egmont as regent in favour of his own half-sister Margaret, Duchess of Parma. Like Charles, Philip was a motive force in the Counter-Reformation, and under Margaret s regency, Protestantism was suppressed in a society that had prided itself on tolerance. In 1565, Egmont travelled to Madrid to plead for a measure of religious freedom, but instead Philip sent the Duke of Alva to the Netherlands to implement even more draconian measures. 7 Sydney Symphony

8 not restore those characters, the text has been adapted to give some sense of the political dangers at stake in the early part of the story. There is, therefore, increased opportunity to appreciate the original underscoring effect of Beethoven s music and of the juxtaposing effect of the Zwischenakte (literally between acts music, or entr actes) which originally commented on the action just past and foreshadowed the action to come. The re-balancing of the plot lines also injects deeper motivation into Clara s eventual adoption of a political stance. The striking thing is that a sense of the original text for which this music was written enhances the genius of the music, and actually increases our appreciation of what Grillparzer described as the mighty sounds which a great mind conjured up when he allied himself to one [whom Grillparzer considered] even greater. GORDON KALTON WILLIAMS SYMPHONY AUSTRALIA 1993 Synopsis and Vocal Texts After the familiar overture, the narrator describes the setting of the story, extols Egmont s virtues and introduces Clara (Song Die Trommel gerühret). Die Trommel gerühret! Das Pfeifchen gespielt! Mein Liebster gewaffnet Dem Haufen befiehlt, Die Lanze hoch führet Die Leute regieret Wie klopft mir das Herze! Wie wallt mir das Blut! O hatt ich ein Wamslein, Und Hosen und Hut! Ich folgt ihm zum Tor naus Mit mutigem Schritt, Ging durch die Provinzen, Ging überall mit. Die Feinde schon weichen, Wir schiessen darein Welch Gluck sondergleichen, Ein Mannsbild zu sein! Beat the drum! Sound the fife! My beloved, in armour, commands his troops, holds high his lance, rules his men. How my heart beats! How my blood races! Oh, if only I had doublet breeches and helmet! I would follow him through the gate with valiant tread, and march through the provinces, march all over with him. The enemy wavers as we fire into them. What joy unequalled to be a man! 8 Sydney Symphony

9 The narrator foreshadows ominous events (Zwischenakt I Andante Allegro con brio). Then expresses the anxiety caused by Egmont s heedlessness. But Egmont is able to forget political dangers in Clara s company (Zwischenakt II Larghetto) The threat to Egmont s and Clara s happiness looms closer (Song Freudvoll und Leidvoll). Freudvoll Und leidvoll Gedankenvoll sein, Langen Und bangen In schwebender Pein, Himmelhoch jauchzend, Zum Tode betrubt, Glucklich allein, Ist der Seele, die liebt. To be joyful and sorrowful, to be pensive, to long and dread in lingering pain, to exult to heaven, cast down unto death happy alone is the soul that loves. Egmont and Clara spend one last night together (Zwishenakt III Allegro) before the Spanish enter the city (March). Egmont is trapped (Zwischenakt IV Poco sostenuto e risoluto) and Clara, though weak with grief, tries to rouse her countrymen (Zwischenakt IVAndante agitato). Clara dies (Death of Clara). Egmont is condemned and passes his last night in prison. In his dreams, Egmont sees a vision which portends the eventual liberation of the northern provinces (Melodrama), and before his death makes a speech exhorting his countrymen to rise up against the tyrants (Victory Symphony) Beethoven s Egmont music calls for two flutes (one doubling piccolo), two oboes, two clarinets and two bassoons; four horns, two trumpets; timpani and strings. The Sydney Symphony first performed the incidental music in 1969 with soprano Netania Davrath and conductor Peter Robinson, and most recently in 1993 with conductor Franz-Paul Decker, soprano Malvina Major, and actor Hugo Weaving using the script by G.K. Williams. Take the orchestra with you Download our FREE mobile app for music excerpts, live webcasts, program books and more. 9 Sydney Symphony

10 ABOUT THE CONDUCTOR Richard Gill conductor Richard Gill is internationally respected as a music educator, specialising in opera, musical theatre and vocal and choral training. In addition to his role as Artistic Director of the Sydney Symphony s Education Program, he is 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. In recent seasons he has conducted Sydney Symphony Meet the Music concerts and Discovery concerts with the Sydney Sinfonia, as well as directing the Sinfonietta Project for young composers. He has also conducted the Melbourne, Queensland, Tasmanian and Canberra symphony orchestras, Orchestra Victoria, Sydney Philharmonia Choirs, and the Australian, Western Australian and Sydney youth orchestras. In addition to OzOpera and Victorian Opera, he has conducted for Opera Australia and Opera Queensland. He also conducted The World s Biggest Singing Lesson at the UWA Perth International Arts Festival and Sing Your Own Opera at the Melbourne International Festival of the Arts, and was Chairman of the Jury for the ABC/OA Operatunity OZ project ( ). His diverse operatic repertoire encompasses baroque opera, core works such as The Marriage of Figaro and Rigoletto, operetta and 20th-century classics. His productions for Victorian Opera have included a Stravinsky double bill (Les Noces and Oedipus Rex), Così fan tutte, The Coronation of Poppea, Noyes Fludde, The Snow Queen, Don Giovanni, Duke Bluebeard s Castle and Ariadne auf Naxos. An advocate for new music, he has conducted premiere performances of Rembrandt s Wife (Andrew Ford), The Love of the Nightingale (Richard Mills, Brisbane and Melbourne premiere seasons), Lindy (Moya Henderson), The Eighth Wonder and Through the Looking Glass (Alan John). His music theatre repertoire includes Jonathan Mills Ghost Wife and Eternity Man. Most recently in Sydney, he was the music director for the Sydney Theatre Company production of The Threepenny Opera. Richard Gill s numerous accolades include an Order of Australia Medal, the Bernard Heinze Award, an Honorary Doctorate from the Edith Cowan University of Western Australia, the Australian Music Centre s award for Most Distinguished Contribution to the Presentation of Australian Composition by an individual, and the Australia Council s prestigious Don Banks Award. ARTISTIC DIRECTOR, EDUCATION SANDRA & PAUL SALTERI CHAIR JEFF BUSBY 10 Sydney Symphony

11 ABOUT THE ARTISTS Kiandra Howarth soprano Kiandra Howarth made her professional debut with Opera Queensland in 2009, creating the role of Josie in the youth opera Dirty Apple. She is currently a Young Artist with Opera Queensland, recently understudying the role of Despina in Così fan tutte, and next year she will join the Opera Australia Young Artist Program, singing Papagena (The Magic Flute) and Zerlina (Don Giovanni). Kiandra Howarth graduated from the Queensland Conservatorium in 2010, while also a member of the Opera Queensland Developing Artist Program. For the Conservatorium she appeared in the title role in Massenet s Cendrillon. That same year, in the Australian Singing Competition, she won the Guildhall School of Music and Drama Award, the Mozart Opera Institute Award, the Symphony Australia Young Vocalist Award, and the Dr Handa Prize. She also won the Southeast Queensland Aria and Concerto Competition and received an Acclaim Italian Fellowship Award for study in Italy. In 2013 she will undertake a year s study at the Mozart Operatic Institute in Salzburg. Eddie Perfect actor Eddie Perfect studied at the Western Australian Academy of Performing Arts, graduating in Since then he has become known for his versatility as an actor, comedian and musician. His television credits include Offspring, the 2011 Logie Awards, and Spicks and Specks, as well as performing his own comedy. His theatre and comedy appearances in Sydney include Keating! The Musical (Company B Belvoir), Shane Warne The Musical, Misanthropology (Sydney Festival) and The Threepenny Opera (Sydney Theatre Company, with Richard Gill). He has written and toured several shows, including Angry Eddie as well as Shane Warne The Musical, Misanthropology, and most recently Songs From The Middle, a collaboration with the Brodsky Quartet and the Australian National Academy of Music. He has also composed music for several Malthouse Theatre productions, for the Helpmann, Awgie and Inside Film Awards and for Offspring. Eddie Perfect s accolades include several Green Room Awards, mostly recently for Best New Australian Musical (Shane Warne The Musical), the 2009 Victorian Premier s Literary Award for Best Music Theatre Script, and Helpmann Awards for Best New Australian Work (2009) and Best Cabaret Performer (2011). This is his debut appearance with the Sydney Symphony. JAMES PENLIDIS 11 Sydney Symphony

12 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 THESE CONCERTS FIRST VIOLINS Sun Yi Associate Concertmaster Kirsten Williams Associate Concertmaster Fiona Ziegler Assistant Concertmaster Julie Batty Jennifer Booth Marianne Broadfoot Brielle Clapson Sophie Cole Amber Davis Georges Lentz Nicola Lewis Alexandra Mitchell Léone Ziegler Emily Qin# SECOND VIOLINS Kirsty Hilton Alexander Read* Emma West Assistant Principal Jennifer Hoy A/Assistant Principal Susan Dobbie Principal Emeritus Maria Durek Shuti Huang Stan W Kornel Benjamin Li Emily Long Maja Verunica Alexandra D Elia# VIOLAS Anne-Louise Comerford Sandro Costantino Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Rosemary Curtin# David Wicks# CELLOS Leah Lynn Assistant Principal Timothy Nankervis Elizabeth Neville Adrian Wallis David Wickham Eleanor Betts* Mee Na Lojewski* Mathisha Panagoda* DOUBLE BASSES Alex Henery Neil Brawley Principal Emeritus David Campbell Steven Larson David Murray Hugh Kluger FLUTES Janet Webb Carolyn Harris Rosamund Plummer Principal Piccolo Katie Zagorski OBOES Diana Doherty Alexandre Oguey Principal Cor Anglais CLARINETS Francesco Celata Craig Wernicke Principal Bass Clarinet BASSOONS Roger Brooke Fiona McNamara HORNS Ben Jacks Geoffrey O Reilly Principal 3rd Euan Harvey Marnie Sebire Sebastian Dunn* Katy Grisdale TRUMPETS Paul Goodchild John Foster Anthony Heinrichs TROMBONES Scott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone TUBA Steve Rossé TIMPANI Richard Miller PERCUSSION Rebecca Lagos Colin Piper Mark Robinson John Douglas* Brian Nixon* Philip South* HARP Louise Johnson Genevieve Lang* KEYBOARDS Josephine Allan# Bold = Principal Italic= Associate Principal * = Guest Musician # = Contract Musician = Sydney Symphony Fellow 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. 12 Sydney Symphony

13 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 Sydney Opera House, the Sydney Symphony also performs in venues throughout Sydney and NSW. International tours have earned the orchestra worldwide recognition for artistic excellence, most recently in a European tour that included 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, Zdenek Mácal, Stuart Challender, Edo de Waart and 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 symphonic music, and the orchestra promotes the work of Australian composers through performances, recordings and commissions. 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 CHAIRMAN John C Conde AO Terrey Arcus AM Jennifer Hoy Irene Lee Goetz Richter Ewen Crouch Rory Jeffes David Livingston David Smithers AM Ross Grant Andrew Kaldor 13 Sydney Symphony

14 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 14 Sydney Symphony

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Justice J C & Mrs Campbell Percy Chissick Mrs Catherine J Clark Mr Charles Curran AC & Mrs Eva Curran Greta Davis Elizabeth Donati Dr & 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 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 Iven & Sylvia Klineberg Mr & Mrs Gilles T Kryger Dr & Mrs Leo Leader Margaret Lederman Martine Letts Anita & Chris Levy Erna & Gerry Levy AM Dr Winston Liauw Mrs Helen Little Sydney & Airdrie Lloyd Mrs A Lohan Carolyn & Peter Lowry OAM Dr David Luis Mrs M MacRae OAM Melvyn Madigan Dr Jean Malcolm Alan & Joy Martin Geoff & Jane McClellan Mrs Helen Meddings Mrs Inara Merrick David & Andree Milman Kenneth N Mitchell Helen Morgan Chris Morgan-Hunn Nola Nettheim Mrs Margaret Newton Sandy Nightingale Mr Graham North Dr M C O Connor AM A Willmers & R Pal Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont 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 Robyn Smiles Doug & Judy Sotheren Mrs Elsie Stafford Mr D M Swan Mr Norman Taylor Dr Heng & Mrs Cilla Tey Ms Wendy Thompson Kevin Troy Judge Robyn Tupman Gillian Turner & Rob Bishop Mr Robert & Mrs Rosemary Walsh Ronald Walledge David & Katrina Williams Audrey & Michael Wilson Dr Richard Wing Mr Robert Woods Mr & Mrs Glenn Wyss Anonymous (17) To find out more about becoming a Sydney Symphony Patron please contact the Philanthropy Office on (02) or philanthropy@sydneysymphony.com 15 Sydney Symphony

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