Emirates continues to take great pleasure in supporting the Sydney Symphony and fostering the growth of arts in the community.

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1 Music touches the hearts of people worldwide, bringing pleasure, creating memorable experiences and offering a common platform for varied cultures and communities to come together. It is for these reasons that the Sydney Symphony a first class orchestra in one of the world s most diverse and beautiful cities is an ideal partner for Emirates Airline. With more than 300 major international awards for excellence, Emirates has developed an international reputation for providing a standard of service and an inflight experience to which other airlines aspire. And like the Sydney Symphony, Emirates reaches out to a truly global audience, flying to every continent in the world from its hub in Dubai. We also have a long term growth strategy for Emirates in Australia. Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of This will include a third daily flight from Sydney, making connections to our expanding network across Europe, Middle East, Africa, Asia and the Americas easier for local travellers. Emirates continues to take great pleasure in supporting the Sydney Symphony and fostering the growth of arts in the community. We look forward to an exciting and memorable HH SHEIKH AHMED BIN SAEED AL-MAKTOUM CHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP

2 SEASON 2008 EMIRATES METRO SERIES ELGAR FESTIVAL ELGAR S CELLO CONCERTO FESTIVAL PARTNER Friday 31 October 8pm Sydney Opera House Concert Hall Vladimir Ashkenazy conductor Jian Wang cello EDWARD ELGAR ( ) Cello Concerto in E minor, Op.85 Adagio Moderato Lento Allegro molto Adagio Allegro Moderato Allegro, ma non troppo INTERVAL Monday night s performance will be broadcast across Australia on ABC Classic FM Pre-concert talk by Genevieve Lang at 7.15pm in the Northern Foyer. Visit for biographies of pre-concert speakers. Symphony No.1 in A flat, Op.55 Andante (Nobilmente e semplice) Allegro Allegro molto Adagio Lento Allegro Estimated timings: 30 minutes, 20-minute interval, 50 minutes The performance will conclude at approximately 10pm. PRESENTING PARTNER

3 We have great pleasure in welcoming you to an exceptional evening of the 2008 Veuve Clicquot Series; a series of concerts for lovers of great music, adding a little sparkle to Monday nights. Since the foundation of our great champagne House in 1772, Veuve Clicquot Ponsardin has become synonymous with elegance, seduction and celebration. Creating truly great champagne is the collaboration of many individuals, along with the finest vintage wines, which together produce a singular sensation for the senses much like the incredible talents and dedication of the members of the Sydney Symphony. Champagne always adds a certain je ne sais quoi, a touch of luxury to every occasion. Through providing our flagship champagne, Yellow Label Brut, in the bars at the Sydney Opera House Concert Hall for the Sydney Symphony performances, our aim is to enhance your pleasure from these superb musical experiences. We hope that you enjoy the outstanding talents of the Sydney Symphony this evening, and indulge in a glass of pure pleasure at interval. A votre santé! Kate Stevenson Brand Manager Veuve Clicquot Ponsardin & Krug

4 SEASON 2008 THE VEUVE CLICQUOT SERIES ELGAR FESTIVAL ELGAR S CELLO CONCERTO FESTIVAL PARTNER Monday 3 November 7pm Sydney Opera House Concert Hall Vladimir Ashkenazy conductor Jian Wang cello EDWARD ELGAR ( ) Cello Concerto in E minor, Op.85 Adagio Moderato Lento Allegro molto Adagio Allegro Moderato Allegro, ma non troppo INTERVAL Monday night s performance will be broadcast across Australia on ABC Classic FM Pre-concert talk by Genevieve Lang at 6.15pm in the Northern Foyer. Visit for biographies of pre-concert speakers. Symphony No.1 in A flat, Op.55 Andante (Nobilmente e semplice) Allegro Allegro molto Adagio Lento Allegro Estimated timings: 30 minutes, 20-minute interval, 50 minutes The performance will conclude at approximately 9pm. PRESENTING PARTNER

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6 INTRODUCTION Elgar Festival I: A composer s outlook on life In his program note for the premiere of his First Symphony, Elgar described the music as a composer s outlook on life. Years later, when asked the meaning of his Cello Concerto he said: A man s attitude to life. The Cello Concerto was his last major work. It has an autumnal quality, which can all too easily turn to sentiment, especially in the heart-wrenching Adagio movement. But more important, it has a mature economy of style that undermines the popular caricature of Elgar s music as a bombastic and extravagant production of the Edwardian era. In Elgar s best works there is sincerity of emotion and vigour of musical ideas. This is the Elgar we hear in the deeply felt and wonderfully intimate Cello Concerto. It s also the Elgar who emerges in the First Symphony, composed when he was in his 50s. As in the Cello Concerto, its first expression marking is nobilmente (nobly). He believed that the symphony without a program (that is, without a narrative or scenario) was the highest achievement of the art. And as for the phases of pride, despair, anger, peace & the thousand & one things that occur between the first page & the last of the symphony, Elgar preferred that we, the listeners, draw what we can from the sounds we hear. All the same, there is a vision behind the symphony, which Elgar shared as a wide experience of human life with a great charity (love) & a massive hope in the future. The Cello Concerto begins this festival in a nostalgic mood; the First Symphony points us toward optimism. 5 Sydney Symphony

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8 ABOUT THE MUSIC Edward Elgar Cello Concerto in E minor, Op.85 Adagio Moderato Lento Allegro molto Adagio Allegro Moderato Allegro, ma non troppo Jian Wang cello In March 1918, the final year of World War I, Edward Elgar went into hospital to have a septic tonsil removed. Always given to depression and a degree of self-loathing, his spirits were particularly low at this point. As the foremost living English composer and indeed the man who almost single-handedly had resurrected English music from the doldrums in which it had languished since the era of Purcell his music nevertheless was drastically underrated in his home country. It was around this time, in fact, that Elgar began to proclaim that he loathed music and wanted nothing more to do with it. But as the 61-year-old convalesced in hospital, he was also aware that the Edwardian world of which he and his music had been such distinctive representatives was crumbling in the wake of the War. The political crises of the previous four years and the philosophical challenges which tend to follow acts of international mass destruction had changed the face of European society forever. The arts reflected the ensuing radical re-evaluation of the new world order. Already Schoenberg had exploded the concept of tonality; he was soon to establish serialism as one of the most radical and rigorous compositional methods ever created. In England, young composers like Gustav Holst, whose Planets was first performed in 1918, began to be recognised and celebrated for their outward-looking internationalist perspectives. In other post-war arts, modernism began to establish its ascendancy in the cubist works of Picasso and the literary extravaganzas of James Joyce. So it was with an awareness of a brutal modern world rapidly passing him by that the convalescent Elgar asked a nurse for a pencil and paper. On the scrap of paper he sketched what was to become the nostalgic opening theme of the Cello Concerto. Later in the year, the now-recovered Elgar was deeply involved in the piece as a whole, writing from his country cottage in Sussex to a friend that he was frantically busy Keynotes ELGAR Born Broadheath, 1857 Died Worcester, 1934 Edward Elgar was arguably the first major British composer after Henry Purcell in the 17th century. He came to prominence at the age of 42 with the Enigma Variations; this was followed by The Dream of Gerontius, the finest oratorio by an Englishborn composer, the violin and cello concertos, and two symphonies powerful and inventive works that combined the inspiration of his homeland with the technique and musical vision of his European peers. CELLO CONCERTO This was the concerto that made the 20-year-old Jacqueline du Pré a star when she recorded it in It s an intimate and moving work, intensely emotional but at the same time dignified (classic English reserve?). Unusually for a concerto, it s structured in four movements. Elgar indicates that it should be begin nobly and the opening entry of the soloist remains one of the concerto s most striking aspects. The idea turns up again, with plucked strings, in the playful second movement, and in the boisterous and uncomplicated finale. The Adagio movement is the heart of the work: five minutes of exquisite lyricism. The concerto was premiered in Sydney Symphony

9 writing & have nearly completed a Concerto for Violoncello a real large work & I think good & alive. He wrote it for Felix Salmond, cellist with the British String Quartet, who offered much technical advice during the composition and who was destined to give the premiere. From that undulating initial theme so hastily sketched in hospital, the concerto unfolds as a rhapsodicallystructured, requiem-like outpouring of undiluted emotion in four movements. And yet for all the immediate appeal which the work seems to have these days, its premiere in 1919 bordered on disaster. Conducted by Elgar himself, it was programmed at the Queen s Hall alongside Scriabin s Poème de l extase and Borodin s Second Symphony, the latter two works conducted by one Albert Coates. Apparently Coates was reluctant to let Elgar have any rehearsal time, resulting not just in the insult of Elgar being kept waiting for more than an hour while the fractured sounds of Scriabin emerged from the rehearsal studio within, but also meaning that the public performance itself, in a half-empty hall, was painfully under-prepared. Indeed Ernest Newman wrote that the London Symphony Orchestra made a lamentable public exhibition of itself. For her part, Lady Elgar noted in her diary: shameful hope never to speak to that brutal Coates again. But perhaps there was something in the music too which exacerbated the effects of a poor performance. Certainly for those accustomed to the Edwardian splendour of Elgar s two pre-war symphonies and the Pomp and Circumstance Marches, this work must have seemed unusually subdued and perhaps even austere in its orchestration. Even more than that, the Cello Concerto was written in an age when formal innovation and dazzling technical virtuosity were perhaps more highly prized than nakedly emotional and regretful statements such as this. Listening Guide The Cello Concerto is in E minor, a reflective and almost naïve key in Elgar s harmonic palette and the key of three of his last four major works. The opening of the work, with its characteristic nobilmente [nobly] marking in the score, is a flourish for the soloist which recurs throughout the concerto. The unmistakable main melody at once 8 Sydney Symphony

10 both wistful and sublime emerges almost immediately in the violas, before being taken up by the soloist. Throughout the course of the movement the theme winds its way through various keys, while the secondary thematic material emerges in the clarinets. The next time we hear the soloist s opening flourish, it is transformed into a pizzicato passage at the beginning of the second movement a scherzo-like movement in G which is linked without substantial pause to the first movement. The main theme appears in staccato semiquavers, almost like a moto perpetuo, with a series of episodes intervening from time to time. The core of the work is in the Adagio, which at just 60 bars in duration is one of the most extraordinary achievements in this form from an undisputed master of the slow movement. (The Adagio from Elgar s First Symphony and the Larghetto from the Second are among the glories of English music.) In the unexpected key of B flat, the Adagio makes time stand still as the beautiful cantilena sings its music of unequivocal heartbreak. The orchestration here is reduced to strings, clarinets, bassoons and horns, as the soloist weaves in and out of the orchestral fabric in an eloquent song without words. The finale settles back in E minor and has a rondo-like risoluto main subject. Echoes of the concerto s opening flourish abound as the music toys with fragments of themes from all the previous movements. Here more than anywhere else in the concerto, Elgar harks back to the boisterousness of his pre-war works (and in particular the finale of the Enigma Variations). But nothing can disguise the fact that underlying the concerto as a whole is a mood of resignation and finality a fact amply demonstrated by the absence, following the completion of this concerto, of any further orchestral music from Elgar in the 15 years that remained of his life. an undisputed master of the slow movement. MARTIN BUZACOTT SYMPHONY AUSTRALIA 1996 The Cello Concerto calls for an orchestra comprising pairs of flutes, oboes, clarinets and bassoons; four horns, two trumpets, three trombones and an optional tuba; timpani and strings. The Sydney Symphony first performed the Cello Concerto in 1944, with conductor Percy Code and soloist Lauri Kennedy, and most recently in 2005, with conductor Jeffrey Tate and cellist Truls Mørk. 9 Sydney Symphony

11 Edward Elgar Symphony No.1 in A flat, Op.55 Andante (Nobilmente e semplice) Allegro Allegro molto Adagio Lento Allegro In the closing years of the 20th century, Australians went to a referendum about the nation s constitutional future whether to retain a system of constitutional monarchy or, instead, become a republic. And tonight we listen to a work that celebrates the period in which our current constitution was first put into practice, a musical time machine that so some critical opinion has it returns us to a period of opulence, paternalism, the Empire on which the sun never set; of Australia as a colony; of Britain as home. At this distance, with Elgar s symphonies again established as works of real mastery, it is worth recalling the prevailing view of these pieces at the end of his life and for many decades after his death. Fashionable critics of the 1930s through to the 1950s were quick to condemn them. W.J. Turner called them Salvation Army symphonies. E.J. Dent wrote that their chevalresque rhetoric badly covers up [their] essential vulgarity. Cecil Gray referred to their lack of spiritual breadth and understanding the frequent triviality and tawdriness of [their] material. And Sir Thomas Beecham, never an Elgar enthusiast, called the First Symphony neo-gothic, the equivalent of the towers of St. Pancras Station. In this hostile climate of opinion, only a handful of significant conductors kept the flame of this music alive, and it s little wonder that Elgar s reputation sank as surely as it had risen in 1899, when his Enigma Variations set the musical world on its ear. The spirit of the Elgar centenary in 1957 was one more of equivocation than of affirmation. The notion that the symphonies represent the official musical branch of British imperialism, that they are simply extended versions of a Pomp and Circumstance march, does not stand up to attentive listening. Now that the century has run out of musical isms with which to beat the listening public, and which necessarily colour critics opinions, Elgar s symphonies have found critical appreciation, a new generation of interpreters, Keynotes SYMPHONY NO.1 Elgar was 50 before he completed his first symphony he d been delayed by self-doubt and the burden of being, by that time, Britain s most famous composer. He needn t have worried: the symphony was a huge success, acclaimed by musicians and audiences. It is in four movements. The first begins with a slow introduction marked with Elgar s favourite direction, nobly (nobilmente), before moving into the main fast section. The second movement, a march, makes a transition directly into the third, a blissful slow movement that brings us near to Heaven. The finale progresses from a sinister opening to exultation. Elgar s First Symphony was completed and premiered in Sydney Symphony

12 and listeners who would probably have enjoyed them anyway, whatever the pronouncements from the academies and arts pages. We also need to remember that this symphony s first audiences enjoyed the work precisely because its language conveyed a musical understanding of cultures and landscapes beyond those of the green and pleasant land and its Empire. The 19-year-old Neville Cardus, later to become chief critic of the Manchester Guardian (and, for a time, the Sydney Morning Herald), was in the audience for the premiere, and, many years later, described the importance of the event: Those of us who were students were excited at last to hear an English composer addressing us in a spacious way, speaking a language which was European and not provincial. No English symphony existed then, at least not big enough to make a show of comparison with a symphony by Beethoven or Brahms and go in the program of a concert side by side with the acknowledged masterpieces, and not be dwarfed into insignificance. Although it may seem to us that this symphony was created by a firm Establishment figure and a gentlemen composer with an army colonel s demeanour, it was Elgar s status as an outsider that gave him strength and brought him suffering all his creative life. He was an English Catholic at a time of rabid anti-popery (although his faith was a wavering thing); the son of a shopkeeper father, in a society run on rigid class divisions; and a self-taught musician in a small, enclosed world of professional music run by academics. These burdens were not perhaps as great as those that Mahler suffered in his world, but Elgar felt them keenly. If his symphonies may be compared with Mahler s, it is in the strong sense of autobiography, the selfcommuning nature of the musical ideas and structure, where we feel the kinship between these two contemporaries. While Elgar s two completed symphonies are not as extreme, expressively, as Mahler s nine, they too dramatise the emotional life of a man full of inner conflicts and, more remarkably, transcend this depiction to pierce the veil of existence in a way that has become more, not less, apparent, with the passing of time. That is real musical genius. Elgar was 50 before he produced a symphony, and it was a long time coming. In March 1899 The Musical Times 11 Sydney Symphony

13 Hans Richter conducted the premiere of the First Symphony in Manchester and the equally triumphant London premiere with the London Symphony Orchestra soon after. reported that the composer was working on a symphony inspired by the life and deeds of the devout Christian soldier and national hero (or, as some thought, martyr), General Charles Gordon, who had died, neglected by his government, defending Khartoum, after a ten-month siege. Although Elgar was contemplating and perhaps even began a Gordon Symphony, he admitted to a friend: the thing possesses me, but I can t write it down yet. The organisers of an Elgar festival in 1904 also pressed him for a symphony as a climax to their three-day event, but it was not to be. Elgar once told his friend A.J. Jaeger ( Nimrod of the Enigma Variations): You won t frighten me into writing a logically developed movement where I don t want one, and musical ideas often percolated in his brain for years before he found the right context for them. His tremendous orchestral technique for Elgar was, supremely and above all, a composer for orchestra allowed him to bring to this passionate, wayward method of writing a textural sheen and opulence unique in Romantic musical literature. It may be that the composer of the Enigma Variations and The Dream of Gerontius already Britain s most famous 12 Sydney Symphony

14 musical figure was fearful for his reputation and for his fragile faith in himself should so major a declaration as a First Symphony be a failure. After nearly a decade of prevarication, an Italian holiday in the Northern winter of 1907 got Elgar going on his first symphony, and once it had taken hold of him he completed it in just a few months. Whatever doubts lay in Elgar s mind about this ambitious work were banished on the night of its premiere in Manchester on 3 December 1908, when conductor Hans Richter called the composer to the stage not only at the conclusion of the symphony but after the Adagio, to a storm of cheers and applause. The next day Richter began preparing the work with the London Symphony Orchestra for the first performance in the capital. Let us now rehearse the greatest symphony of modern times, he told the players, and not only in this country. The London performance was another triumph, and within 18 months the symphony had been played a hundred times, in Britain, the United States, in Vienna, Berlin, Leipzig, St Petersburg, Toronto, Sydney, Budapest and Rome an incredible sweep of success before the age of radio. It may be that the shadow of the Gordon Symphony falls over one or both of Elgar s symphonic works, but we will never know. All Elgar would say when pressed was that the First Symphony had no program beyond a wide experience of human life with a great charity (love) and a massive hope for the future. But we must take this remark carefully. On another occasion Elgar said that he had put all of his life into his music, and also much more that has never happened. From no late Romantic symphony, on so grand a scale, by a person of such passionate temperament, who so precisely indicates to players and conductor the phrasing and dynamics he wants at all times, can private meanings be absent. Let us now rehearse the greatest symphony of modern times, and not only in this country. HANS RICHTER Listening Guide The opening of the symphony is a solemn slow march: all we hear for the first three minutes of the work. Elgar introduces it quietly, its unpredictable rhythms and harmonies set to a stalking bass line; and then more triumphantly, fortissimo. This theme has a decisive influence on the rest of the symphony. It is not so much a motto theme as a recurring presence, and its arrival at any point 13 Sydney Symphony

15 acts as a sign that the musical events surrounding it are about to change. After the introduction, Elgar shifts into a remote key for the main Allegro; music of strife and turbulence, in great contrast to the splendours left behind. A tender second subject for violins and clarinets is introduced briefly, only to be tossed aside for another passage of great ferocity. Then the opening march theme tries to reassert itself before being swept away by more music based on the main Allegro material. As Cardus said of his first hearing of these wild juxtapositions: fountains of string tone, brass instruments in ricochet; no such virtuoso orchestration had been heard before in the music of an Englishman. There is a particularly lovely episode for solo violin, harps, solo cello and woodwind, which Elgar asks to be played in a veiled and remote manner. But in this movement, these moments of tenderness and repose are banished by the urge for conflict, until the very end when, after much struggle, the march theme returns grandly, only to be enfolded in reminiscences of, in turn, the main Allegro theme and a radiant, benedictory variation on the Allegro s lyrical music, before the mood becomes hazy and doubtful at the close. Elgar did not call his second movement a scherzo because it is not playful or humorous, yet, in its brevity and in Elgar s own version of a trio section, it serves this function. As in his first movement pattern (slow introduction preceding the main Allegro), we are hearing him re-create the Classical traditions and conventions in his own language and instrumental scale. The unsettled theme that opens this Allegro molto soon gives way to a malicious quick march, which becomes gleefully evil. Elgar then quickly eases us away into a short, delicate trio episode for strings and woodwind, which he once asked to be played like something you hear down by the river. But, equally swiftly, this collides with a vehement return of the quick march, now scored virtuosically for the brass, until, in the closing minutes, we are given fleeting glimpses of all the ideas encountered in this movement. As the texture clears, the heartbeat of the music seems to slow down almost to a complete stop the slow movement has begun. My dear friend, the dying Jaeger wrote to Elgar after reading through the score of this symphony, that is not only one of the very greatest slow movements since no such virtuoso orchestration had been heard before in the music of an Englishman. NEVILLE CARDUS 14 Sydney Symphony

16 Beethoven, but I consider it worthy of that master. Richter agreed. It is a rare expression of contentment in Elgar s music, and at times seems to be describing a state of bliss. The main theme is, astonishingly, a note-for-note transformation of the Allegro molto s first tune into music of nobility and consolation. The second subject is more passionate, even operatic, and Elgar brings it to an ecstatic climax. The arrival of a new, unexpected, gentle, wide-ranging theme towards the movement s end is a moment of tremendous emotional power, bringing us, in Jaeger s words, near to Heaven. This new tune seems to guide the movement gently to its close. If the Adagio is a sanctuary, the finale opens with a soft, sinister tread that recalls the volatility of the symphony s first half, which has clearly not been banished by the slow movement. We can make out a new, heavily accented tune on trombones, but are then plunged into a tempestuous Allegro, which opens with a jagged theme for the strings. The new, accented tune rises in fury, before being interrupted by the return of the slow march that dominated the symphony s beginning, but in a new key, so that, like an old friend changed by circumstance and experience, it is difficult at first to recognise. Finally this recurring presence stages a blazing return, but must battle its way through an astonishing orchestral barrage of shocks and explosions before struggling through to affirmation and exultation. Elgar himself spoke of this symphony embodying a massive hope for the future, but hope is not certainty, and to conclude this work so ambiguously speaks of Elgar s own feelings about the discrepancy between the actual even the possible and the ideal. It is this, ultimately, that makes him a modern spirit, whatever may have been said about the outward manner and appearance of his music. near to Heaven A.J. JAEGER PHILLIP SAMETZ 1998 The First Symphony calls for three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and percussion (snare drum, cymbal, bass drum); two harps and strings. Elgar s First Symphony had its premiere performance in Manchester on 3 December 1908, under the baton of Hans Richter. The Sydney Symphony first performed it in 1939 with Malcolm Sargent conducting and most recently in 2007 under Jeffrey Tate. 15 Sydney Symphony

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18 MUSICIAN SNAPSHOT Fenella Gill going her own way Fenella Gill, cellist with the Sydney Symphony, is joined by her six-year-old daughter Audrey on the day of this snapshot interview. Audrey is home from school, her left hand firmly swathed in bandages following a close encounter with a glass door. No permanent damage fortunately, but it does raise an interesting question: what if it were Fenella s own hand sporting a similar fresh dressing? I think it would be extremely challenging, and probably a bit miserable and frustrating if I couldn t play. Fenella grew up in a musical household. My mother would often wake us up on the weekend by playing a record of a Mozart violin concerto, or the Elgar cello concerto, perhaps to drop the hint that we [Fenella and her three sisters] should get up and practise? Repetitive Strain Injury (RSI) in her late teens threatened to put a stop to Fenella s aspirations of becoming a professional musician. I was practising incredible hours every day, and it wasn t healthy, obviously. I overcame it with a lot of physical exercise; a lot of bike-riding and swimming backstroke; doing the opposite movements to sitting playing the cello all day. Thankfully, Fenella recovered to full health. It s very hard psychologically to not be able to do something that you really want to do. But I think it s made me a lot stronger. I really believe you will always end up finding your own way to play. So much of what we do is positive thinking. Maturity comes when you learn to trust yourself, to let go of how you think you should play and to experiment; to be able to play with conviction and believe that s what you re doing. I m also very aware now in the orchestra of how my body is feeling. Jacqueline du Pré, the cellist synonymous with the Elgar cello concerto, was diagnosed with Multiple Sclerosis at the age of 26, prematurely ending her performing career. Du Pré s recording of the Elgar was the first one I ever owned and I had lessons on the same concerto with her teacher, William Pleeth. And though du Pré was English, and the piece is English, it s not the stereotype that you might think. She was incredibly expressive. Du Pré s association with other artists like Pinchas Zuckerman, Itzhak Perlman and Daniel Barenboim put her in a class of untouchables in Fenella s mind. These are names I grew up with. They were performers who achieved legendary status. I think it s really exciting to have Ashkenazy, who was also a part of that group, as our Principal Conductor. It s like a direct link to the good old days. GENEVIEVE LANG 2008 KEITH SAUNDERS 17 Sydney Symphony

19 GLOSSARY CANTILENA a song-like melody. FORTISSIMO very loud, usually abbreviated in sheet music as ff. MOTO PERPETUO literally perpetual motion. PIZZICATO a technique for stringed instruments in which the strings are plucked with the fingers rather than bowed. RONDO a musical form in which a main idea (refrain) alternates with a series of musical episodes. Similar to the verse and chorus structure of many songs. SCHERZO literally, a joke; the term generally refers to a movement in a fast, light triple time, which may involve whimsical, startling or playful elements. Most scherzo movements in symphonies include a contrasting central section called a TRIO. SEMIQUAVER a rhythmic unit that divides the crotchet beat into four quick notes (although in a slow tempo, semiquavers may not be especially fast). STACCATO a style of musical articulation in which the notes of a phrase are played shorter than their notated duration and are detached from each other. In much of the classical repertoire, movement titles are taken from the Italian words that indicate the tempo and mood. A selection of terms from this program is included here. Adagio slow Allegro fast Allegro, ma non troppo fast, not too much Allegro molto very fast Andante at a walking pace Lento slow Moderato moderately Nobilmente e semplice nobly and simply Risoluto resolute, determined 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. The Sydney Symphony is seeking a Manager of Group Sales Could this person be you? If you love music, love the Sydney Symphony, and love working with people, then we invite you to apply. Our marketing team is seeking a dynamic and outgoing individual who knows how things are organised and who is ready for the challenge of creatively engaging nontraditional audiences for Sydney Symphony concerts. They could be groups; they might be students; sometimes from local corporations, sometimes travellers. Regardless, if you have a knack for verbal presentation, a love of people and great music, organisational skill and enthusiasm, then we would like to hear from you. Now. For more information visit sydneysymphony.com/employment Or call Ian Arnold, Human Resources Manager on (02)

20 MORE MUSIC Selected Discography Broadcast Diary CELLO CONCERTO Elgar s Cello Concerto found its most ardent interpreter in Jacqueline du Pré, and it was largely through her performances and recordings that the concerto achieved its well-deserved place in the repertoire. The most acclaimed recording of the work dates from 1965, with the London Symphony Orchestra conducted by John Barbirolli. It s available on several releases, including in EMI s Great Recordings of the Century series, with Janet Baker singing Sea Pictures. EMI CLASSICS FIRST SYMPHONY The BBC s Legends series includes Barbirolli s performance of the First Symphony with the Hallé Orchestra, recorded in 1970, coupled with the Introduction and Allegro. BBC LEGENDS 4106 Jeffrey Tate s recording of the First Symphony with the London Symphony Orchestra is available on a 2-CD set with the Second Symphony, Cockaigne Overture and Sospiri. EMI CLASSICS VLADIMIR ASHKENAZY NOVEMBER ELGAR FESTIVAL BROADCASTS Vladimir Ashkenazy conductor 3 November, 7pm Jian Wang cello Cello Concerto, Symphony No.1 8 November, 8pm Lilli Paasikivi mezzo-soprano Sea Pictures, Serenade, Symphony No.2 12 November, 8pm James Ehnes violin Violin Concerto, Enigma Variations, Pomp and Circumstance Marches 20 November, 8pm Lilli Paasikivi, Mark Tucker, David Wilson-Johnson vocal soloists Sydney Philharmonia Choirs The Dream of Gerontius RECENT RELEASE Rachmaninov: Complete Symphonies and Orchestral Works Ashkenazy conducts the Sydney Symphony in live recordings from the 2007 Rachmaninov Festival. EXTON EXCL JIAN WANG Reverie Cello recital disc with a Latin flavour. Jian Wang is accompanied by pianist Göran Söllscher. DEUTSCHE GRAMMOPHON Bach Suites for Solo Cello DEUTSCHE GRAMMOPHON November, 12.05pm STRAUSS, SAINT-SAËNS & SIBELIUS Thomas Dausgaard conductor Simon Trpceski piano 2MBS-FM SYDNEY SYMPHONY 2008 Tue 11 November, 6pm What s on in concerts, with interviews and music. Special guests: Principal Viola Roger Benedict with participants from the 2008 Fellowship. Webcast Diary Selected Sydney Symphony concerts are recorded for webcast by BigPond and are available On Demand. Visit: sydneysymphony.bigpondmusic.com Current webcast: GELMETTI S FAREWELL Available On Demand sydneysymphony.com Visit the Sydney Symphony online for concert information, podcasts, and to read the program book in advance of the concert. 19 Sydney Symphony

21 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 was Chief Conductor of the Czech Philharmonic from 1998 to 2003, and he was Music Director of the NHK Symphony Orchestra in Tokyo from 2004 to He will take up the position of Principal Conductor and Artistic Advisor of the Sydney Symphony in 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 Symphonie Orchester Berlin (Chief Conductor and Music Director ), and last year returned to conduct the Berlin Philharmonic. He 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), and Rachmaninov transcriptions. His latest releases are recordings of Bach s Wohltemperierte Klavier and Beethoven s Diabelli Variations. A regular visitor to Sydney over many years, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with his five-program Rachmaninov Festival forming a highlight of the 75th Anniversary Season in Vladimir Ashkenazy s future artistic role with the Orchestra will include collaborations on composer festivals, major recording projects and international touring activities. SASHA GUSOV / DECCA 20 Sydney Symphony

22 Jian Wang cello Jian Wang began studying cello with his father when he was four. While a student at the Shanghai Conservatoire he was featured in the celebrated documentary film From Mao to Mozart: Isaac Stern in China. Isaac Stern s encouragement and support paved the way for him to go to the United States and in 1985 he entered the Yale School of Music to study with Aldo Parisot. The following year he made his professional debut at Carnegie Hall. He subsequently embarked on an international career, with early highlights including concerts with the Mahler Youth Orchestra (Claudio Abbado) and with the Royal Concertgebouw Orchestra (Riccardo Chailly) in Amsterdam and on tour in China. Since then he has performed with many other leading orchestras, including the Philadelphia and Cleveland Orchestras, the Boston and Chicago Symphony Orchestras; NHK Symphony, Zurich Tonhalle, Stockholm Philharmonic, Santa Cecilia, Hallé Orchestra, the Scottish and Mahler Chamber Orchestras, and the National Orchestra of France. He has worked with conductors such as Gustavo Dudamel, Charles Dutoit, Myung-Whun Chung, Alan Gilbert, Emmanuel Krivine, Wolfgang Sawallisch, Neeme Järvi, Christoph Eschenbach, Thomas Dausgaard, Mark Wigglesworth and Daniel Harding. In the forthcoming season he will perform with the Rotterdam Philharmonic Orchestra, Orchestre de Paris and the Dresden Philharmonic Orchestra. In the 2007/08 season his engagements included the Camerata Salzburg, Swedish Chamber Orchestra, Hong Kong Philharmonic and Singapore Symphony Orchestras. He also made his BBC Proms debut performing three of Bach s solo cello suites. Jian Wang has also performed as soloist and chamber musician at many festivals throughout the world, including the Verbier Festival, Miyazaki Festival, Aldeburgh Festival, and the Tanglewood and Mostly Mozart Festivals. His recordings include, most recently, Reverie (arrangements for cello and guitar) and the Bach Cello Suites. He has also recorded an album of baroque music with Camerata Salzburg; the Brahms Double Concerto (Berlin Philharmonic, Claudio Abbado and Gil Shaham); the Haydn cello concertos (Gulbenkian Orchestra and Muhai Tang); Messiaen s Quartet for the End of Time with Chung, Gil Shaham and Paul Meyer; and Brahms, Mozart and Schumann chamber music with Maria-Joao Pires and Augustin Dumay. Jian Wang s cello is graciously loaned to him by the family of the late Mr Sau-Wing Lam. GUNTHER GLÜCKLICH / DEUTSCHE GRAMMOPHON 21 Sydney Symphony

23 THE SYDNEY SYMPHONY PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales JOHN MARMARAS Founded in 1932, the Sydney Symphony has evolved into one of the world s finest orchestras as Sydney has become one of the world s great cities. Last year the Orchestra celebrated its 75th anniversary and the milestone achievements during its distinguished history. Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs concerts in a variety of venues around Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the Orchestra world-wide recognition for artistic excellence. Critical to the success of the Sydney Symphony has been the leadership given by its former Chief Conductors including: Sir Eugene Goossens, Nicolai Malko, Dean Dixon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Stuart Challender and Edo de Waart. Also contributing to the outstanding success of the Orchestra have been collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. Maestro Gianluigi Gelmetti, whose appointment followed a ten-year relationship with the Orchestra as Guest Conductor, is now in his fifth and final year as Chief Conductor and Artistic Director of the Sydney Symphony, a position he holds in tandem with that of Music Director at Rome Opera. As part of his farewell season, he recently led the Orchestra on a tour of Italy, with concerts in eight cities. The Sydney Symphony s award-winning Education Program is central to the Orchestra s commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony also maintains an active commissioning program promoting the work of Australian composers, and recent premieres have included major works by Ross Edwards and Brett Dean, as well as Liza Lim, who was composer-in-residence from 2004 to In 2009 Maestro Vladimir Ashkenazy will begin his three-year tenure as Principal Conductor and Artistic Advisor. 22 Sydney Symphony

24 MUSICIANS Gianluigi Gelmetti Chief Conductor and Artistic Director Michael Dauth Chair of Concertmaster supported by the Sydney Symphony Board and Council Dene Olding Chair of Concertmaster supported by the Sydney Symphony Board and Council First Violins Second Violins First Violins 01 Sun Yi Associate Concertmaster 02 Kirsten Williams Associate Concertmaster 03 Kirsty Hilton Assistant Concertmaster 04 Fiona Ziegler Assistant Concertmaster 05 Julie Batty 06 Sophie Cole 07 Amber Gunther 08 Rosalind Horton 09 Jennifer Hoy 10 Jennifer Johnson 11 Georges Lentz 12 Nicola Lewis 13 Alexandra Mitchell Moon Design Chair of Violin 14 Léone Ziegler Marriane Broadfoot Second Violins 01 Marina Marsden Principal 02 Emma West A/Associate Principal 03 Shuti Huang A/Assistant Principal 04 Susan Dobbie Principal Emeritus 05 Pieter Bersée 06 Maria Durek 07 Emma Hayes 08 Stan W Kornel 09 Benjamin Li 10 Nicole Masters 11 Philippa Paige 12 Biyana Rozenblit 13 Maja Verunica Guest Musicians Carl Pini Principal First Violin Emily Long First Violin# Michele O Young First Violin Emily Qin First Violin# Martin Silverton First Violin Manu Berkeljon Second Violin Rohana Brown Second Violin Alexandra D Elia Second Violin# Belinda Jezek Second Violin Leigh Middenway Second Violin Alexander Norton Second Violin# Jacqueline Cronin Viola# Jennifer Curl Viola# Rosemary Curtin Viola# Yilin Zhu Viola Ruediger Clauss Principal Cello Rowena Crouch Cello# Patrick Suthers Cello Hayley Clare Double Bass Gordon Hill Double Bass# Ann Peck Oboe Robert Llewellyn Bassoon# Alexander Love Horn Brian Nixon Percussion# Owen Torr Harp # = Contract Musician = Sydney Symphony Fellow 23 Sydney Symphony

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

26 MUSICIANS Oboes 01 Cor Anglais Clarinets Bass Clarinet Bassoons Contrabassoon Horns Trumpets Trombones Bass Trombone Tuba Timpani Percussion Piano Oboes 01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe 02 Shefali Pryor Associate Principal Cor Anglais Alexandre Oguey Principal Clarinets 01 Lawrence Dobell Principal 02 Francesco Celata Associate Principal 03 Christopher Tingay Bass Clarinet Craig Wernicke Principal Bassoons 01 Matthew Wilkie Principal 02 Roger Brooke Associate Principal 03 Fiona McNamara Contrabassoon Noriko Shimada Principal Horns 01 Robert Johnson Principal 02 Ben Jacks Principal 03 Geoff O Reilly Principal 3rd 04 Lee Bracegirdle 05 Euan Harvey 06 Marnie Sebire Trumpets 01 Daniel Mendelow Principal 02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet 03 John Foster 04 Anthony Heinrichs Trombone 01 Ronald Prussing NSW Department of State and Regional Development Chair of Principal Trombone 02 Scott Kinmont Associate Principal 03 Nick Byrne RogenSi International Chair of Trombone Bass Trombone Christopher Harris Trust Foundation Chair of Principal Bass Trombone Tuba Steve Rossé Principal Timpani Richard Miller Principal Percussion 01 Rebecca Lagos Principal 02 Colin Piper Piano Josephine Allan Principal (contract) 25 Sydney Symphony

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

28 SILVER PARTNERS REGIONAL TOUR PARTNERS ITALIAN TOUR 2008 PARTNERS BRONZE PARTNERS MARKETING PARTNERS PATRONS Australia Post Austrian National Tourist Office Beyond Technology Consulting Bimbadgen Estate Wines J. Boag & Son Vittoria Coffee Avant Card Blue Arc Group Lindsay Yates and Partners 2MBS Sydney s Fine Music Station The Sydney Symphony gratefully acknowledges the many music lovers who contribute to the Orchestra by becoming Symphony Patrons. Every donation plays an important part in the success of the Sydney Symphony s wide ranging programs. The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence, innovation and creativity. 27 Sydney Symphony

29 DIRECTORS CHAIRS A leadership program which links Australia s top performers in the executive and musical worlds. For information about the Directors Chairs program, please call Caroline Sharpen on (02) GREG BARRETT KEITH SAUNDERS KEITH SAUNDERS 01 Mulpha Australia Chair of Principal Harp, Louise Johnson 02 Mr Harcourt Gough Chair of Associate Principal Flute, Emma Sholl 03 Sandra and Paul Salteri Chair of Artistic Director Education, Richard Gill OAM 04 Jonathan Sweeney, Managing Director Trust with Trust Foundation Chair of Principal Bass Trombone, Christopher Harris 05 NSW Department of State and Regional Development Chair of Principal Trombone, Ronald Prussing 06 Brian and Rosemary White Chair of Principal Double Bass, Kees Boersma 07 Board and Council of the Sydney Symphony supports Chairs of Concertmaster Michael Dauth and Dene Olding 08 Gerald Tapper, Managing Director RogenSi with RogenSi Chair of Trombone, Nick Byrne 09 Stuart O Brien, Managing Director Moon Design with Moon Design Chair of Violin, Alexandra Mitchell 10 Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe, Diana Doherty 11 Andrew Turner and Vivian Chang Chair of Principal Viola and Artistic Director, Fellowship Program, Roger Benedict 12 The Hansen Family Chair of Associate Principal Trumpet, Paul Goodchild 13 Tony and Fran Meagher Chair of Principal Cello, Catherine Hewgill The Maestro s Circle Mr John C Conde AO Chairman Mr Peter Weiss AM Founding President, Maestro Circle Mr Geoff & Mrs Vicki Ainsworth Ms Ashley Dawson-Damer In memory of Hetty & Egon Gordon Mr Andrew Kaldor & Mrs Renata Kaldor AO Mrs Penelope Seidler Westfield Group 28 Sydney Symphony

30 PLAYING YOUR PART The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Because we are now offering free programs and space is limited we are unable to list donors who give between $100 and $499 please visit sydneysymphony.com for a list of all our patrons. Patron Annual Donations Levels Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999 To discuss giving opportunities, please call (02) Maestri Brian Abel & the late Ben Gannon AO Geoff & Vicki Ainsworth * Mrs Antoinette Albert Mr Robert O Albert AO * Mr Terrey & Mrs Anne Arcus Alan & Christine Bishop Sandra & Neil Burns * Mr Ian & Mrs Jennifer Burton Libby Christie & Peter James The Clitheroe Foundation * Mr John C Conde AO Mr John Curtis Eric Dodd Penny Edwards * Mr J O Fairfax AO * Fred P Archer Charitable Trust Dr Bruno & Mrs Rhonda Giuffre* In memory of Hetty Gordon Mr Harcourt Gough Mr James Gragam AM & Mrs Helen Graham Mr David Greatorex AO & Mrs Deirdre Greatorex The Hansen Family Mr Stephen Johns Mr Andrew Kaldor & Mrs Renata Kaldor AO H Kallinikos Pty Ltd Mrs Joan MacKenzie Mrs T Merewether OAM & the late Mr E J Merewether Mr James & Mrs Elsie Moore Mr B G O Conor The Paramor Family * The Ian Potter Foundation Miss Rosemary Pryor * Bruce & Joy Reid Foundation* Dr John Roarty in memory of Mrs June Roarty Rodney Rosenblum AM & Sylvia Rosenblum * Mr Paul & Mrs Sandra Salteri David Smithers AM & Family Mrs Joyce Sproat & Mrs Janet Cooke Andrew Turner & Vivian Chang Mr Brian & Mrs Rosemary White Anonymous (2) * Virtuosi Mr Roger Allen & Mrs Maggie Gray Mr Charles Barran Ms Jan Bowen Mr Robert & Mrs L Alison Carr Mrs Emily Chang Mr Bob & Mrs Julie Clampett Mr Greg Daniel Ian Dickson & Reg Holloway Mr Ross Grant Mr & Mrs Paul Hoult Irwin Imhof in memory of Herta Imhof Mr & Mrs Gilles T Kryger Ms Ann Lewis AM Helen Lynch AM & Helen Bauer Mr & Mrs David Milman The Perini Family Foundation Mrs Helen Selle Ms Ann Sherry AO Ms Gabrielle Trainor In memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Anonymous (1) Soli Mr David Barnes Mr Anthony Berg AM Mr Alexander & Mrs Vera Boyarsky Mr Peter Coates Ms Elise Fairbairn-Smith Mr Robert Gay Hilmer Family Trust Ms Ann Hoban Mr Paul Hotz Mr Philip Isaacs OAM Mr Bob Longwell Mrs Judith McKernan Miss Margaret N MacLaren * Mr David Maloney Mrs Alexandra Martin & the late Mr Lloyd Martin AM Mrs Mora Maxwell Mr and Mrs John van Ogtrop Ms Robin Potter Ms Julie Taylor Mr Geoff Wood & Ms Melissa Waites Ray Wilson OAM & the late James Agapitos OAM* Anonymous (6) Tutti Richard Ackland Mr C R Adamson Mr Henri W Aram OAM Mrs Joan Barnes Doug & Alison Battersby Mr Stephen J Bell * Mr Phil Bennett Nicole Berger * Mr Mark Bethwaite Gabrielle Blackstock Mr David S Brett * Mr Maximo Buch * Mrs Lenore P Buckle A I Butchart * Debby Cramer & Bill Caukill Joan Connery OAM Mr & Mrs R Constable Mr John Cunningham SCM & Mrs Margaret Cunningham Mrs Ashley Dawson-Damer Mr & Mrs J B Fairfax AM Mr Russell Farr Mr Ian Fenwicke & Prof Neville Wills Anthony Gregg & Deanne Whittleston Mrs Akiko Gregory Miss Janette Hamilton Mr Charles Hanna Rev H & Mrs M Herbert * Mr A & Mrs L Heyko-Porebski Dr & Mrs Michael Hunter Ms Judy Joye Mr & Mrs E Katz Mrs Margaret Keogh * Miss Anna-Lisa Klettenberg Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Dr Garth Leslie * Erna & Gerry Levy AM Mrs Belinda Lim & Mr Arti Ortis Mr Gary Linnane Mr & Mrs S C Lloyd Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM Mr & Mrs R Maple-Brown Mr Robert & Mrs Renee Markovic Wendy McCarthy AO Mr Ian & Mrs Pam McGaw * Mrs Barbara McNulty OBE Kate & Peter Mason Justice Jane Matthews Ms Margaret Moore & Dr Paul Hutchins * Mr Robert Orrell Mrs Jill Pain Timothy & Eva Pascoe Ms Patricia Payn Mrs Almitt Piatti Mr Adrian & Mrs Dairneen Pilton Mr L T & Mrs L M Priddle * Mrs B Raghavan Mr Ernest & Mrs Judith Rapee Dr K D Reeve AM Mrs Patricia H Reid Pamela Rogers Mr Brian Russell & Mrs Irina Singleman Ms Juliana Schaeffer Robyn Smiles The Hon. Warwick Smith Derek & Patricia Smith Catherine Stephen Mr Fred & Mrs Dorothy Street Mr Michael & Mrs Georgina Suttor Mr Georges & Mrs MarlieseTeitler Dr Heng & Mrs Cilla Tey Mr Ken Tribe AC & Mrs Joan Tribe Mr John E Tuckey Mrs Merle Turkington Mrs Kathleen Tutton Ms Mary Vallentine AO Henry & Ruth Weinberg Audrey & Michael Wilson Anonymous (14) Supporters over $500 Ms Madeleine Adams PTW Architects Mr John Azarias Mr Chris & Mrs Mary Barrett Ms Wendy Black Black Communications Mr G D Bolton Dr & Mrs Hannes Boshoff M Bulmer Hugh & Hilary Cairns * Ms C Cathels Marty Cameron Hon. Justice J C & Mrs Campbell * Mr Brian Casey Mr B & Mrs M Coles Dr Malcolm Colley Mrs Catherine Gaskin Cornberg Jen Cornish Mr Stan Costigan AO & Mrs Mary Costigan * Mr Michael Crouch AO * M Danos Lisa & Miro Davis * Joan De Hamel Mr Peter & Mrs Mary Doyle * Mr Colin Draper Mrs Francine J Epstein Mr and Mrs David Feetham Mr Steve Gillett In memory of Angelica Green Dr & Mrs C Goldschmidt Beth Harpley * Mr Ken Hawkings * Intertravel Lindfield Mrs Greta James * Mr Stephen Jenkins * Dr Michael Joel AM & Mrs Anna Joel Doctor Faith M Jones Mr Noel Keen * Mrs Jannette King * Iven & Sylvia Klineberg * Dr Barry Landa Dr & Mrs Leo Leader Margaret Lederman Ms A Le Marchant * Mr Joseph Lipski * Mrs A Lohan * Mr James McCarthy * Mr Matthew McInnes Ms Julie Manfredi-Hughes Ms J Millard * Helen Morgan * Mr Walter B Norris Miss C O Connor * Mrs Rachel O Conor Mr R A Oppen Mrs S D O Toole Mrs Roslyn Packer AO Mr Tom Pascarella Dr Kevin Pedemont * Mr & Mrs Michael Potts Mr John Reid AO Catherine Remond Mr John & Mrs Lynn Carol Reid Mr M D Salamon In memory of H St P Scarlett Mr John Scott William Sewell * Dr John Sivewright & Ms Kerrie Kemp Margaret Suthers Mrs Elizabeth F Tocque * Mr & Mrs Richard Toltz Mr Andrew & Mrs Isolde Tornya Ronald Walledge Louise Walsh & David Jordan Mrs Lucille Warth Mrs Christine Wenkart A Willmers & R Pal Dr Richard Wing Mr Robert Woods * Jill Wran Miss Jenny Wu Mrs R Yabsley Anonymous (31) Allegro Program supporter * Emerging Artist Fund supporter Stuart Challender Fund supporter Orchestra Fund supporter Italian Tour supporter 29 Sydney Symphony