THE COLOUR OF TIME. Friday 22 August 8pm Sydney Opera House Concert Hall. David Robertson conductor and presenter

Transcription

1 SEASON 2008 THE COLOUR OF TIME Friday 22 August 8pm Sydney Opera House Concert Hall David Robertson conductor and presenter CLAUDE DEBUSSY ( ) Prélude à l après-midi d un faune (Prelude to the Afternoon of a Faun) DEBUSSY Jeux (Games) poème dansé Estimated timings: 10 minutes, 17 minutes, 20-minute interval, 30 minutes. The performance will conclude at approximately 10.05pm. INTERVAL OLIVIER MESSIAEN ( ) Chronochromie (Time-Colour) Introduction Strophe I Antistrophe I Strophe II Antistrophe II Epôde Coda

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4 INTRODUCTION Seeing Music, Hearing Colours I love the moment when something familiar comes alive with a fresh perspective. Sometimes a painting you have seen so often shocks you by presenting a new detail or a song you have heard dozens of times reveals a surprising, previously unnoticed inner voice. We humans are extremely gifted at making connections and, when we bridge the apparent gap between contrasting ways of experiencing the world around us, the results are frequently inspiring. The beauty in a canvas by Monet or Van Gogh, the sensual excitement in the sounds composed by Debussy or Bartók become enchanted islands where we can all discover our own secret places of wonder. In tonight s concert presentation, the visual and aural worlds of Monet and Debussy are set side by side with projected images and performed sounds. What I hope you will come away with is a renewed appreciation for the incredible talents and mastery of both artists. You may even wonder how it might have resulted had Debussy turned to painting and Monet to music. In fact, Monet almost seems to approach music s repetition and development of themes when he paints his famous series of the same motif in different lights. Debussy s almost improvisatory compositions make you feel he is capturing the music at the very moment it happens, paralleling the Impressionist painters attempt to render a fleeting visual experience in all its ineffable splendour. Although Messiaen was not closely associated with any one movement in the visual arts, his works often act as the most marvellous musical canvases for free association. In Chronochromie, we find a fertile field where the composer s experience and love of nature s landscapes, colours and birdsong all contribute to the formation of his unique world of sound. I hope the evening will generate some thoughts and ideas for your own explorations and insights. MICHAEL TAMMARO DAVID ROBERTSON 5 Sydney Symphony

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6 ABOUT THE MUSIC Claude Debussy ( ) Prélude à l après-midi d un faune (Prelude to the Afternoon of a Faun) Pierre Boulez once said that modern music awoke with the premiere of Prelude to the Afternoon of a Faun. On 22 December 1894, in the Salle d Harcourt, Paris, the faun s flute ushered in a new world of structure, rhythm, harmonic relations and colour, and perhaps, more than any other single work, reoriented the development of music in the succeeding century. Debussy s tone-poem is based on Stéphane Mallarmé s symbolist poem L Après-midi d un faune,of Though Ballets Russes choreographer Vaslav Nijinsky was able to extract a storyline from Mallarmé s atmospheric verse, it was Mallarmé s deliberately blurred descriptions which appealed most to Debussy in the first place. Those nymphs, I want to perpetuate them. So bright, Their light rosy flesh, that it flutters in the air Drowsy with tangled slumbers. Did I love a dream? My doubt, hoard of ancient night, draws to a close In many a subtle branch, which, themselves remaining true wood, prove, alas! that all alone I offered Myself as a triumph the perfect sin of roses. Debussy, etching by Ivan Thièle (Paris, 1913) The elusiveness of Mallarmé s text inspired Debussy in his attempt to escape the emphatic and assertive music of the German Romantic masters, and uncover new means of musical narrative. Debussy s desire to avoid the polychromatic putty of some of the scores of 19th-century giants such as Wagner can be heard in the exposure of individual instrumental sonorities. The opening bars for example are left to the solo flute. A single sustained discord on clarinets and oboes followed by a weaker discord on muted lower strings underlies a mere hint of movement from French horns and a fleeting wash of colour from the harp. Bold declamatory assertions are gone. After the opening action there is a bar of silence. Then the minimal gestures simply resume. No concrete sense of a beat has been established. Within four bars Debussy 7 Sydney Symphony

7 has circumvented the periodically recurring downbeat, and escaped the tyranny of the barline. It is easy to see why Debussy allowed his music to be considered pointillistic (though this was mainly to counter the label of Impressionism): dabs of colour piece the opening together; there is no opening rhetorical statement. This music is not going to be argumentative, like symphonic music. More obvious overall form does become apparent later in the piece the work could be considered to be in a broad ternary form with the accompanied repetition of the Faun melody after the more passionate middle section but it is important to note that this form is not enunciated, as of old, by the sculptured relationship of clear-cut tonalities. It has been claimed that Debussy alone among the musicians of his time heard the music of the Javanese and Annamese musicians at the Paris World Exhibition in 1889 as speaking intimately to him. Perhaps this was because he, uniquely among his European peers, was ready to conceive of a music that was free from the conventions of the symphonic tradition. Debussy s music, when it was first heard, was considered vague, insubstantial, even morbid but that is an understandable complaint from those who have not yet adjusted to a new range of aesthetic values. the faun s flute ushered in a new sound-world GORDON KALTON WILLIAMS, SYMPHONY AUSTRALIA 1997 EXCERPT FROM MALLARMÉ S AFTERNOON OF A FAUN TRANSLATED BY ALAN EDWARDS Debussy s Prélude calls for three flutes, two oboes, cor anglais, two clarinets and two bassoons; four horns; percussion (crotales); two harps and strings. The Sydney Symphony first performed the Prélude in 1941 under Percy Code, and most recently in 2005 under Gianluigi Gelmetti. 8 Sydney Symphony

8 LEBRECHT MUSIC & ARTS Bakst s costume design for Nijinsky s Faun 9 Sydney Symphony

9 Debussy Jeux (Games) poème dansé Jeux, Debussy s contribution to the heyday of the Ballets Russes, is a close contemporary of Ravel s Daphnis et Chloé and Stravinsky s Rite of Spring. Alongside these spectacular showpieces, Jeux is relatively unknown, although composers have long considered it a landmark, prizing it precisely for the elusiveness which makes it so forward-looking. Traditional thematic and harmonic relationships are present, but raised to a new level of sophistication and subordinated to a dreamlike, streamof-consciousness continuity. The orchestra is large, but the colours are always veiled, the textures simultaneously complex and weightless; Debussy described the intended effect as an orchestra with no feet, and a colour which seems to be lit from behind. For all its subtleties, the score for this dance poem is unified by one simple idea: the gradual emergence, triumph and dissolution of a waltz-like dance. Seven years later, Ravel took up the same structural principle, albeit in apocalyptic form, for La Valse (which Diaghilev rejected as being fundamentally un-balletic). Despite enormous differences, the two works are also linked by their sophisticated use of dance as metaphor: La Valse symbolises the collapse of fin-de-siècle European culture, while the waltzes in Jeux stand for abandonment to the fleeting perhaps transgressive pleasures of the moment. The initial inspiration for Vaslav Nijinsky s choreography was a fascination with the qualities of the players movements in a game of tennis, but the title refers equally to the idea of love as a game. In its quietly subversive way, the work is quintessentially anti- Romantic: here are no grand passions, only nameless characters in a flirtatious ménage à trois. According to Nijinsky s memoirs, the already risqué scenario is an encoded representation of a homosexual love triangle, with the two girls standing for boys (impossible to put on the stage in 1913). Regardless of these undercurrents, the prevailing mood is one of innocence and fantasy. Jeux opens with a mysterious prelude, reminiscent of Dukas Sorcerer s Apprentice, interrupted by anticipations of the dance movement that will dominate the score. The curtain rises on an empty park at nightfall. the waltzes in Jeux stand for abandonment to the fleeting perhaps transgressive pleasures of the moment. 10 Sydney Symphony

10 Suddenly the music freezes on a high chord, followed by a rapid descent: a tennis ball lands on stage, pursued by a young man. Two girls appear timidly. They are not yet differentiated; each dances alone briefly, but to variations of the same music. Discovered by the young man, they want to flee, but he convinces them to stay and begins to dance (spacious string chords introducing a languorous waltz), soon joined by one of the girls. He cajoles a kiss from her. Meanwhile the second girl watches mockingly. Her ironic dance is the score s only substantial passage in duple time, resisting the romantic sweep of the triple metre. However, the young man, intrigued, abandons his first conquest and engages in a (musical) tussle with the second girl, eventually coaxing her out of duple rhythms and into a flowing waltz led off by the horns. Matters come to a screeching halt on high violins, as the first girl, betrayed, bursts into tears and tries to run away. Her friend tries to reason with her, their dialogue scored in delicate colours including solo violin and clarinets. The young man intervenes, and the waltz rhythms resume as all three begin to dance together, tentatively at first but then more and more passionately. The dance builds to an ecstatic triple kiss, set to a long drawn-out, echoing phrase, followed by exquisitely tender music for solo strings, harps and two piccolos. The spell is rudely broken as a second tennis ball, thrown by an unseen hand, lands at the dancers feet. (According to one perhaps unreliable informant, Nijinsky originally wanted the interruption caused by an aeroplane crashing onto the stage!) They disappear, alarmed, into the darkness, as the eerie music of the very opening returns. This is not quite the last word, though: Debussy gently dispels the fantasy with the musical equivalent of a bemused shrug. ELLIOTT GYGER 2007 Debussy s Jeux calls for two flutes, two piccolos, three oboes, cor anglais, three clarinets, bass clarinet, three bassoons and contrabassoon (taking the sarrusophone part); four horns, four trumpets, three trombones and tuba; timpani and percussion (xylophone, triangle, tambourine, cymbals); two harps, celesta and strings. The Sydney Symphony gave the first Australian performance of Jeux in 1951 under Eugene Goossens. Nijinsky in the Paris (1913) production of Jeux. (Photograph by Charles Gerschel) LEBRECHT MUSIC & ARTS 11 Sydney Symphony

11 Olivier Messiaen ( ) Chronochromie Introduction Strophe I Antistrophe I Strophe II Antistrophe II Epôde Coda For a period of about a dozen years, from 1949 to the early 1960s, Messiaen was not just a mentor to the young post-war avant-gardists: he was a major player amongst them. His piano study Mode de valeurs et d intensités (1949), which the 22-year-old Stockhausen described as fantastic star music, unleashed an uncompromising young serialist avant-garde, devoted to sweeping away every trace of the past. For a while, Messiaen s music seemed to follow a parallel course, though with one very significant difference: his use of birdsong. In the last movement of his work for organ, Livre d orgue (1951), a huge, abstract rhythmic scheme was coloured by his own transcriptions of birdsong, and from that time on, the music of the birds became central to his own music. Perhaps this was in part a refuge from a perceived crisis in human music at the time, but its origins go a long way back: even in his student days, Paul Dukas had advised him to learn from birdsong. And in a conversation published in 1960, the year that Chronochromie was completed, Messiaen went so far as to comment that: despite my profound admiration for the folklore of all countries, I do not believe one can find in any human music, however inspired, melodies and rhythms which have the sovereign liberty of birdsong. The title Chronochromie means the colour of time, or perhaps more accurately coloured time. In his preface to the score, Messiaen refers to a complex underlying scheme of durations (reminiscent of the Livre d orgue), and explains that the melodies and sonorities, drawing on birdsong from France, Sweden, Japan and Mexico, are placed at the service of the durations, which they underline by colouring them. 12 Sydney Symphony

12 Thus colour serves to make clear the cutting up of time. But the listener s priorities are likely to be the other way around: it is the sound of the orchestra, sometimes massive, more often glittering and mercurial, that catches the ear, while the temporal schematics recede into the background. Messiaen s orchestra is large (about 100 players), but while every player is engaged at some point or another in the presentation of birdsong, pride of place goes to three of the six percussionists, who perform with unremitting virtuosity on glockenspiel, xylophone and marimba. Chronochromie is in seven linked sections (Messiaen takes the unusual step of notating the intervening pauses exactly, as silent bars). The Introduction is a kaleidoscope of different musics birdsong, but also evocations of wind and sea ending in a massive and astringent sort of chorale. As for the five middle sections, the terms strophe, antistrophe and epode notionally refer to the structure of Greek choral odes, but here they merely denote two pairs of contrasted sections (strophe and antistrophe), with a final part that leads in yet another direction. The strophes present a dense counterpoint of birdsong in wind and percussion, and are more or less consistent in texture throughout, whereas the antistrophes consists of many brief contrasting sections, in which all the instruments involved fuse together into a single maxi-bird. The Epôde undoubtedly the most provocative part of the work, and the cause of a near-riot at one early performance is a dense 18-part counterpoint of birdsong, this time for solo strings (12 violins, four violas, two cellos). The Coda brings back the kaleidoscopic materials of the Introduction in a different sequence, though ending with the same huge block chords. I do not believe one can find in any human music, however inspired, melodies and rhythms which have the sovereign liberty of birdsong. MESSIAEN RICHARD TOOP 2001 Chronochromie is scored for three flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, E flat clarinet, and three bassoons; four horns, four trumpets, three trombones and tuba; percussion (xylophone, marimba, chimes, suspended cymbal, Chinese cymbal, tam-tam, three gongs, keyboard glockenspiel) and strings. The Sydney Symphony first performed Chronochromie in 1977, with Hiroyuki Iwaki; and more recently in 1983 with Louis Frémaux and in 2001 with Reinbert de Leeuw. 13 Sydney Symphony

13 PRELUDE TO THE AFTERNOON OF A FAUN Monet s paintings of the same motif under different atmospheric conditions are inherently musical in their attempt to capture time and fluid sensation. Branch of the Seine, near Giverny (1897) by Claude Monet (Musée d Orsay, Paris/Giraudon/The Bridgeman Art Library) 14 Sydney Symphony

14 Branch of the Seine, near Giverny, Mist (1897) by Monet (Mr and Mrs Martin A Ryerson Collection, The Art Institute of Chicago) 15 Sydney Symphony

15 GLOSSARY COUNTERPOINT two or more different musical lines or melodies played at the same time. EPODE in ancient Greek choral odes, the third section of the structure. SERIALISM serialism commonly refers to the technique (devised by Arnold Schoenberg) of organising a musical composition by means of a tone row, in which each of the 12 available notes in the octave ( black and white notes) must be played in the given sequence before any note can be repeated. Rows can be transposed, inverted, mirrored and so on, giving an almost limitless number of pitch combinations. The goal in a pure use of the 12-note technique is to undermine conventional tonality and to thwart the ear s natural inclination to hear tonal relationships between different pitches. STROPHE the first section in an ancient Greek choral ode; the ANTISTROPHE then follows as the second section. TERNARY FORM a more or less symmetrical three-part structure in which the material of the first section returns after a contrasting middle section. TONALITY another word for referring to key in music. In Western music there are two main categories of scale or tonality, major and minor, which are differentiated by the patterns of intervals between the notes. Aurally, a major scale will sound brighter or more cheerful, while a minor scale will sound sombre or mournful ( Happy Birthday is in a major key, funeral marches are in minor keys). The keynote or main note of a scale gives it its name (e.g. C minor, a minor scale beginning on the note C, or F major, a major scale beginning on F). 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. Image Credits Claude Monet ( ) in his garden (silver print, 1880) (b/w photo) attributed to Theodore Robinson ( ) Musée Marmottan, Paris, France / Giraudon / The Bridgeman Art Library Stéphane Mallarmé ( ) (b/w photo, 19th century) by French photographer Bibliothèque Nationale, Paris, France / Archives Charmet / The Bridgeman Art Library Claude Debussy ( ) (b/w photo) by Paul Nadar ( ) Private Collection / The Bridgeman Art Library Branch of the Seine Near Giverny (oil on canvas, 1897) by Claude Monet ( ) Musée d Orsay, Paris, France / Giraudon / The Bridgeman Art Library Manuscript of Debussy s L après-midi d un faune, 1st page The Robert Owen Lehman Collection, on deposit at the Pierpont Morgan Library, New York Branch of the Seine Near Giverny (Mist) from the Mornings on the Seine series (oil on canvas, 1897) by Monet Mr and Mrs Martin A Ryerson Collection, The Art Institute of Chicago. Photograph The Art Institute of Chicago. Morning on the Seine, Giverny (oil on canvas, 1897) by Monet Mead Art Museum, Amherst College, Amherst, MA. Bequest of Susan Dwight Bliss. Morning on the Seine, Giverny (oil on canvas, 1897) by Monet Museum of Fine Arts, Boston Morning on the Seine, near Giverny (oil on canvas, 1897) by Monet The Metropolitan Museum of Art / Art Resource / Scala, Florence The Seine at Giverny, Morning Mists (oil on canvas) by Monet North Carolina Museum of Art, Raleigh, Purchased with funds from the Sarah Graham Kenan Foundation and the North Carolina State Art Society (Robert F. Phifer Bequest). Three panels from Water Lilies (oil on canvas, 1920) by Monet Photograph SCALA, Florence Image The Metropolitan Museum of Art / Art Resource / Scala, Florence Gamelan Orchestra in Java, Indonesia (photograph) J Highet / Lebrecht Music and Arts The Second Coming of Christ Rose Window from the south transept of Chartres Cathedral Photograph: akg-images / Erich Lessing Polar Red by Sam Francis Licensed by VISCOPY, Australia, 2008 Blue Poles by Jackson Pollock Licensed by VISCOPY, Australia, 2008 Do-Do-Do by Yves Klein Licensed by VISCOPY, Australia, 2008 Production Credits Stephanie Mirow, Producer/Image research Raff Wilson, Supervising producer Interactive Originals, Image design and production 16 Sydney Symphony

16 MORE MUSIC Selected Discography Broadcast Diary DAVID ROBERTSON Acclaimed for his performances of 20th-century repertoire, David Roberton s discography includes: Bartók: The Miraculous Mandarin Lyon National Orchestra and Chorus perform Bartók s stunning ballet score. Also on the disc: Dance Suite for orchestra and Four Pieces for orchestra. HARMONIA MUNDI Boulez: Rituel in memoriam Bruno Maderna This all-boulez disc with the Lyon National Orchestra also includes Notations for orchestra. NAIVE DEBUSSY Pierre Boulez s 1993 Grammy-nominated recording of Jeux with the Cleveland Orchestra is a benchmark. Also on this recording: La Mer, the Nocturnes, and the Première Rhapsodie for clarinet and orchestra, with the Cleveland Orchestra s Franklin Cohen as soloist. DEUTSCHE GRAMMOPHON Boulez s recording of Prélude à l après-midi d un faune with the New Philharmonia Orchestra can be found on a 2-CD set of Debussy s orchestral works. This set also includes Jeux (also with the New Philharmonia). SONY Both Jeux and the Prélude are available in an excellent Philips Duo release that includes most of Debussy s orchestral music. The orchestra is the Royal Concertgebouw and Bernard Haitink is the conductor. Also in the collection is La Mer, Images for orchestra, and the three Nocturnes, as well as the concertante works featuring harp and clarinet. PHILIPS MESSIAEN Boulez s recording of Chronochromie with the Cleveland Orchestra is matched with La ville d en haut and Et exspecto resurrectionem mortuorum. DEUTSCHE GRAMMOPHON SEPTEMBER 5 September, 8pm GRIEG S PIANO CONCERTO Eivind Gullberg Jensen conductor Gabriela Montero piano Grainger, Grieg, Honegger 9 September, 8pm SYMPHONY AUSTRALIA YOUNG PERFORMERS AWARDS STAGE III FINAL STRINGS Adelaide Symphony Orchestra Vladimir Verbitsky conductor Include Sydney Symphony double bass David Campbell performing Bottesini s Double Bass Concerto No.2 in B minor 20 September, 8pm GELMETTI S FAREWELL Gianluigi Gelmetti conductor Beethoven, Wagner, Verdi, Mascagni, Verdi, Ravel 24 September, 1.05pm WEST SIDE STORY Wayne Marshall conductor Goldmark, Bernstein 27 September, 8pm MOZART & GRIEG Michael Dauth violin-director Jasminka Stancul piano Grieg, Mozart, Bridge 2MBS-FM SYDNEY SYMPHONY 2008 Tue 9 September, 6pm What s on in concerts, with interviews and music. Webcast Diary Selected Sydney Symphony concerts are recorded for webcast by BigPond and are available On Demand. Visit: sydneysymphony.bigpondmusic.com July webcast: MAHLER 1 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. 17 Sydney Symphony

17 JEUX (GAMES) The rich variety in Monet s Water Lilies is composed through careful observation and blending of the same few elements. In Debussy s Jeux the complex musical textures are created out of the interaction of a small number of ideas which are in constant flux. Central panel from Water Lilies by Monet (Metropolitan Musem of Art/SCALA, Florence) 18 Sydney Symphony

18 CHRONOCHROMIE (TIME-COLOUR) Messiaen was both profoundly religious and blessed with synæsthesia, so when he observed a stained glass window, it sounded to him like the music of light. The Second Coming of Christ Rose Window from the south transept of Chartres Cathedral (akg-images/erich Lessing) 19 Sydney Symphony

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20 ABOUT THE ARTIST David Robertson conductor and presenter David Robertson is currently Music Director of the St Louis Symphony Orchestra and Guest Conductor of the BBC Symphony. He was the first artist ever to simultaneously hold the posts of Music Director of the Orchestre National de Lyon and Artistic Director of that city s Auditorium ( ). From 1992 to 2000 he was Music Director of the Paris-based Ensemble Intercontemporain. David Robertson continues to guest conduct nationally and internationally. Additional credits have included the London Symphony Orchestra, Orchestre de Paris, and NHK Symphony, among others. In North America, he regularly guest conducts the New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, and San Francisco Symphony. With over 45 operas in his repertoire, his opera house credits include the Metropolitan Opera, La Scala, Opéra de Lyon, Bavarian State Opera, Théâtre du Châtelet, Hamburg State Opera and San Francisco Opera. Born in Santa Monica, California, David Robertson was educated at London s Royal Academy of Music, where he studied French horn and composition before turning to conducting. He is the recipient of Columbia University s 2006 Ditson Conductor s Award, and he and the St Louis Symphony received the ASCAP Morton Gould Award for Innovative Programming for the season from the American Symphony Orchestra League. Musical America named him Conductor of the Year for David Robertson is credited with creating and leading many outreach programs with the Ensemble Intercontemporain and Orchestre National de Lyon, and has worked with students at the Paris Conservatory, Juilliard, Tanglewood, the National Orchestra Institute in Maryland, Aspen Music Festival and as part of Carnegie Hall s Perspective series. His recordings include works by composers such as Adams, Bartók, Boulez, Carter, Dusapin, Dvořák, Ginastera, Lalo, Milhaud, Reich, Saint-Saëns, and Silvestrov. David Robertson first conducted the Sydney Symphony in 2003, and most recently in MICHAEL TAMMARO 21 Sydney Symphony

21 THE SYDNEY SYMPHONY PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales KEITH SAUNDERS 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. Maestro Gelmetti s particularly strong rapport with French and German repertoire is complemented by his innovative programming in the Shock of the New concerts. 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 Conductor and Artistic Advisor. 22 Sydney Symphony

22 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 Second Violins 01 Marina Marsden 02 Emma West A/Associate 03 Shuti Huang A/Assistant 04 Susan Dobbie 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 Leigh Middenway 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 Alexander Norton Second Violin# Jacqueline Cronin Viola# Jennifer Curl Viola# Tahlia Petrosian Viola Minah Choe Cello Rowena Crouch Cello# Anna Rex Cello Timothy Walden Cello Lauren Brandon Double Bass Jill Griffiths Double Bass Gordon Hill Double Bass# Ann Peck Oboe Robert Llewellyn Bassoon# Joshua Clarke Trumpet Ian Cleworth Percussion Timothy Constable Percussion Philip South Percussion Miriam Lawson Harp # = Contract Musician = Sydney Symphony Fellow 23 Sydney Symphony

23 MUSICIANS Violas Cellos Double Basses Harp Flutes Piccolo Violas 01 Roger Benedict Andrew Turner and Vivian Chang Chair of Viola 02 Anne Louise Comerford Associate 03 Yvette Goodchild Assistant 04 Robyn Brookfield 05 Sandro Costantino 06 Jane Hazelwood 07 Graham Hennings 08 Mary McVarish 09 Justine Marsden 10 Leonid Volovelsky 11 Felicity Wyithe Cellos 01 Catherine Hewgill Mr Tony & Mrs Frances Meagher Chair of Cello 02 Nathan Waks 03 Leah Lynn Assistant 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 Double Bass 02 Alex Henery 03 Neil Brawley 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 Harp Flutes 01 Janet Webb 02 Emma Sholl Mr Harcourt Gough Chair of Associate Flute 03 Carolyn Harris Piccolo Rosamund Plummer 24 Sydney Symphony

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

25 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

26 SILVER PARTNERS REGIONAL TOUR 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

27 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 (02) GREG BARRETT KEITH SAUNDERS KEITH SAUNDERS 01 Mulpha Australia Chair of Harp, Louise Johnson 02 Mr Harcourt Gough Chair of Associate Flute, Emma Sholl 03 Sandra and Paul Salteri Chair of Artistic Director Education, Richard Gill OAM 04 Jonathan Sweeney, Managing Director Trust with Trust Foundation Chair of Bass Trombone, Christopher Harris 05 NSW Department of State and Regional Development Chair of Trombone, Ronald Prussing 06 Brian and Rosemary White Chair of Double Bass, Kees Boersma 07 Board and Council of the Sydney Symphony supports Chairs of Concertmaster Michael Dauth and Dene Olding 08 Gerald Tapper, Managing Director 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 Oboe, Diana Doherty 11 Andrew Turner and Vivian Chang Chair of Viola and Artistic Director, Fellowship Program, Roger Benedict 12 The Hansen Family Chair of Associate Trumpet, Paul Goodchild 13 Mr Tony & Mrs Frances Meagher Chair of Cello, Catherine Hewgill 28 Sydney Symphony

28 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 EJ 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 and Mrs Georgina Suttor Mr Georges & Mrs Marliese Teitler 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

29 BEHIND THE SCENES Sydney Symphony Board CHAIRMAN John Conde AO Libby Christie John Curtis Stephen Johns Andrew Kaldor Goetz Richter David Smithers AM Gabrielle Trainor Sydney Symphony Council Geoff Ainsworth Andrew Andersons AO Michael Baume AO* Christine Bishop Deeta Colvin Greg Daniel AM John Della Bosca MLC Alan Fang Erin Flaherty Dr Stephen Freiberg Richard Gill OAM Donald Hazelwood AO OBE* Dr Michael Joel AM Simon Johnson Judy Joye Yvonne Kenny AM Gary Linnane Amanda Love The Hon. Ian Macdonald MLC* Joan MacKenzie Sir Charles Mackerras CH AC CBE David Maloney David Malouf Julie Manfredi-Hughes Deborah Marr The Hon. Justice Jane Matthews AO* Danny May Wendy McCarthy AO John Morschel Greg Paramor Dr Timothy Pascoe AM Stephen Pearse Jerome Rowley Paul Salteri Sandra Salteri Jacqueline Samuels Bertie San Julianna Schaeffer Leo Schofield AM Ivan Ungar John van Ogtrop* Justus Veeneklaas* Peter Weiss AM Anthony Whelan MBE Rosemary White Kim Williams AM * Regional Touring Committee member Sydney Symphony Regional Touring Committee The Hon. Ian Macdonald MLC Minister for Primary Industries, Energy, Mineral Resources and State Development Dr Richard Sheldrake Director-General, Department of Primary Industries Mark Duffy Director-General, Department of Water and Energy Colin Bloomfield Illawarra Coal BHPBilliton Stephen David Caroona Project, BHPBilliton Romy Meerkin Regional Express Airlines Peter Freyberg Xstrata Tony McPaul Cadia Valley Operations Terry Charlton Snowy Hydro Sivea Pascale St.George Bank Paul Mitchell Telstra John Azarias Deloitte Foundation Greg Jones Peter King Royal Agricultural Society Gerard Lawson Sunrice Grant Cochrane The Land 30 Sydney Symphony

30 Sydney Symphony Staff MANAGING DIRECTOR Libby Christie EXECUTIVE ASSISTANT Eva-Marie Alis ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC OPERATIONS Wolfgang Fink Artistic Administration ARTISTIC ADMINISTRATION MANAGER Raff Wilson ARTIST LIAISON MANAGER Ilmar Leetberg PERSONAL ASSISTANT TO THE CHIEF CONDUCTOR Lisa Davies-Galli ADMINISTRATION ASSISTANT Catherine Wyburn Education Programs EDUCATION MANAGER Margaret Moore EDUCATION COORDINATOR Bernie Heard Library LIBRARIAN Anna Cernik LIBRARY ASSISTANT Victoria Grant LIBRARY ASSISTANT Mary-Ann Mead EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS Rory Jeffes Development CORPORATE RELATIONS MANAGER Leann Meiers CORPORATE RELATIONS EXECUTIVE Julia Owens CORPORATE RELATIONS EXECUTIVE Seleena Semos DEVELOPMENT EXECUTIVE Kylie Anania Publications PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER Yvonne Frindle Public Relations PUBLIC RELATIONS MANAGER Yvonne Zammit PUBLICIST Stuart Fyfe SALES AND MARKETING DIRECTOR OF SALES & MARKETING Mark Elliott Customer Relations MARKETING MANAGER CRM Rebecca MacFarling DATA & ONLINE TECHNOLOGY MANAGER Marko Lång ONLINE MANAGER Kate Taylor Marketing Communications MARKETING MANAGER TRADITIONAL MARKETS Simon Crossley-Meates MARKETING MANAGER NEW MARKETS & RECORDINGS Penny Evans MARKETING COORDINATOR Antonia Farrugia Box Office BOX OFFICE MANAGER Lynn McLaughlin BOX OFFICE COORDINATOR Peter Gahan CUSTOMER SERVICE REPRESENTATIVES Michael Dowling Erich Gockel Natasha Purkiss ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert DEPUTY ORCHESTRA MANAGER Lisa Mullineux ORCHESTRAL COORDINATOR Greg Low TECHNICAL MANAGER Derek Coutts PRODUCTION COORDINATOR Tim Dayman PRODUCTION COORDINATOR Ian Spence BUSINESS SERVICES DIRECTOR OF FINANCE John Horn FINANCE MANAGER Ruth Tolentino ACCOUNTS ASSISTANT Li Li OFFICE ADMINISTRATOR Rebecca Whittington PAYROLL OFFICER Usef Hoosney HUMAN RESOURCES HUMAN RESOURCES MANAGER Ian Arnold COMMERCIAL ENTERPRISES COMMERCIAL ENTERPRISES MANAGER David Pratt RECORDING ENTERPRISES EXECUTIVE Philip Powers

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