WELCOME MESSAGE FROM PAUL FEGAN

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1 WELCOME MESSAGE FROM PAUL FEGAN It is with great pleasure that I welcome you to the Sydney Symphony Mozart in the City series for We at St.George are delighted to continue our partnership in 2008 after a successful 2007 and the Orchestra s 75th anniversary celebrations. The Sydney Symphony has become an important part of Sydney s cultural calendar, delighting people of all ages with powerful musical experiences. Whether playing for tens of thousands in the Domain, in the concert hall of the Opera House or in the relative intimacy of the City Recital Hall, the Sydney Symphony makes each venue its own, to the enchantment of the audience. In 2008 our involvement will see four wonderful performances at City Recital Hall as part of the Mozart in the City series. We are very excited to play a role in bringing this beautiful music to the Australian public and we sincerely hope you enjoy the experience. St.George is very committed to the arts and we are excited to strengthen that link to this widely acclaimed orchestra. In the same way that the Sydney Symphony offers a breadth of musical talent and commitment to both contemporary and classical music, at St.George we cater to a wide range of financial needs. We are committed to becoming Australia s most respected service company and I encourage you to experience the St.George difference today. We sincerely hope that you enjoy the beautiful experiences that will be part of the Sydney Symphony Mozart in the City series. Chief Executive Officer St.George Bank Ltd.

2 SEASON 2008 MOZART IN THE CITY PRESENTED BY ST.GEORGE IN BLACK AND WHITE Thursday 12 June 7pm City Recital Hall Angel Place Dene Olding violin-director Ian Munro piano CONSTANT LAMBERT ( ) Concerto for Piano and Nine Players Overture (Allegro Cadenza Andante espressivo Doppio movimento Coda) Intermède (Andante recitando Allegro scherzando) Finale (Lugubre) FRANZ WAXMAN ( ) Sinfonietta for strings and timpani Allegro Dirge (Lento) Scherzo Finale WOLFGANG AMADEUS MOZART ( ) Piano Concerto in D, K175 Allegro Andante ma un poco adagio Allegro This concert will be recorded for broadcast across Australia on ABC Classic FM 92.9 on Saturday 28 June at 12.05pm Pre-concert talk by David Garrett at 6.15pm in the First Floor Reception Room. Estimated timings: 28 minutes, 12 minutes, 21 minutes The performance will conclude at approximately 8.15pm. PRESENTING PARTNER

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4 INTRODUCTION In Black and White Two very different moments in the history of the concerto form are demonstrated tonight. The young Mozart, fresh from visiting Vienna, and clearly stimulated to new ideas and forms, composed his first original piano concerto in This work, which would uncharacteristically stay in his performing repertoire for many years, bears the hallmark of Classical form even more than usual, since in all three movements Mozart deploys a sonata form structure. The musical battle between piano and orchestra gives opportunity for virtuosity on both sides. Proportion, structure and clarity are paramount. For Constant Lambert, a more spontaneous, jazzinfluenced language could fit the concerto model. Here, all ten players speak individually as well as collectively. Rhythm and colour are the key in this work, which has elements of the jam session about it albeit highly detailed in its conception. Franz Waxman, like Lambert and Mozart, was expert in composing on demand. The Sinfonietta for strings and timpani was written in incredibly short order, during Waxman s journey to the first performances. One version of the story suggests that the short notice was the result of his own disorganisation, and that he only began work on the commission when he was prompted for program notes! Nonetheless, it is a testament to the unique skills of a composer whose career was centred on work for film. 5 Sydney Symphony

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6 ABOUT THE MUSIC Constant Lambert ( ) Concerto for Piano and Nine Players Overture (Allegro Cadenza Andante espressivo Doppio movimento Coda) Intermède (Andante recitando Allegro scherzando) Finale (Lugubre) Ian Munro piano Belying his name, Constant Lambert always favoured the mercurial and dark rather than the dependable and light. Like his mentor, Phillip Heseltine ( Peter Warlock ), Lambert championed the unfashionable and unfamiliar, from the even-numbered symphonies of Beethoven, to Satie and Chabrier, and Negro jazz. Like Heseltine, too, he had a reputation for heavy drinking that, combined with diabetes, took him to an early grave at 45, though not before being immortalised as the dissipated cherub Moreland in Anthony Powell s novel A Dance to the Music of Time. Lambert pursued a busy career as a conductor and journalist, often to the neglect of composing, and his small surviving output falls short of his manifest potential. Lambert recalled being thrown head first into society at the age of 20 when Diaghilev commissioned a score from him for the Ballets Russes. The young Lambert was clever and beautiful, yet his pronounced limp, so his headmaster thought, predisposed him to adopt, as a survival tactic, the role of the opinionated outsider. Finding his milieu in bohemian Chelsea, with composer William Walton and the Sitwells as neighbours, he produced his first success, The Rio Grande in 1927, hailed in the press as jazz changed into music of genius. He remained an anti-establishment figure, nevertheless chipping away from the inside as music director of Sadler s Wells Ballet and a regular BBC conductor at his musical bogeys, English provincialism, German hegemony, and the isms of Schoenberg and Stravinsky. Lambert may have inherited his outsider s outlook from his father. George Lambert was born in St Petersburg of American parents, only to become one of Australia s most important painters. Constant never visited Australia, but forged several Australian connections nevertheless. When Lambert conducted the premiere of tonight s concerto, his piano soloist was the Australian-born Arthur Benjamin (also noted for his love of Negro music). In the 1930s, Lambert took-in-hand the musical education of a young Australian dancer, newly arrived in London, Robert Helpmann. Lambert used to assert that the Russian composer Modest Mussorgsky always excepted no one had ever been given a less appropriate name than himself. ANTHONY POWELL 7 Sydney Symphony

7 LEBRECHT MUSIC & ARTS Constant Lambert with his cat, a photograph from the late 1940s In 1951 he again chose a young Australian, Gordon Watson, to play the concerto-like piano part in his final ballet Tiresias. Late in 1945, Frank Packer invited Lambert to tour Australia and conduct the new commercial orchestra the press mogul was forming in competition to the ABC. Lambert declined, and the orchestral venture failed to get off the ground, thereby also denying Packer the opportunity to live up to the example of his two noted Australian composer forbears, Frederick Packer ( ) and Charles Packer ( ). For Lambert, 1930 was marked by three deaths. That of his father in faraway Australia probably meant least to him. George had put career before family and Lambert had not seen him for a decade. (Constant was, similarly, an absentee parent to his only son, rock impresario Kit, who nevertheless was also cast in the hard-living Lambert mould, and also died tragically young). Blacker by far were the two suicides, painter Christopher Wood (whose likeness of Lambert hangs in London s National Portrait Gallery, and after whom the ill-fated Kit was named), and Heseltine, in whose memory the Concerto for Piano and Nine Instruments is dedicated. Jazz...from having a purely functional value a mere accompaniment to the tapping of toe and heel, the quick linking of bodies, and the slow unburdening of minds has suddenly achieved the status of a school, a potent influence that can meet the highbrow composer on his own terms. Though popularly regarded as being a barbaric art, it is to its sophistication that jazz owes its real force. It is the first dance music to bridge the gap between highbrow and lowbrow successfully. LAMBERT, Music Ho! (1934) 8 Sydney Symphony

8 In his book Music Ho! A Study of Music in Decline, Lambert claimed that, in jazz, European music had met its nemesis. As if in illustration of his point, in the Concerto he completely recast a Classical model in jazz terms, replacing the solo-orchestral contest of the conventional piano concerto with a more intimate jazz format of piano and backing group, three clarinets, trumpet and trombone, percussion, and double bass, only the flute and cello extraneous to the model. Lambert especially admired Duke Ellington (a genuine composer ), but believed that jazz s future was with highbrow composers (such as himself ), who d bring to it new rhythmic and harmonic sophistication. Jazz, meanwhile, would reverse the decline in European music, freeing it from its constraining isms. Listening Guide The Concerto puts this claim to the test. The pianodominated Overture derives its galvanic energy from what Lambert identified as jazz s crazy tune numbers. Its uneven ostinato-driven piano rhythms prefigure 1980s New York minimalism, without its relentless repetitions. Occasionally the ensemble adds melody in counterpoint, but, recalling titles Lambert cites in Music Ho!, Rhythm is the Thing, the pianist s got Crazy Feet, I ve got those Crazy Feet. The almost cinematic inter-cutting of ideas is adapted to more Classical ends in the central Intermède,a combination slow movement and scherzo. A Blues tune passes from trumpet to flute to trombone, its reprises intercut with blurred out-takes from the piano concerto tradition itself, Lizst and Scriabin, but reworked in jazzy sevens and elevens. When Lambert commented that one of Heseltine s last songs, The Fox, already had the smell of death about it, he may as well have been describing his own Finale, which is the very opposite of its upbeat Classical concerto namesake. Lambert marks the opening of this dark, earthy Blues, heavily, lugubriously, and though he occasionally lightens the texture a little, the mood spirals wearily downward. He ends, recalling the Eliot line he d later quote in Music Ho!, not with a bang, but a whimper. ATTENDANTS: The music, ho! CLEOPATRA: Let it alone; let s to billiards SHAKESPEARE, Julius Caesar The artist who writes as one of a group writes for that group alone, whereas the artist who expresses personal experience may in the end reach universal experience. He must not mind if for the moment he appears to be without an audience. He has no right to complain if Cleopatra prefers billiards. There is always the chance that she may become bored with billiards also, and when she returns to the musician his song will be all the more moving for having been written to please not herself but himself. LAMBERT, Music, Ho! GRAEME SKINNER 2008 The Concerto is score for solo piano with flute, three clarinets, trumpet, trombone, percussion, cello and double bass. This is the Sydney Symphony s first performance of the Concerto. 9 Sydney Symphony

9 Franz Waxman ( ) Sinfonietta for strings and timpani Allegro Dirge (Lento) Scherzo Finale On 23 September 2005, the American Film Institute held a ceremony at the Hollywood Bowl to announce its list of One Hundred Years of Film Scores. Eleven of these entries were the work of a single composer, Franz Waxman. And yet, these scores music for The Bride of Frankenstein, Dr Jekyll & Mr Hyde, The Nun s Story, Peyton Place, The Philadelphia Story, A Place in the Sun, Rebecca, Sayonara, The Spirit of St Louis, Taras Bulba and the perennial Sunset Boulevard comprise only a fraction of the movie scores Waxman composed and conducted during a lustrous career in Hollywood. The youngest of six children, Franz Waxman (originally Wachsmann) was born into a respectable Jewish middleclass family in Upper Silesia, Germany, on 24 December His industrialist father had intended his son to become a banker, but the young Franz had his sights set on music. Taking piano lessons from the age of six, he went on to study music in Dresden and Berlin. During his student years, the heyday of the Weimar Republic (think Cabaret!), Waxman financed his education by playing piano in nightclubs and with the Weintraub Syncopaters. Making arrangements for the popular jazz band led to orchestrating some early German musical films. Frederick Hollander gave Waxman his first important movie assignment: orchestrating and conducting Hollander s score for Josef von Sternberg s classic film, The Blue Angel (1929). The film s producer was so pleased with Waxman s orchestrations that he gave Waxman his first major composing assignment: Fritz Lang s version of Liliom (1933). This was filmed in Paris after the Waxman family had fled Nazi Germany. Waxman s next assignment, Jerome Kern s Music in the Air (1934), took him to the United States. Waxman s first original Hollywood score was James Whale s The Bride of Frankenstein (1935). This led to a two-year contract with Universal as head of the music department, scoring a dozen of the more than 50 Universal films on which he worked as music director. Two years after he went to Hollywood, Waxman, then 30, signed a seven-year contract with Metro-Goldwyn-Mayer. Like so many of the Jewish émigré composers ensconced in California at the time Waxman moved effortlessly onto the concert stage. 10 Sydney Symphony

10 LEBRECHT MUSIC & ARTS He composed about seven pictures a year. In 1937, he was loaned by MGM to David O. Selznick for The Young at Heart and was nominated for both Best Original Music and Best Score the first two of 12 Academy Award nominations he was to receive for the 144 films he scored in his 32 years in Hollywood. Like so many of the Jewish émigré composers ensconced in California at the time the composing fraternity there included Stravinsky, Schoenberg, and many others steeped in the late Romantic traditions of Mahler and Richard Strauss Waxman moved effortlessly onto the concert stage. Amongst his many orchestral and chamber works, suites and song cycles, is the famous Carmen Fantasie, based on themes from Bizet s opera and originally played by violinist Isaac Stern in the soundtrack of the film-melodrama Humoresque (1946). In 1947 Waxman founded the Los Angeles International Music Festival. Over the next 20 years, he presented more than 70 local premieres of the latest works of Bernstein, Britten, Poulenc, Honegger, Prokofiev and countless others. On his retirement, he received many 11 Sydney Symphony

11 accolades and honorary doctorates. He died in Los Angeles on 24 February As a guest conductor of international orchestras, Franz Waxman appeared extensively throughout North America and Europe and also Israel. On one such tour, in 1955, he was sailing on the S.S.Christophoro from New York to Europe for the premiere of an orchestral commission from a fellow composer-conductor Rolf Liebermann, then director of Zurich Radio. He hadn t begun the piece, but the everresourceful Waxman was never one to be deterred by a looming (or, more rarely, a lapsed) deadline and he managed to produce a 12-minute work, the Sinfonietta for strings and timpani, by the time his ship docked in Naples. The orchestral parts were copied within 24 hours of his arrival in Zurich and the premiere performance took place on 30 October 1955, with the composer conducting the Radio Symphony Orchestra of Zurich. Several years later, as part of a cultural exchange program early in the Kennedy administration, Waxman conducted the major orchestras of the former Soviet Union. In a concert in Moscow, on 15 March 1962, an enthusiastic audience demanded a repeat performance of the Sinfonietta on the spot. As a gift to his hosts, Waxman presented his score to the orchestra from the stage. Later still, the Sinfonietta was staged as a ballet at the La Plata Festival in Argentina, and in 2001 Kirk Peterson choreographed it for the American Ballet Theatre as Blue Rain. (In 2004 Peterson choreographed Waxman s Carmen Fantasie for the Opening Gala of the Metropolitan Opera.) There are currently three commercial recordings of the Sinfonietta in the catalogues. the ever-resourceful Waxman managed to produce a 12-minute work by the time his ship docked in Naples. Listening Guide The Sinfonietta for strings and timpani consists of three contrasting movements, each about four minutes in duration. The opening Allegro presents a dialogue between two themes. The middle movement, Lento, devoid of violins and basses, consists principally of a sinuous dirge on the solo cello, over a throbbing timpani heartbeat. The concluding Scherzo returns to a five-note theme from the opening movement, using it as the basis of a cantus firmus over a fugal structure. VINCENT PLUSH 2008 This is the Sydney Symphony s first performance of Waxman s Sinfonietta. 12 Sydney Symphony

12 Wolfgang Amadeus Mozart ( ) Piano Concerto in D, K175 Allegro Andante ma un poco adagio Allegro Ian Munro piano This concerto is often referred to as Piano Concerto No.5, but in fact it is Mozart s first true and wholly original piano concerto its achievements not lessened in the slightest by the trial runs that preceded it. Mozart was proud of the concerto, and it pleased his audiences. A decade after its composition in 1773, and with 20 concertos intervening, it had established itself as a popular and well-travelled work. On a visit to Mannheim in 1778, Mozart wrote to his father, I played my old concerto in D major because it is such a favourite here. In Vienna in 1783 with modifications to the orchestration and a new finale the audience would not stop clapping and I had to repeat the rondo; upon which there was a regular torrent of applause. Mozart began exploring the concerto genre at the age of 11, arranging the piano sonatas of composers he d met on his tour to Paris to create short pastiche concertos. I had to repeat the rondo; upon which there was a regular torrrent of applause. MOZART 13 Sydney Symphony

13 Five years later he completed his apprenticeship, adapting three sonatas by J.C. Bach (the English Bach ) as keyboard concertos (K107/1 3). Then, after a stimulating visit to Vienna in the summer of 1773, Mozart composed this, his first original piano concerto. Mozart s youthful practice of adapting solo keyboard works highlights the concerto s growing role as a public and virtuoso manifestation of the sonata. The piano concerto was Mozart s principal vehicle of demonstrating his virtuosity and compositional powers, and it was largely through his performances and published works that the genre came to assume significance. Concertos became the mainstay of programs in Europe s emerging concert scene: it was not unusual for audiences to hear two in a single evening, as we do tonight! The Classical concerto saw the basis of the relationship between the orchestra and soloist shift from one of baroque cooperation and contrapuntal endeavour to one more akin to the operatic aria with its solo line against a supporting accompaniment. But it was operatic aria infiltrated by the harmonic underpinnings of sonata form. Unusually for Mozart, all three movements of the Piano Concerto K175 are in sonata form, and the whole work reveals the earnest ambition you might expect of a 17 year old. As well as the rigorous and consistent treatment of structure, it is relatively substantial in length and uses the largest orchestra of any of the Salzburg concertos. Brilliance of orchestral sound is guaranteed by the use of D major, a key that favours the trumpets and timpani, which Mozart adds to the customary oboes and horns. the whole work reveals the earnest ambition you might expect of a 17 year old. Listening Guide The first movement is full of rhythmic vitality, with the bustling atmosphere of an opera buffa overture. The themes are crisp and inviting, the musical clichés are not wearisome but add to the light-hearted spirit of the work. After a strikingly short orchestral exposition the piano enters, and, in what may have been a youthful oversight or a legacy of his earlier models, Mozart doubles the entry in the first violins. It was something he never did again. Mozart s evolving style and wealth of musical influences are more evident here than in his later concertos. The music has an Italianate transparency with octave or unison 14 Sydney Symphony

14 doublings in the strings effectively restraining the orchestral texture to three parts while the busy left hand in the piano and the string tremolos must have ensured the enthusiasm of the Mannheimers. In the Andante the relationship between the soloist and the orchestra extends beyond the simple melody and accompaniment of the prevailing galant style to something approaching a dramatic dialogue, as the thoughtful and lyrical oboe theme of the opening is developed and enlarged upon by both the orchestra and the soloist. The finale is a masterly synthesis of the learned and galant styles. Again adhering to a strict sonata form unusual in a finale Mozart adds the compositional challenge of counterpoint, with the strict imitations of a boldly canonic opening. The vibrant tunes of the second subject return the music to the opera buffa character of the first movement. Yet despite this element of playfulness, and the relatively short duration of the movement, the finale is far grander in character than would have been expected by audiences of the time. Perhaps it is for this reason that Mozart replaced it with the lighter variations of a rondo movement for his Viennese performances and the concerto s ultimate publication. (Mozart in the City audiences would have heard the Sydney Symphony and Gerhard Oppitz play this Concert Rondo K382 last year.) By the time the concerto was published in about 1785, it had possibly lost its usefulness to Mozart as a personal display piece. But he kept it in his repertoire for more than ten years, clearly considered it worth the effort of reorchestration, and had taken the trouble to compose cadenzas for the first two movements and the substitute rondo. The lasting appeal of Piano Concerto K175 lies in what was to be Mozart s characteristic strength in all genres: his ability to present complex and sophisticated musical ideas in the easy guise of wit and good humour. he kept it in his repertoire for more than ten years YVONNE FRINDLE SYMPHONY AUSTRALIA 1996/2008 Mozart s Piano Concerto K175 calls for an orchestra of pairs of oboes, horns and trumpets; timpani and strings. It is also not uncommon for a bassoon to double the bass line. The Sydney Symphony s first and most recent performance of this concerto was in 1996 with Vladimir Verbitsky and soloist Geoffrey Tozer. 15 Sydney Symphony

15 ARTIST SNAPSHOT Ian Munro Ian Munro is stranded in Melbourne. My mechanic is being a bit secretive. His chocolaty baritone voice sails smoothly down the phone line. It s either a $50 or a $5,000 repair, but they re not saying which. This hiccup in Ian s travel plans has delayed his return home to the Central coast of NSW after a week-long Messiaen festival at the Australian National Academy of Music, where he is on staff. I love long-distance driving; to have a reasonable length of time just to shut up and think, away from the distraction of performing, or the pandemonium of family life. And practising in your head is extremely strenuous a lot more work than actually physically practising. Ian s earliest encounters with Constant Lambert s music were sitting alongside his father playing piano duet arrangements of Walton s Façade,and a Bach chorale. That was all I knew about the guy until I went to England. I had a conducting friend there who was mad about this concerto. Some consider Lambert s harmonic language to be on the edge of tonality. I disagree. I think he situates it squarely in what would have been regarded as modern tonal language in the 20s in England, relating to the world of Walton, and Bliss. And the jazz elements? There isn t any improvisation in it. It s completely worked out. And it s not the Thelonious Monk, Oscar Peterson language; it s probably closer to ragtime than what we would think of as jazz. Pairing the Concerto for Piano and Nine Players with Mozart is an interesting stylistic marriage, but shifting gears from one to the other doesn t cause Ian any concern. I reckon Mozart goes with anything. He s just very clean. Is there an authentic Mozart style then? (A question worth asking in a series called Mozart in the City.) Ian s feeling is that there s a very strong assumption that in the past, people understood what certain styles meant. And therefore because we don t live in the 18th century, we don t really feel what a Mozart minuet would be. But I have always wondered whether that is actually true. Human nature being what it is, why would things have been different two centuries ago? Why would they not have had the same sort of rehearsal problems that we have now? We all feel music differently. More and more I believe it s wrong to think that there is a perfect tempo. Clearly then, there s an advantage in directing from the keyboard. Yes. At least if you re leading as the soloist, you can get the tempi that you want! GENEVIEVE LANG Sydney Symphony

16 GLOSSARY CADENZA a virtuoso passage, traditionally inserted towards the end of a concerto movement and marking the final cadence. CANON music in which a melody is presented by one voice and then repeated by one or more other voices, each entering before the previous voice has finished. Childhood singing rounds are the most common form of canon. CANTUS FIRMUS literally fixed song ; a given melody used as the basis for counterpoint. COUNTERPOINT two or more different musical lines or melodies played at the same time. See canon and fugal. FUGAL in the style of a fugue, a specialised form of counterpoint characterised by imitation between different parts or instruments, which enter one after the other. GALANT a light, elegant style. Being galant, in general, wrote Voltaire, means seeking to please. The galant style of the 18th century is characterised by simple textures and a focus on melody. INTERMÈDE French for intermezzo, in the middle ; originally an operatic term, in the 19th-century intermezzo came to refer to an instrumental work of lyrical character. OCTAVES AND UNISONS an octave is the interval spanning eight steps in the scale, e.g. the first two notes of Somewhere over the rainbow. Acoustically, an octave leap is achieved by doubling the frequency of a note, for example, the note A at which an orchestra tunes (440 Hz) becomes the note A one octave higher when the frequency is increased to 880 Hz. UNISON is where two or more parts play the same melody at the same pitch. Melodies doubled at the octave can sound very similar to melodies played in unison. OPERA BUFFA literally, comic opera ; this down-to-earth genre came to prominence in the 18th century; examples include Mozart s Marriage of Figaro and Rossini s Barber of Seville. ORCHESTRAL EXPOSITION in nearly all Classical concertos the traditional SONATA FORM is modified: instead of the exposition (statement of main themes) being repeated as is, the musical material is played first by the orchestra (ORCHESTRAL EXPOSITION) and then by the soloist (SOLO EXPOSITION). After this follows the familiar DEVELOPMENT of ideas and exploration of harmonies and a RECAPITULATION of the original ideas. ORCHESTRATION the practice of arranging or recomposing music for an orchestral ensemble (often working from music written for piano or from a sketch or draft). OSTINATO a short musical pattern that is repeated many times in succession, while other elements in the music change. 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. 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. Allegro fast Allegro scherzando fast and playfully Andante espressivo at a walking pace, expressively Andante ma un poco adagio at a walking pace but somewhat slow Andante recitando at a walking pace and in the style of a recitation Doppio movimento double movement, twice the speed! Lento very slow Lugubre lugubriously This glossary is intended only as a quick and easy guide, not as a set of comprehensive and absolute definitions. Most of these terms have many subtle shades of meaning which cannot be included for reasons of space. 17 Sydney Symphony

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18 MORE MUSIC Selected Discography Broadcast Diary CONSTANT LAMBERT There are several recordings of the Concerto for Piano and Nine Players, including a well-regarded Lambert anthology from Hyperion with pianist Ian Brown, members of the Nash Ensemble and conductor Lionel Friend. This release also includes the Piano Sonata, Poems of Li-Po (with tenor Philip Langridge), and Mr Bear Squashyou-all-flat, a ballet based on a Russian fairy tale, with Nigel Hawthorne providing the narration. HYPERION CDA Also from Hyperion is a recording that includes one of Lambert s best-known works, the ballet Rio Grande. Pianist Jack Gibbons and mezzo-soprano Sally Burgess are joined by the English Northern Philharmonia and conductor David Lloyd Jones on a disc that also includes the Aubade héroïque and the choral-orchestral work Summer s last will and testament. HYPERION CDA Rio Grande joins Horoscope in a historical release that features Constant Lambert himself as conductor with the various English orchestras: Constant Lambert Vol.2 Music from the Ballets (mono). PEARL 69 FRANZ WAXMAN The first CD recording of Waxman s Sinfonietta for string orchestra and timpani was made by the Berlin Symphony Orchestra with Isaiah Jackson conducting. It s joined by another Sinfonietta for strings by a composer known for film, Bernard Herrmann, and two string orchestra works by Miklós Rózsa. KOCH INTERNATIONAL CLASSICS The imaginative and showy Carmen Fantasy is a musthave, and who better to play it than Jascha Heifetz. In Vol. 21 of The Heifetz Collection it s joined by more concert music from film composers: violin concertos by Korngold and Rózsa, and a set of variations for violin and cello in which Heifetz is joined by Gregor Piatigorsky. RCA VICTOR GOLD SEAL Waxman s favourite film score was said to be for Hitchcock s Rebecca, and it can be heard on a 3-CD set released to celebrate the Waxman centenary. Also in the set is music from Sunset Boulevard and Peyton Place; Joel McNeely conducts the Royal Scottish National Orchestra. VARESE SARABANDE MOZART CONCERTOS Robert Levin is the fortepiano soloist in a recording of K175 with the Academy of Ancient Music and Christopher Hogwood. Also on the disc is the alternative finale that Mozart composed for Viennese performances of the concerto, and two later concertos: No.14 in E flat, K449, and No.16 in D, K451. You won t hear Mozart s cadenzas though Levin improvises his own. OISEAU LYRE LONDON/DECCA Murray Perahia is soloist and director of the English Chamber Orchestra in a recording that pairs this first concerto with No.25 in C, K503. CBS MASTERWORKS JUNE JULY 18 June, 8pm EMANUEL AX PLAYS MOZART Robin Ticciati conductor Emanuel Ax piano Schubert, Mozart, Meale, Sibelius 21 June, 8pm MOZART AND GRIEG Michael Dauth violin-director Jasminka Stancul piano Grieg, Mozart, Bridge 28 June, 12.05pm IN BLACK AND WHITE Dene Olding violin-director Ian Munro piano Lambert, Waxman, Mozart 4 July, 8pm MAHLER 1 Gianluigi Gelmetti conductor Michael Dauth violin, Shefali Pryor oboe, Matthew Wilkie bassoon, Catherine Hewgill cello Haydn, Mahler 29 & 30 July, 8pm SYDNEY INTERNATIONAL PIANO COMPETITION Nicholas Milton conductor Finalists to be advised Mozart concertos 2MBS-FM SYDNEY SYMPHONY 2008 Tue 8 July, 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 June webcast: ALPINE AND JUPITER SYMPHONIES with Charles Dutoit 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

19 ABOUT THE ARTISTS Dene Olding violin-director Dene Olding is recognised as one of Australia s most outstanding instrumentalists and has achieved a distinguished career in many aspects of musical life. As a soloist, he appears regularly with all the major Australian orchestras and has worked with conductors such as Edo de Waart, Stanislaw Skrowaczewski, Stuart Challender, Sir Charles Mackerras, Jorge Mester, Gunther Herbig, Werner Andreas Albert and David Porcelijn. He has given the Australian premieres of Lutoslawski s Chain 2 (with the composer conducting), Elliott Carter s Violin Concerto, and the Violin Concerto of Philip Glass, as well as violin concertos by Ross Edwards and Bozidar Kos, and Richard Mills Double Concerto for violin and viola, written for himself and his wife, Irina Morozova. A graduate of the Juilliard School in New York where he studied with Ivan Galamian and Margaret Pardee he also took masterclasses with Nathan Milstein and lessons with Herman Krebbers and György Pauk. In 1985 he was awarded a Winston Churchill Memorial Trust Fellowship and was a Laureate of the Queen Elisabeth of Belgium International Violin Competition. Dene Olding rejoined the Sydney Symphony as Co- Concertmaster in 2002, having previously held the position from 1987 to Other concertmaster positions have included leadership of the Australian Chamber Orchestra and the Melbourne Symphony Orchestra. He is also first violinist for the Australia Ensemble, a founding member of the Goldner String Quartet, and has been Artistic Director of the Mostly Mozart Festival at the Sydney Opera House and the Sydney Festival Chamber Music Concerts. Conducting has become an increasingly important part of his musical life, with appearances with the Sydney Symphony and Auckland Philharmonia, and invitations as soloist/conductor with chamber orchestras in Australia and the USA. Dene Olding s recordings include Brahms, Beethoven and Mozart violin sonatas (with his father, Max Olding), violin concertos by Frank Martin and Darius Milhaud, the Hindemith concertos, the Samuel Barber Violin Concerto, and the premiere recording of the Ross Edwards violin concerto, Maninyas, which won the 1994 ARIA award for Best Classical Recording and the prestigious Cannes award. Dene Olding plays a 1720 Joseph Guarnerius violin. 20 Sydney Symphony

20 Ian Munro piano Ian Munro is one of Australia s most distinguished and awarded musicians, with a career that has taken him throughout Europe, Asia, North America and Australasia. In 2003 his piano concerto Dreams won the Premier Grand Prix at the Queen Elisabeth International Competition for composers (Belgium) a unique achievement for an Australian. He has also won prizes in international piano competitions in Spain (Maria Canals), Italy (Busoni), Portugal (Vianna da Motta) and the UK, where his second prize at the 1987 Leeds International Piano Competition established his international profile. He trained in Melbourne under Roy Shepherd, and subsequently in Vienna, London and Italy. He has performed with most of the leading British orchestras and broadcast widely for the BBC. Elsewhere, he has performed with orchestras in Poland, Italy, Portugal, Russia, the USA, China, New Zealand and all the major Australian orchestras. He is also regularly heard as a recitalist and chamber musician. Recently he has played concertos by Ravel, Mozart, Kats-Chernin, Gershwin and Edwards, as well as Dreams, and toured throughout Europe, Australia and New Zealand. This season he also appears with the Tasmanian and Adelaide orchestras. His discography includes releases with the TSO, recordings of music by Katherine Parker and Arthur Benjamin, and Kats-Chernin s piano concerto (on the Wild Swans album). He has also recorded Ross Edwards concerto for Naxos. In addition to his piano concerto, Ian Munro has written several large-scale works, three as part of a recent composer attachment with the TSO. His current commissions include works for the Melbourne Chorale (now MSO Chorus) and Chamber Music New Zealand. After heading the Tasmanian Conservatorium piano department ( ), Ian Munro joined the Australia Ensemble at the University of NSW and also teaches at the Australian National Academy of Music. His most recent appearance with the Sydney Symphony was in 2002 when he performed Kats-Chernin s Piano Concerto No.2, commissioned for him by the Orchestra. 21 Sydney Symphony

21 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. 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 Gu Chen 07 Sophie Cole 08 Amber Gunther 09 Rosalind Horton 10 Jennifer Hoy 11 Jennifer Johnson 12 Georges Lentz 13 Nicola Lewis 14 Alexandra Mitchell Moon Design Chair of Violin 15 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 Alexandra D Elia Second Violin# Alexander Norton Second Violin# Alexandra Bieri Trumpet # Contract Musician 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 Philharmonic) 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 contact Alan Watt on (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 Rogen International with Rogen International 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 Alan Watt on (02) Maestri Brian Abel & the late Ben Gannon AO Geoff & Vicki Ainsworth * Mrs Antoinette Albert Mr Robert O Albert AO * 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 Penny Edwards * Mr J O Fairfax AO * Fred P Archer Charitable Trust Dr Bruno & Mrs Rhonda Giuffre* Mr Harcourt Gough Mr David Greatorex AO & Mrs Deirdre Greatorex The Hansen Family 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 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 Robert & Mrs L Alison Carr Mr Greg Daniel Ian Dickson & Reg Holloway Mr Ross Grant Mr & Mrs Paul Hoult Irwin Imhof in memory of Herta Imhof Mr Stephen Johns Mr & Mrs Gilles T Kryger Ms Ann Lewis AM Helen Lynch AM & Helen Bauer Mr & Mrs David Milman Mr Michael J. Perini * Mrs Helen Selle David Smithers AM & Family Ms Gabrielle Trainor In memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Anonymous (1) Soli Mr Charles Barran Mr Anthony Berg AM Ms Jan Bowen Mr Alexander & Mrs Vera Boyarsky Mrs Emily Chang 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 Mora Maxwell Mr and Mrs John van Ogtrop Mr Geoff Wood & Ms Melissa Waites Ray Wilson OAM & the late James Agapitos OAM* Anonymous (4) Tutti Mr C R Adamson Mr Henri W Aram OAM Mr Terrey & Mrs Anne Arcus Mr David Barnes Mrs Joan Barnes 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 Mr Bob & Mrs Julie Clampett Mr John Cunningham SCM & Mrs Margaret Cunningham Mrs Ashley Dawson-Damer Mr Peter & Mrs Mary Doyle * Mr & Mrs J B Fairfax AM Mr Russell Farr Mr Ian Fenwicke & Prof Neville Wills In memory of Hetty Gordon Mrs Akiko Gregory Miss Janette Hamilton Mr Charles Hanna Mr A & Mrs L Heyko-Porebski Ms Judy Joye Mr & Mrs E Katz Miss Anna-Lisa Klettenberg Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Dr Garth Leslie * Mrs Belinda Lim & Mr Arti Ortis Mr Gary Linnane Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM Mr & Mrs R Maple-Brown Mr Robert & Mrs Renee Markovic Mrs Alexandra Martin & the Late Mr Lloyd Martin AM Wendy McCarthy AO Justice Jane Matthews Mr Ian & Mrs Pam McGaw * Mrs Barbara McNulty OBE Ms Margaret Moore & Dr Paul Hutchins * Mr Robert Orrell Timothy & Eva Pascoe Ms Patricia Payn Mrs Almitt Piatti Mr Adrian & Mrs Dairneen Pilton Ms Robin Potter Mrs B Raghavan Mr Ernest & Mrs Judith Rapee Dr K D Reeve AM Mrs Patricia H Reid Ms Juliana Schaeffer Robyn Smiles The Hon. Warwick Smith Derek & Patricia Smith Catherine Stephen Mr Fred & Mrs Dorothy Street Mr Georges & Mrs Marliese Teitler Mr Ken Tribe AC & Mrs Joan Tribe Mr John E Tuckey Mrs Merle Turkington Mrs Kathleen Tutton Ms Mary Vallentine AO Audrey & Michael Wilson Anonymous (14) Supporters over $500 Richard Ackland Ms Madeleine Adams PTW Architects Mr John Azarias Mr Chris & Mrs Mary Barrett Doug & Alison Battersby Black Communications Dr & Mrs Hannes Boshoff Marty Cameron Hon. Justice J C & Mrs Campbell * Mr Brian Casey Mr B & Mrs M Coles Mrs Catherine Gaskin Cornberg Mr Stan Costigan AO & Mrs Mary Costigan * Mrs M A Coventry Mr Michael Crouch AO * M Danos Mr Colin Draper Mrs Francine J Epstein Mr and Mrs David Feetham Mr Steve Gillett In memory of Angelica Green Anthony Gregg & Deanne Whittleston Dr & Mrs C Goldschmidt Beth Harpley * Mr Ken Hawkings * Rev H & Mrs M Herbert * Dr & Mrs Michael Hunter Intertravel Lindfield Mrs Greta James * Mr Stephen Jenkins * Dr Michael Joel AM & Mrs Anna Joel Doctor Faith M Jones Mr Noel Keen * Mrs Margaret Keogh * Iven & Sylvia Klineberg * Dr Barry Landa Dr & Mrs Leo Leader Margaret Lederman Ms A Le Marchant * Erna & Gerry Levy AM Mr & Mrs S C Lloyd Mr James McCarthy * Mr Matthew McInnes Ms Julie Manfredi-Hughes Kate & Peter Mason Ms J Millard * Helen Morgan * Mr Walter B Norris Miss C O Connor * Mrs Rachel O Conor Mr R A Oppen Mrs Roslyn Packer AO Mrs Jill Pain Mr Tom Pascarella Dr Kevin Pedemont * Mr & Mrs Michael Potts Mr L T & Mrs L M Priddle * Mr John Reid AO Catherine Remond Mr John & Mrs Lynn Carol Reid Mr Brian Russell & Mrs Irina Singleman Mr M D Salamon In memory of H St P Scarlett * Mr John Scott Ms Ann Sherry AO Dr John Sivewright & Ms Kerrie Kemp Dr Heng & Mrs Cilla Tey Mrs Elizabeth F Tocque * Mr & Mrs Richard Toltz Mr Andrew & Mrs Isolde Tornya Ronald Walledge Louise Walsh & David Jordan Mrs Christine Wenkart Dr Richard Wing Mr Robert Woods * Jill Wran Mrs Lucille Wrath Miss Jenny Wu Mrs R Yabsley Anonymous (19) Allegro Program supporter * Emerging Artist Fund supporter Stuart Challender Fund supporter Orchestra Fund supporter 29 Sydney Symphony