FREE PROGRAMS AT SYDNEY SYMPHONY CONCERTS NEW FEATURES. Welcome to tonight s concert and to our first year of

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1 FREE PROGRAMS AT SYDNEY SYMPHONY CONCERTS Welcome to tonight s concert and to our first year of Welcome free programs. to tonight s concert and to our first year of free programs. Following the enthusiastic response to our free concert Following flyers 2006, the enthusiastic the Sydney response Symphony to our is delighted free concert to flyers be in able 2006, to offer the Sydney free program Symphony books is delighted at all our to subscription be able and gala to offer concerts. free program books at all our subscription and gala concerts. If you ve purchased programs in the past you ll find If familiar you ve features purchased and programs the same in the high past quality you ll music find familiar features and the same high quality music journalism from journalism from some of Australia s leading writers on some of Australia s leading writers on music. If you re new to music. If you re new to programs we hope they ll give programs we hope they ll give you a deeper insight into the you a deeper insight into the music we play as well as music we play as well as providing a convenient guide to what s providing happening a convenient on the guide stage. to what s happening on the stage. Free programs are our gift to you. We do ask that you help Free us programs a little in are return. our gift to you. We do ask that you help us a little in return. Over a single season, printed programs could devour half Over a a million single sheets season, of paper. printed So, programs in a bid to could be devour environmentally half a million sheets responsible, of paper. we So, ask in patrons a bid to who beare attending environmentally in couples responsible, or groups to we share ask patrons programs, who oneare between attending two. in couples Please help or groups the ushers to share and fellow programs, concertgoers one by between not taking two. additional Please help programs. the ushers And if and fellow you normally don t keep your program after the concert, concertgoers by not taking additional programs. And if we invite you to return it to one of the boxes in the foyer you normally don t keep your program after the concert, as you leave. We can reuse the programs for subsequent we invite you to return it to one of the boxes in the foyer performances or arrange for them to be recycled. as you leave. We can reuse the programs for subsequent If performances you d like to read or arrange the program for them in advance to be recycled. of the concert, you ll be able to find it on our website as a downloadable pdf files, If you d available like to in read the the week program of the concert. in advance Visit of the concert, you ll be able to find for it on more our information. website as And a if you downloadable have comments pdf file, or questions available about in the the week programs, of the please write concert. to program.editor@sydneysymphony.com Visit for more information. And if you have comments or questions about the programs, please write to program.editor@sydneysymphony.com NEW FEATURES KEYNOTES A brief introduction to read while the orchestra tunes up; look for Keynotes in the margin at the beginning of each program note. HISTORICAL SNAPSHOTS Celebrating our 75th anniversary season, a series of illustrated articles by historian and concert programmer David Garrett. EXPANDED CONCERT INTRODUCTION This popular overview of the concert hasn t gone, we ve simply moved it off the title page to the beginning of the program notes. Programs grow on trees please share them with your companion If you don t want to keep your program, please leave it in one of the boxes in the foyer You can read programs online beforehand at sydneysymphony.com

2 SEASON 2007 BRAHMS FESTIVAL SEASON OPENING GALA BRAHMS GERMAN REQUIEM Thursday 15 February 8pm Saturday 17 February 8pm Sydney Opera House Concert Hall Gianluigi Gelmetti conductor Marlis Petersen soprano Markus Werba baritone Cantillation chorus Antony Walker music director JOHANNES BRAHMS ( ) Ein deutsches Requiem, Op.45 (A German Requiem) 1. Selig sind die da Leid tragen (Blessed are they that mourn) CHORUS 2. Denn alles Fleisch es ist wie Gras (For all flesh is as grass) CHORUS 3. Herr, lehre doch mich (Lord, teach me) BARITONE & CHORUS 4. Wie lieblich sind deine Wohnungen (How lovely are your dwellings) CHORUS 5. Ihr habt nun Traurigkeit (You are sorrowful now) SOPRANO & CHORUS Concerts by the Sydney Symphony are broadcast regularly across Australia on ABC Classic FM Pre-concert talk by David Garrett at 7.15pm in the Northern Foyer. This concert is performed without interval and will conclude at approximately 9.15pm Cover images: see page 30 for captions Program notes begin on page 5 Artist biographies begin on page Denn wir haben hier keine bleibende Statt (For we have no permanent home here) BARITONE & CHORUS 7. Selig sind die Toten (Blessed are the dead) CHORUS

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4 INTRODUCTION A German Requiem Earlier this month Limelight magazine put Johannes Brahms on the cover. This in itself says something about the stature of Brahms in the eyes of music-lovers, but the choice of picture says still more. It was the image seen most often: Brahms as an older man, with a beard. Is this a misrepresentation? A German Requiem was written when Brahms was a young, clean-shaven man in his 30s. He didn t grow his beard until he was 45, and when he did his friends were surprised. Brahms, however, described it as long suppressed. So perhaps we are right to now imagine Brahms as the eternal portly, bearded gentleman. Of course, it was not only the beard that was suppressed. Overwhelmed by the expectations of his admiring peers and the precedent of Beethoven, Brahms took 14 years to write his first symphony. But that is the subject for another program in this festival and another introduction. What is important for tonight s concert is to realise that A German Requiem was the work that made Brahms name at home and abroad, and that it was his best-known major work in his lifetime. It is significant that it was not a symphony but a large-scale choral work that brought him fame. And to a large extent this is a reflection of the strength of choral music-making in the mid-19th century and its centrality to public concerts. In this context it is not surprising that Robert Schumann s New Paths article of 1853 (the article that contributed to Brahms angst as a symphonist) made this prophetic observation: If he will lower his magic wand where the massed might of choir and orchestra can lend its strength, then still more wonderful glimpses into the mysteries of the spirit-world will be presented to us. On Good Friday 1868 Brahms did exactly that. He lowered his magic wand (he was conducting) on the premiere of the initial version of A German Requiem. Its significance and its artistic value were immediately recognised, and today still this music offers the wonderful glimpses that Schumann promised. Brahms as we most often see him The young Brahms 5 Sydney Symphony

5 ABOUT THE MUSIC Johannes Brahms Ein deutsches Requiem, Op.45 (A German Requiem) 1. Selig sind die da Leid tragen CHORUS 2. Denn alles Fleisch es ist wie Gras CHORUS 3. Herr, lehre doch mich BARITONE & CHORUS 4. Wie lieblich sind deine Wohnungen CHORUS 5. Ihr habt nun Traurigkeit SOPRANO & CHORUS 6. Denn wir haben hier keine bleibende Statt BARITONE & CHORUS 7. Selig sind die Toten CHORUS Marlis Petersen, soprano Markus Werba, baritone Cantillation, chorus TEXTS AND TRANSLATIONS BEGIN ON PAGE 11 The German Requiem, Brahms greatest choral work, is also one of his most personal and revealing compositions. First performed officially in Bremen Cathedral on Good Friday 1868, it quickly won general acceptance throughout Germany and even further afield. Brahms had arrived as a major composer. From then on he was to consolidate his position in public esteem, to the point where none, perhaps, of the great 19th-century composers had such widespread fame and so high a reputation in his lifetime (except perhaps Mendelssohn). Brahms fame was thus already established before he had written any symphonies (his first came out in 1876), and the standing of the German Requiem reminds us of the importance of oratorio and choral-orchestral music in 19th-century music-making. The Requiem is Brahms largest treatment of man s attitude to death, a subject which preoccupied him throughout his adult life. Here, more than anywhere else, he lets us see his metaphysical, even religious outlook. As his first venture into large choral forms, the Requiem also shows how thoroughly this largely self-taught composer had steeped himself in the music of the past, emerging as a conservative master of choral idioms. Tracing the genesis of the German Requiem can begin with its title: A German Requiem, on words from Holy Scripture. Brahms uses the name Requiem only in a very general sense, and to place it alongside the major Requiem settings of the past; this is no liturgical Requiem, and has no connection with the Catholic Requiem in Latin, or indeed with the forms of worship of any church. Brahms Keynotes BRAHMS German composer born 1833, Hamburg died 1897, Vienna Brahms is often thought reactionary: he valued classical forms, admired composers of the past, and his choral music is firmly rooted in the traditions of the baroque period. Yet his musical language and manner of using the orchestra clearly represents mid-19thcentury romanticism in all its richness and emotive power. A GERMAN REQUIEM A German Requiem completed before any of his symphonies was the work that established Brahms name and reputation. It was first performed in 1868, in a version with six movements; Brahms added the soprano solo (No.5) in This great choral work is not a requiem in the strict sense it doesn t set the standard texts of the requiem mass and you couldn t use it in the liturgical context of a funeral service. It is sung in German, in the tradition of Bach and other composers inspired by Luther s German translation of the Bible. Brahms choice of biblical texts reflects his personal view of death and spirituality and he omits key elements of the Roman Catholic requiem, such as the Dies irae (Day of wrath), in favour of texts that highlight themes of consolation and resignation. 6 Sydney Symphony

6 calls it a German Requiem because the words are in German, not because he intended to write especially German music. He chose the words himself from Luther s translation of the Bible, showing that he knew it well. Brahms had been brought up a Protestant, but lost his faith early, and was not a Christian believer. His admirer, the devoutly Catholic Dvořák, once exclaimed: Such a great man, such a great soul! And he believes in nothing! In spite of this, Brahms spiritual life was guided and formed by Biblical perspectives on life and death. The texts which spoke to him most strongly were those counselling contemplation, resignation, and patience in the face of death. His thought is mainly pessimistic, but it is a pessimism shot through with gleams of hope not the Christian hope of redemption and resurrection, but the achievement, through resignation, of eternal bliss. Brahms was deeply sensitive to the meaning of the texts he chose for the Requiem. It is no accident that they make no mention of Christ or his redeeming death, though Christ s words are quoted, notably at the beginning, from the Beatitudes. Brahms selection and juxtaposition of texts often weakens deliberately their Christian meaning. And whereas the Catholic Requiem Mass is concerned at length with what happens after death and the day of judgement, for Brahms the last trumpet (or rather, in German, the last trombone) heralds not judgement, but the resurrection of the last day, omitting any reference to Christ s rising from the dead. Brahms friends quipped that he was happiest when he could sing My joy is in the grave. The note he strikes at the beginning and end of the Requiem dominates it: Blessed are they that mourn, and Blessed are the dead, who die in the Lord. This is as far as Brahms goes, in the Requiem, towards the Christian message of hope. Elsewhere he is concerned mainly with consoling the living, those who have to stay behind, facing bereavement and their own inescapable death. There is no entreaty, no prayer for mercy. I will admit Brahms told the organist in the first performance that I could happily omit the German and simply say Human. Brahms denied that his Requiem applied to any individual; he had the whole of humanity in mind. Nevertheless his own losses counted for much as he shaped the work. In 1856 his friend and mentor Robert Schumann died. The young Brahms had Brahms in his 30s he was about to arrive as a major composer with the premiere of A German Requiem AKG-IMAGES 7 Sydney Symphony

7 admired him to the point of hero-worship, and it was under the impact of Schumann s death that he had composed the original, later rejected slow movement of the D minor piano concerto (No.1, ). Brahms was still thinking of Schumann when he reworked this music as the dark and implacable march (in a kind of saraband rhythm) which begins the second movement of the Requiem, to the words For all flesh is as grass. He once told his friend Joachim you ought to know how much a work like the Requiem belongs to Schumann. Thus I felt in my inmost heart that it should be sung for him. Then in 1865 Brahms beloved mother died. He was deeply upset, but this loss can only have contributed an intensification of feeling to a work he had already began to plan. The Requiem was completed in the summer of 1866 while Brahms was staying in Switzerland. At this stage, it consisted of six movements only, predominantly dark in colour, and with a single soloist: a baritone. An initial performance in Vienna in 1867 of only the first three movements was a failure it was under-rehearsed, and the scoring was revealed as unsatisfactory, especially in the third movement. Brahms retouched these problem areas before conducting the official first performance in Bremen Cathedral. The baritone was Brahms friend Julius Stockhausen, who evidently gave an inspired account of the solo part; choir and orchestra were well prepared, and the result was a triumph. Brahms seems to have felt that something was still lacking in the overall balance of the work, in spite of the lyrical relief provided by the Wie lieblich sind deine Wohnungen fourth movement, with its affinities to Brahms waltzes. He added the soprano solo with chorus which, with its explicit reference to the mother comforting her child, could be conceived as a memorial to Brahms own mother. In this, its final form, the work was performed at Leipzig in February 1869, where it had a cold reception. Leipzig stronghold of the Mendelssohn faction remained alone in Germany in failing to appreciate the German Requiem. Brahms can be described as a Protestant composer in spite of his lack of any admitted religiosity (as conductor of the Gesellschaft der Musikfreunde Choir in Vienna from 1870 he impartially presented Catholic and Protestant church music, concerned only with the Robert Schumann, Brahms late friend and mentor Brahms with Joseph Joachim, 1855 Brahms can be described as a Protestant composer in spite of his lack of any admitted religiosity. His Protestantism appears both in his choice of Biblical texts and in the musical ancestry of his style. 8 Sydney Symphony

8 intrinsic quality of the music). His Protestantism appears both in his choice of Biblical texts and in the musical ancestry of his style. When he came to write choral music to German words, the influence of J.S. Bach was paramount. The appearance from 1850 onwards of the annual volumes of the complete edition of Bach s works was a more important artistic stimulus for Brahms than any other musical event of his time. Brahms claimed that the four movement cantata he had written around the All flesh is grass movement (the original core of his Requiem) was based on a chorale melody it was one Bach had used (notably in Cantata 21, and Cantata 27, where it is set to the words Who knows how near my end shall be? ). Another influence was the music of the 17th-century German composer Heinrich Schütz. Brahms may have known Schütz s serene Funeral Music (Musicalische Exequien), which has some texts in common with his own Requiem. Brahms deep knowledge of the music of the past served to give discipline and form to the Romantic impulses in his musical style. The richness of the German Requiem lies in ardent Romantic feeling being poured into traditional forms. The orchestral opening transforms the form of the Baroque chorale prelude, referring to the often almost hidden basis in chorales which gives the German Requiem some of its unity. Then celestial a cappella choral music, in a Romantic concept, is contrasted with earthly instrumental music. The texts, beginning Blessed are they that mourn, which introduce the essential message of the whole work, are presented in such a way that their music can be reprised in the Requiem s final movement, where the new words Blessed are the dead reveal the essential continuity of meaning in Brahms s mind. Unlike some of Brahms unaccompanied motets, his Requiem makes no parade of his contrapuntal learning, and he confines himself throughout to a single choir in four parts only. Generally speaking, when he resorts to fugal writing in this work, it is superbly apt, even in the passage which ends the third movement. This has often been criticised for excessive severity, but it contains a powerful piece of musical symbolism: just as the righteous men s souls are described in the text as being held in the hand of God, so the two separate but concurrent fugues, one in the choir, one in the orchestra, are held together by the mighty D major tonic pedal in the orchestral bass. Brahms deep knowledge of the music of the past served to give discipline and form to the Romantic impulses in his musical style. The richness of the German Requiem lies in ardent Romantic feeling being poured into traditional forms. 9 Sydney Symphony

9 At the time he composed the Requiem, Brahms only large scale orchestral work was the D minor Piano Concerto, whose scoring had given him great trouble. The orchestration of the German Requiem lacks the subtlety of Brahms later symphonic works, and a few pages even show signs of misjudgment. In particular the double fugue just mentioned can give trouble: an insensitive timpanist in the first Vienna performance played his part in the tonic pedal so loudly that he swamped everything else. Nevertheless, Brahms treatment of the orchestra in this work was a sign of his emerging mastery, and was recognised as such. The overall effect of the orchestration is to paint the sombre tones of Brahms conception. Like Cherubini before him and Fauré after, he responds to the service for the dead by using violas and lower strings in many places to the exclusion of the violins, and in the first movement he also banishes the bright tones of clarinets and trumpets. Piccolo and harp are used to lighten and vary the texture in a medium-sized Romantic symphony orchestra. The relation of the vocal soloists to the choir is that of a single voice leading the people, a personal voice to which the choir responds by repeating and underlining its utterances. Brahms was never more personal, nor more true to his nature than in this ambitiously scaled work. For that reason, perhaps, it has remained the litmus test of attitudes to Brahms art. The pro-wagner faction of which George Bernard Shaw made himself the spokesman in England could never accept its creative musical conservatism, or, one suspects, the firmly contained emotion with its basis in a longing for religious certainty. For others, and especially those who share some of the troubles of Brahms soul, the effect of this masterful meditation on death, dissolved into music by an ultimately lonely man, can be overwhelmingly moving. Brahms, photographed in 1897, the year of his death Brahms was never more personal, nor more true to his nature than in this ambitiously scaled work. For that reason, perhaps, it has remained the litmus test of attitudes to Brahms art. DAVID GARRETT 2007 The orchestra for A German Requiem comprises two flutes, piccolo, two oboes, two clarinets, two bassoons and contrabassoon; four horns, two trumpets, three trombones and tuba; timpani; two harps; organ and strings. The Sydney Symphony first performed Brahms German Requiem in 1947 under Percy Code with soloists Ruth Pearce Jones and John Probyn; and most recently in 1996 with Edo de Waart, Dorothea Roeschmann, Peter Coleman-Wright and the Sydney Philharmonia Choirs. 10 Sydney Symphony

10 Ein deutsches Requiem A German Requiem 1. CHORUS Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben. Blessed are they that mourn, for they shall be comforted. (Matthew 5:4) Those who sow in tears shall reap in joy. Those who go forth weeping, bearing precious seed, shall return with rejoicing, bringing their sheaves with them. (Psalm 126:5 6) 2. CHORUS Denn alles Fleisch, es ist wie Gras, und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen. So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen. So seid geduldig. Aber des Herrn Wort bleibet in Ewigkeit. Die Erlöseten des Herrn werden wiederkommen und gen Zion kommen mit Jauchzen; Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen. For all flesh is as grass, and all human glory like the flower of the grass. The grass withers, and the flower falls away. (I Peter 1:24) So be patient, dear brethren, until the coming of the Lord. Behold, the farmer waits for the precious fruit of the earth, waits patiently until he receives the early and late rains. Be patient, then. (James 5:7 8) But the word of the Lord endures for ever. (I Peter 1:25) Those ransomed by the Lord shall return, and come to Zion with rejoicing. Everlasting joy shall be upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away. (Isaiah 35:10) 3. SOLO (BARITONE) WITH CHORUS Herr, lehre doch mich, dass ein Ende mit mir haben muss und mein Leben ein Ziel hat und ich davon muss. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen und machen ihnen Lord, teach me that there will be an end to me, that my life has an end-point and that I must leave it. Behold, my days are a hand s breadth before you, and my life is as nothing before you. Ah, how all people are mere trifles, though they live with such confidence. They are no more than shadows and give themselves 11 Sydney Symphony

11 viel vergebliche Unruhe; sie sammeln und wissen nicht, wer es kriegen wird. Nun, Herr, wes soll ich mich trösten? Ich hoffe auf dich. Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an. great trouble for nothing: they gather up riches and don t know who will get them. Now, Lord, where shall I seek consolation? My hope is in you. (Psalm 39:4 7) The souls of the righteous are in the hand of God, and there shall no torment touch them. (Wisdom 3:1) 4. CHORUS Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar! How lovely are your dwellings, O Lord of hosts! My soul longs and yearns for the courts of the Lord: my flesh and my soul rejoice in the living God. Blessed are they that dwell in your house: they will praise you for ever. (Psalm 84:2, 4) 5. SOLO (SOPRANO) WITH CHORUS Ihr habt nun Traurigkeit; aber ich will euch wiedersehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen. Ich will euch trösten, wie einen seine Mutter tröstet. Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden. You are sorrowful now, but I will see you again, and your heart shall rejoice, and no-one shall take your joy away from you. (John 16:22) I will comfort you as a mother comforts her child. (Isaiah 66:13) Look at me: I had trouble and labour for a short time and have found great consolation. (Sirach 51:27) 6. SOLO (BARITONE) WITH CHORUS Denn wir haben hier keine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt, und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden. For we have no permanent home here, but we seek the one to come. (Hebrews 13:14) Behold, I tell you a mystery: We shall not all fall asleep, but we shall all be changed, and that will happen suddenly, in an instant, at the time of the last trump. For the trumpet shall sound, and the dead shall rise imperishable, and we shall be changed. (I Corinthians 15:51 52) 12 Sydney Symphony

12 Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel! Hölle, wo ist dein Sieg! Herr, du bist würdig, zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen. Then shall be fulfilled the saying that is written: Death is swallowed up in victory. Death, where is your sting! Hell, where is your victory! (I Corinthians 15: 54 56) Lord, you are worthy to receive praise and honour and power; for you created all things, and by your will they have being and are created. (Revelation 4:11) 7. CHORUS Selig sind die Toten, die in dem Herren sterben von nun an. Ja, der Geist spricht, dass sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach. from Luther s translation of the Bible Blessed are the dead who die in the Lord from this time on: Yes, says the Spirit, they will rest from their labours, for their deeds follow them. (Revelation 14:13) Translation: Symphony Australia 2003 AKG-IMAGES Brahms autograph score for A German Requiem the opening choral entry 13 Sydney Symphony

13 GLOSSARY A CAPPELLA literally in the chapel style, referring to the use of unaccompanied choir CANTATA by Brahms time, a choral work with orchestra (possibly featuring solo voices); it could have a secular or a religious text, with the latter suitable for performance in church services. CHORALE a hymn tune for congregational singing; a chorale prelude is an instrumental piece based on a chorale CONTRAPUNTAL a style of music in which two or more different musical lines or melodies are played at the same time (counterpoint). Imitative counterpoint is when the various parts are playing similar or identical melodies one after the other (e.g. fugues) childhood rounds are the simplest form of imitative counterpoint. FUGUE a specialised form of contrapuntal writing in which a short melody, the subject, is first sounded by one part or instrument alone, and is then taken up in imitation by other parts or instruments one after the other. (Fugal: in the style of a fugue) The Latin fuga is related to the idea of both fleeing and chasing. PEDAL a single low note sustained or reiterated below ( at the foot of ) changing harmonies in the upper voices; for a tonic pedal the note is the tonic or main note of the home key, e.g. the note D for music in the key of D minor. REQUIEM Roman Catholic mass sung on behalf of the dead, beginning with the text Requiem aeternam dona eis, Domine (Eternal rest grant unto them, O Lord) and including the Dies irae (Day of wrath). Famous requiem settings include those by Mozart and Verdi. SARABANDE a Baroque dance of Spanish origins, in triple time; it is characterised by a distinctive rhythm in which the second of the three beats (which is usually the weakest beat) is accented. SCORING the way in which an orchestral work employs the different instruments and sections of the ensemble; also known as orchestration. 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. MOTET in the 19th century, church music for voices using words that are not part of the liturgy (similar to the anthem in the Anglican tradition) ORATORIO by Brahms s time, the oratorio was a major semi-dramatic work for choir, vocal soloists and orchestra. The origin of the oratorio as a permissible entertainment for Lent (when performances of operas were banned) gave rise to its defining character: a biblical opera without sets, costumes or staging. 14 Sydney Symphony

14 MORE MUSIC Selected Discography BRAHMS GERMAN REQUIEM Otto Klemperer (conductor), Elisabeth Schwarzkopf (soprano), Dietrich Fischer-Dieskau (baritone), Philharmonia Orchestra and Chorus in EMI Classics Great Recordings of the Century series EMI CDM Klaus Tennstedt (conductor), Jessye Norman (soprano), Jorma Hynninen (baritone), London Philharmonic Choir and Orchestra Coupled with Schumann s Requiem of 1852 (Bernhard Klee, conductor) EMI Philippe Herreweghe (conductor), Christiane Oelze (soprano), Gerald Finley (baritone), La Chappelle Royale Paris, Collegium Vocale, Champs-Elysées Orchestra Rossini Thieving Magpie Live recording with the RAI Torino (3CDs) SONY S3K Rossini The Barber of Seville (DVD) Teatro Real Madrid production with Juan Diego Flórez (Count Almaviva), María Bayo (Rosina), Pietro Spagnoli (Figaro) DECCA DH2 Rossini Overtures and highlights from The Barber of Seville Thomas Hampson, Susanne Mentzer; Stuttgart Radio Symphony Orchestra, Toscana Orchestra EMI Broadcast Diary HARMONIA MUNDI (SACD) OR Stephen Cleobury conducts a performance of the arrangement Brahms made for choir, soloists and two pianos: Susan Gritton (soprano), Hanno Müller- Brachmann (baritone), Cambridge King s College Choir, José Gallardo and Evgenia Rubinova (pianos) EMI SYDNEY SYMPHONY: LIVE RECORDINGS FROM THE SYDNEY OPERA HOUSE Strauss and Schubert R. Strauss Four Last Songs; Schubert Symphony No.8 (Unfinished); J. Strauss II Blue Danube Waltz Sydney Symphony, Gianluigi Gelmetti (conductor), Ricarda Merbeth (soprano) Recorded at the opening gala concert for 2006 SSO1 Glazunov and Shostakovich Glazunov The Seasons; Shostakovich Symphony No.9 Sydney Symphony, Alexander Lazarev (conductor) Recorded in July 2006 SSO2 GIANLUIGI GELMETTI SELECTED DISCOGRAPHY Nino Rota Film Music Music from The Leopard, War and Peace, La Strada, Waterloo Monte Carlo Philharmonic EMI ENCORE ABC CLASSIC FM 92.9 Wed 21 February 8pm DIANNE REEVES: A TRIBUTE TO SARAH VAUGHAN Guy Noble conductor Dianne Reeves vocalist Peter Martin piano Greg Hutchinson drums Reuben Rogers bass Sat 24 February 8pm JAZZ MEETS THE SYMPHONY Lalo Schifrin conductor/piano James Morrison trumpet Gordon Rytmeister drums Christian McBride bass Webcast Diary In 2006 selected Sydney Symphony concerts were recorded for webcast by Telstra BigPond. These can be viewed at: Sydney Symphony Online sydneysymphony.com Visit the Sydney Symphony online for concert information, podcasts, and to read your program book in advance of the concert. 15 Sydney Symphony

15 75 YEARS: HISTORICAL SNAPSHOT Accident or inevitability? Look at the picture of a forerunner of today s Sydney Symphony, and contrast it with what you see on the stage in front of you. Then use your aural imagination: could that small group of players have sounded anything like what we think of as an orchestra? Probably not. But an anniversary stimulates the historical imagination. Celebrating 75 years of the Sydney Symphony Orchestra stresses continuity. It s arbitrary, in a way. The name goes back further, to the group that rehearsed over a fish shop in George St, between 1908 and One of its organisers was George Plummer, and it was not until 1937 that the name Sydney Symphony Orchestra was bought from him, by Charles Moses, General Manager of the Australian Broadcasting Commission. The real history of the Sydney Symphony might be said to begin when the ABC committed itself to providing Sydney with a permanent orchestra of a size adequate for the symphonic repertoire. That was later in the 1930s. So our historical photo really belongs to the prehistory of Sydney s symphony orchestra. Nevertheless, the establishment of the Australian Broadcasting Commission, in 1932, is a milestone. As Phillip Sametz writes in his 1992 history of the orchestra, Play On!, There is no story of the Sydney Symphony Orchestra that is not a story of the ABC. When that photo was taken, the new medium of radio had a voracious appetite for live music. Symphonic music? Some, but not much. In 1932 the new ABC enlarged the studio ensembles it had taken over in Sydney and Melbourne from 15 to 24 players. Was this the beginning of a commitment to an ABC Sydney Symphony Orchestra? Only hindsight gives a sense of inevitability to the story. Some saw in broadcasting a possibility of raising public taste and awareness of the best, including music. And they longed for Sydney to have a permanent orchestra that could represent that best. It was an accident, in many ways, that these aspirations combined to make public concerts, as well as broadcast music, a dominant activity of the ABC. So the story of the Sydney Symphony begins David Garrett, a historian and former programmer for Australia s symphony orchestras, is studying the history of the ABC as a musical organisation. This is the first of a series of glimpses of the Sydney Symphony s history to appear in concert programs through The Australian Broadcasting Commission s first studio orchestra, dressed formally for an evening broadcast the done thing in the early days of radio 16 Sydney Symphony

16 THE ARTISTS Gianluigi Gelmetti CHIEF CONDUCTOR AND ARTISTIC DIRECTOR Gianluigi Gelmetti, Chief Conductor and Artistic Director of the Sydney Symphony, studied with Sergiu Celibidache, Franco Ferrara and Hans Swarowsky. For ten years he conducted the Stuttgart Radio Symphony Orchestra; he has conducted many of the leading orchestras in the world and appears regularly at international festivals. Since 2000 he has been Music Director of the Teatro dell Opera di Roma. Highlights of past seasons include engagements in France, Germany, Great Britain, America, Australia, Japan, Switzerland and Italy, where he conducted Mascagni s Iris and Respighi s La fiamma at the Teatro dell Opera di Roma and William Tell at the Rossini Opera Festival. In 1999 he was awarded the Rossini d Oro Prize. Gianluigi Gelmetti has also worked regularly at the Royal Opera House, Covent Garden. His interpretation of Mozart s The Marriage of Figaro earned him the title Best Conductor of the Year from the German magazine Opernwelt, and in 1997 he won the Tokyo critics prize for the best performance of the year of Beethoven s Symphony No.9. He has been honoured as Chevalier de l Ordre des Arts et des Lettres in France and Grande Ufficiale della Repubblica Italiana in Italy. Gianluigi Gelmetti s recording catalogue includes operas by Salieri, Rossini, Puccini and Mozart, the complete orchestral music of Ravel, the late symphonies of Mozart and works by many 20th-century composers, including Stravinsky, Berg, Webern, Varèse and Rota. Among his latest recordings are William Tell, Iris, La fiamma, Bruckner s Symphony No.6 and Rossini s Stabat mater. Gianluigi Gelmetti is also a composer; his recent works include In Paradisum Deducant Te Angeli, written to commemorate the tenth anniversary of Franco Ferrara s death, Algos, and Prasanta Atma, in memory of Sergiu Celibidache. Since summer 1997 he has been teaching at the Accademia Chigiana in Siena. KEITH SAUNDERS 17 Sydney Symphony

17 THE ARTISTS Marlis Petersen soprano German soprano Marlis Petersen discovered her love of singing at the Academy of Music in Stuttgart, where she studied with Sylvia Gészty, focusing in particular on opera and new music. She won several singing competitions, and in the 1993/94 season she was a member of the State Theatre of Nuremburg, singing coloratura roles such as Blonde (The Abduction from the Seraglio), Adele (Die Fledermaus), Oscar (A Masked Ball), Rosina (The Barber of Seville), Lulu, and Queen of the Night (The Magic Flute). She has since performed in concert and in opera houses throughout Germany. She has a special fondness for baroque repertoire, performing with Ton Koopman and the Amsterdam Baroque Orchestra, and touring internationally with Helmut Rilling and the International Bach Academy of Stuttgart. Since 1998/99 she has been a member of the Deutsche Oper am Rhein in Düsseldorf, making her debut as Susanna in The Marriage of Figaro. More recently she has sung Haydn s Creation with RAI Torino conducted by Jeffrey Tate, appeared with Accademia di Santa Cecilia in Rome, and sung Oscar at the Bregenz Festival, and Adele at the Opéra Bastille in Paris and at the Metropolitan Opera. She has also sung Zerbinetta (Ariadne auf Naxos) at Covent Garden and in Monte Carlo, Nightingale in Walter Braunfels Die Vögel (The Birds) in Geneva, Elisa (Il re pastore) at the Salzburg Festival, and Konstanze (The Abduction from the Seraglio) in Brussels. She made her Vienna State Opera debut as Lulu, and has also performed this role in Hamburg and Athens. Upcoming engagements include concerts in Europe and North America, as well as roles with Lyric Opera of Chicago, opera performances in Geneva, the Festival of Aix-en-Provence, Berlin, Dresden, Munich, Vienna, Athens and Los Angeles. This is Marlis Petersen s Australian debut. 18 Sydney Symphony

18 Markus Werba baritone Markus Werba was born in Carinthia, Austria. He has sung a wide range of roles including Papageno (The Magic Flute), Falke (Die Fledermaus), Malatesta (Don Pasquale), Dandini (La Cenerentola), and Danilo in The Merry Widow with the Vienna Volksoper. He has also sung Papageno in the Mozart Festival in Vienna, Zurich Opera, Sao Carlo Lisbon, Komische Oper Berlin, Opéra Bastille Paris, Théâtre du Capitole Toulouse, Teatro Comunale Bologna, Teatro Massimo Palermo, Cagliari, Naples, Genova, Lyon and in Ferrara and Baden- Baden with Claudio Abbado; Guglielmo (Così fan tutte) at the Piccolo Teatro Milan in Giorgio Strehler s last production, the Hamburg State Opera, and Teatro Carlo Felice Genova; the title role in Don Giovanni in Palermo; and Olivier (Capriccio) in Cagliari and La Fenice Venice. Other roles have included Froila in Schubert s Alfonso und Estrella, Hans Heiling and The Barber of Seville in Cagliari, and Harlequin in Ariadne auf Naxos with Opéra de Lyon. In 2005 he made his Salzburg Festival debut as Papageno in The Magic Flute with Riccardo Muti. The following season he sang Gulglielmo in Così in Lyon with William Christie, made his debut at La Scala Milan as Harlequin with Jeffrey Tate, and returned to the Salzburg Festival to sing Nando in La finta giardiniera conducted by Ivor Bolton and Papageno with Riccardo Muti. Future engagements include Harlequin in Bolzano and Lucca, his debut as Mercurio in La Calisto with the Bavarian State Opera Munich, Wiedehopf in Braunfels Die Vögel in Cagliari, the Count in The Marriage of Figaro with William Christie in Lyon, and Danilo in Rome. Markus Werba also has an extensive recital and concert career, and has given recitals in Wigmore Hall, in Trieste and in Vienna s Musikverein. This is Markus Werba s Australian debut. 19 Sydney Symphony

19 THE ARTISTS Cantillation Cantillation is a chorus of professional singers an ensemble of fine voices with the speed, agility and flexibility of a chamber orchestra. Formed in 2001 by Antony Walker and Alison Johnston, it has since been busy in the concert hall, opera theatre and recording studio. Performance highlights have included Adams Harmonium and Transmigration of Souls, the Australian premiere of Gubaidalina s Now Always Snow, Edwards Star Chant, Haydn s Nelson Mass and Jonathan Mills Sandakan Threnody (all with the Sydney Symphony); Butterley s Spell of Creation, Mahler s Eighth Symphony, tours for Musica Viva and concerts with Emma Kirkby and the Orchestra of the Antipodes. Recordings include Allegri Miserere Sacred Music of the Renaissance, Fauré s Requiem, Carmina Burana, Prayer for Peace, Messiah, Silent Night, Ye Banks and Braes, and Magnificat with Emma Kirkby. Last year Cantillation recorded Mozart s Requiem and Bach choruses. As well as opera appearances (most recently Idomeneo with Pinchgut Opera), Cantillation has sung for the Dalai Lama, appeared with Andrea Bocelli, recorded and performed for the Rugby World Cup, and recorded soundtracks for several movies. Recent collaborations with the Sydney Symphony have included the Shock of the New concerts with Gianluigi Gelmetti, and performances of Ravel s Daphnis et Chloé (Gelmetti) and The Bells by Rachmaninov with Vladimir Ashkenazy. In March Cantillation and the Sydney Symphony will perform Vaughan Williams Sinfonia Antartica. Antony Walker Music Director Alison Johnston Manager Michael Black Chorus Master Cathy Davis Repetiteur Christopher Matthies Language Coaching SOPRANOS Hannah Bone Catherine Bryant Kate Dowman Anna Fraser Danielle Grant Hester Hannah Tina Harris Sarah Jones Mina Kanaridis Jennifer Kaye Maria Kutra Belinda Montgomery Alison Morgan Kerry Nicholson Barbara Rennison Josie Ryan Jane Sheldon Meinir Thomas Nicole Thomson Karen Walmsley Emma Zampieri ALTOS Georgina Andrews Jo Burton Jenny Duck-Chong Laila Engle Anne Farrell Karen Finch Kerith Fowles Amanda Hamilton Amanda Harris Judy Herskovits Alison Keene Tijana Miljovska Inara Molinari Rose Saunders Natalie Shea Nicole Smeulders Desiree van Loon Amanda Wagg Anna Zerner TENORS Simon Best Michael Butchard Philip Chu John Dudley Michael Iglesias Andrei Laptev Nara Lee Benjamin Loomes Paul Morris Max Naguit Dominic Ng Eric Peterson John Pitman Philip Pratt Joel Roast Daniel Song Joseph Toltz Dan Walker Michael Warby Raff Wilson BASSES Peter Alexander Chris Allan Matthew Baker Daniel Beer Corin Bone David Cervi Nicholas Davison Mark Donnelly* Andrew Finden Alex Freeman Andrew Fysh David Greco Robin Hilliard David Hoffman Kirk Hume Phillip Joughin Christopher Matthies Sébastien Maury David Russell Ed Suttle * appears courtesy of the Song Company 20 Sydney Symphony

20 Michael Black chorus master Michael Black holds degrees in Education, Performance and Musicology from the Sydney Conservatorium of Music and the University of NSW. He has been Chorus Master for Opera Australia since 2001 and has prepared more than 80 operas in that time as well as choral works such as Verdi s Requiem, Mozart s Requiem, Brahms Ein Deutsches Requiem, Beethoven s Ninth Symphony, Carmina Burana, Chichester Psalms and Holst s Planets. He is also chorus master for two ABC Classics recordings: Verdi Requiem (Australian Opera and Ballet Orchestra) and Beethoven Ninth Symphony (Tasmanian Symphony Orchestra); and two Chandos recordings: The Love for Three Oranges and Rusalka. He has also been guest chorus master for Opera Holland Park (UK), Sydney Philharmonia Choir and Motet Choir, and Cantillation. He is also considered one of Australia s finest accompanists and regularly performs with many singers in recital, broadcast and recording. He has performed for Wigmore Hall Touring Chamber Music and at all the major Australian Festivals including Sydney, Melbourne, Perth International Arts Festival and Brisbane Biennale. As an educator, Michael Black lectured for many years at the Sydney Conservatorium, has been an adjudicator for many competitions, and has given masterclasses at the Victorian College of the Arts and Sydney Conservatorium. He has also been a piano examiner for the AMEB. 21 Sydney Symphony

21 THE SYDNEY SYMPHONY PATRON Her Excellency Professor Marie Bashir AO, 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. Resident at the iconic Sydney Opera House where the Sydney Symphony gives more than 100 performances each year, the Orchestra 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, Nikolai 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 fourth year as Chief Conductor and Artistic Director of the Sydney Symphony, a position he holds in tandem with that of Music Director at the prestigious Rome Opera. The Sydney Symphony is reaping the rewards of Maestro Gelmetti s directorship through the quality of sound, intensity of playing and flexibility between styles. His particularly strong rapport with French and German repertoire is complemented by his innovative programming in the Shock of the New concerts and performances of contemporary Australian music. 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 maintains an active commissioning program promoting the work of Australian composers and in 2005 Liza Lim was appointed Composer-in-Residence for three years. In 2007, the Orchestra celebrates its 75th anniversary and the milestone achievements during its distinguished history. 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 Kirsten Williams Associate Concertmaster 02 Fiona Ziegler Ian & Jennifer Burton Chair of Assistant Concertmaster 03 Julie Batty 04 Gu Chen 05 Amber Davis 06 Rosalind Horton 07 Jennifer Hoy 08 Jennifer Johnson 09 Georges Lentz 10 Nicola Lewis 11 Alexandra Mitchell Moon Design Chair of Violin 12 Léone Ziegler Sophie Cole Second Violins 01 Marina Marsden 02 Susan Dobbie Associate 03 Emma West Assistant 04 Pieter Bersée 05 Maria Durek 06 Emma Hayes 07 Shuti Huang 08 Stan Kornel 09 Benjamin Li 10 Nicole Masters 11 Philippa Paige 12 Biyana Rozenblit 13 Maja Verunica Guest Musicians Emily Long First Violin# Alexander Norton First Violin# Emily Qin First Violin# Victoria Jacono First Violin Leigh Middenway First Violin Martin Silverton First Violin Alexander D Elia Second Violin# Belinda Jezek Second Violin Jacqueline Cronin Viola# Jennifer Curl Viola# Joanna Tobin Viola Rowena Crouch Cello# Patrick Murphy Cello# Martin Penicka Cello Janine Ryan Cello Andrew Wilson Cello Jennifer Druery Double Bass# Lauren Brandon Double Bass Max McBride Double Bass Kirsty McCahon Double Bass Miriam Lawson Harp Lisa Wynne Allen French Horn# Ayman Al Fakir French Horn Amy Johansen Organ # Contract musician Fellowship holder 23 Sydney Symphony

23 MUSICIANS Violas Cellos Double Basses Harp Flutes Piccolo Violas 01 Roger Benedict 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 02 Nathan Waks 03 Kristy Conrau 04 Fenella Gill 05 Leah Lynn 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 Andrew Raciti Associate 04 Neil Brawley Emeritus 05 David Campbell 06 Steven Larson 07 Richard Lynn 08 David Murray 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 01 Noriko Shimada Horns 01 Robert Johnson 02 Ben Jacks 03 Geoff O Reilly 3rd 04 Lee Bracegirdle 05 Marnie Sebire Trumpets 01 Daniel Mendelow 02 Paul Goodchild Associate 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 Brian Nixon Assistant Timpani (contract) 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 Mt Arthur Coal Illawarra Coal BRONZE PARTNERS MARKETING PARTNERS PATRONS Australia Post Beyond Technology Bimbadgen Estate Wines Goldman Sachs JBWere J. Boag & Son Q-Med (Sweden) Australia Pty Ltd. Vittoria Coffee Avant Card Blue Arc Group Digital Eskimo 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 Corporate Relations on (02) Alan Jones, Managing Director Mulpha Australia with 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 Ian and Jennifer Burton Chair of Assistant Concertmaster, Fiona Ziegler 11 Andrew Kaldor and Renata Kaldor AO Chair of Oboe, Diana Doherty 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 Caroline Mark on (02) Maestri Brian Abel and the late Ben Gannon AO Geoff & Vicki Ainsworth * Mr Robert O Albert AO * Alan & Christine Bishop Sandra and Neil Burns * Mr Ian & Mrs Jennifer Burton The Clitheroe Foundation * Patricia M. Dixson * Penny Edwards * Mr J O Fairfax AO * Dr Bruno and Mrs Rhonda Giuffre * Mr Harcourt Gough Mr David Greatorex AO & Mrs Deirdre Greatorex Mr Andrew Kaldor & Mrs Renata Kaldor AO H. Kallinikos Pty Ltd Mr David Maloney Mr B G O Conor The Paramor Family * Anonymous (1) * Virtuosi Mrs Antoinette Albert Mr Robert & Mrs L Alison Carr Mr John C Conde AO Mr John Curtis Irwin Imhof in Memory of Herta Imhof Mr Stephen Johns Mr & Mrs Gilles T Kryger Helen Lynch AM Mr E J Merewether & Mrs T Merewether OAM * Miss Rosemary Pryor * Bruce & Joy Reid Foundation * John Roarty in memory of June Roarty Rodney Rosenblum AM & Sylvia Rosenblum Mrs Helen Selle Dr James Smith David Smithers AM and family Michael & Mary Whelan Trust Anonymous (2) Soli Ms Jan Bowen * Mr Chum Darvall Ian Dickson & Reg Holloway * Hilmer Family Trust Mr Paul Hotz Mr Rory Jeffes Paul Lancaster & Raema Prowse Mrs Joan MacKenzie Mr James & Mrs Elsie Moore Ms Kathleen Parer Ms Gabrielle Trainor Mr R Wingate Anonymous (2) Tutti Mr C R Adamson Mr Henry W Aram Mr David Barnes Mrs F M Buckle Debby Cramer & Bill Caukill Mr Bob & Mrs Julie Clampett Mr & Mrs J B Fairfax AM Mr Ian Fenwicke & Prof Neville Wills Mrs Dorit & Mr William Franken Mr & Mrs J R W Furber Mr Arshak & Ms Sophie Galstaun In Memory of Hetty Gordon Mrs Akiko Gregory Miss Janette Hamilton Mr A and Mrs L Heyko- Porebski Dr Paul Hutchins & Ms Margaret Moore Mrs Margaret Jack Mr John W Kaldor AM Mr and Mrs E Katz Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Mr Gary Linnane Ms Karen Loblay Mr & Mrs R. Maple-Brown Mrs Alexandra Martin & the Late Mr Lloyd Martin AM Justice Jane Mathews Mrs Mora Maxwell Judith McKernan Mrs Barbara McNulty OBE Mr and Mrs John Morschel Mr R A Oppen Mr Robert Orrell Dr Timothy Pascoe Ms Robin Potter Mr Nigel Price Mr and Mrs Ernest Rapee Mrs Patricia H Reid Mr Brian Russell and Ms Irina Singleman Gordon & Jacqueline Samuels Ms Juliana Schaeffer Robyn Smiles Derek & Patricia Smith Catherine Stephen Mr Fred & Mrs Dorothy Street Mr Georges & Mrs Marliese Teitler Mr Stephen Thatcher Mr Ken Tribe AC & Mrs Joan Tribe Mr John E Tuckey Mrs Kathleen Tutton Ms Mary Vallentine AO Henry & Ruth Weinberg Mr and Mrs Bruce West Jill Wran Mrs R Yabsley Anonymous (10) Supporters over $500 Mr Roger Allen & Ms Maggie Gray Mr Lachlan Astle John Augustus Mr Warwick Bailey Mr Marco Belgiorno-Zegna AM Mr G D Bolton Pat & Jenny Burnett Hon. Justice J.C. & Mrs Campbell * Mr & Mrs Michel-Henri Carriol Mrs B E Cary Mr Leo Christie and Ms Marion Borgelt Mr Peter Coates Mr B & Mrs M Coles Mrs Catherine Gaskin Cornberg Stan & Mary Costigan * Mrs M A Coventry Ms Rowena Danziger Mr & Mrs Michael Darling Lisa & Miro Davis * Mrs Patricia Davis Mrs Ashley Dawson-Damer Mr Paul Espie Mr Russell Farr Mr and Mrs David Feetham Mr Richard & Mrs Diana Fisher Rev H & Mrs M Herbert * Ms Michelle Hilton-Vernon Mr and Mrs Paul Holt Mr Eric C Howie Mr & Mrs P Huthnance Ms Judy Joye Mrs Jeannette King * Mrs J Lam-Po-Tang Dr Barry Landa Mrs Joan Langley Ms Jan Lee Martin & Mr Peter Lazar Mr David & Mrs Skye Leckie Margaret Lederman Mr Ezzelino Leonardi Erna & Gerry Levy AM * Mr and Mrs S C Lloyd Mr Andrew & Mrs Amanda Love Mr Matthew McInnes Mr Tony and Mrs Fran Meagher Mr Andrew Nobbs Moon Design Mrs R H O Conor Ms Patricia Payn Mr Adrian & Mrs Dairneen Pilton Mr and Mrs Michael Potts Mrs B Raghavan Mrs Caroline Ralphsmith Dr K D Reeve AM * Mr & Mrs A Rogers Dr Jane & Mr Neville Rowden Mrs Margaret Sammut In memory of H. St.P Scarlett * Blue Mountain Concert Society Inc Mr Ezekiel Solomon Mr Andrew & Mrs Isolde Tornya Miss Amelia Trott Mrs Merle Turkington The Hon M. Turnbull MP and Mrs L. Hughes Turnbull Mr & Mrs Franc Vaccher Ronald Walledge Mr Brian & Mrs Rosemary White Mr Geoff Wood and Ms Melissa Waites Miss Jenny Wu Mr Michael Skinner and Ms Sandra Yates AO Anonymous (12) Allegro Program supporter * Emerging Artist Fund supporter Stuart Challender Fund supporter Orchestra Fund supporter 29 Sydney Symphony

29 BEHIND THE SCENES Sydney Symphony Board CHAIRMAN David Maloney Libby Christie John Conde AO John Curtis Stephen Johns Andrew Kaldor Goetz Richter David Smithers AM Gabrielle Trainor What s on the cover? During the 2007 season Sydney Symphony program covers will feature photos that celebrate the Orchestra s history over the past 75 years. The photographs on the covers will change approximately once a month, and if you subscribe to one of our concert series you will be able to collect a set over the course of the year. Foyer displays at our concerts will also feature photographs from our recent and early history. COVER PHOTOGRAPHS (clockwise from top left): Christopher Harris ( Bass Trombone); Michael Dauth (Concertmaster) and Goetz Richter (former Associate Concertmaster), 2002; Gianluigi Gelmetti (Chief Conductor and Artistic Director); patrons at a reception in 1965, probably during the Tokyo tour; Stuart Challender and the SSO at the United Nations General Assembly building during the 1988 USA tour; Her Majesty Queen Elizabeth II and Willem van Otterloo, Sydney Symphony

30 Sydney Symphony Staff MANAGING DIRECTOR Libby Christie EXECUTIVE ASSISTANT Deborah Byers ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC OPERATIONS Wolfgang Fink Artistic Administration ARTISTIC ADMINISTRATION MANAGER Raff Wilson ARTIST LIAISON Ilmar Leetberg PERSONAL ASSISTANT TO THE CHIEF CONDUCTOR Lisa Davies-Galli Education Programs EDUCATION MANAGER Margaret Moore EDUCATION CO-ORDINATOR Bernie Heard Library LIBRARIAN Anna Cernik LIBRARY ASSISTANT Victoria Grant LIBRARY ASSISTANT Mary-Ann Mead DEVELOPMENT DIRECTOR OF DEVELOPMENT Rory Jeffes CORPORATE RELATIONS MANAGER Leann Meiers CORPORATE RELATIONS EXECUTIVE Alan Watt CORPORATE RELATIONS EXECUTIVE Julia Owens PATRONS AND EVENTS MANAGER Caroline Mark MARKETING AND CUSTOMER RELATIONS DIRECTOR OF MARKETING AND CUSTOMER RELATIONS Julian Boram Publicity PUBLIC RELATIONS MANAGER Imogen Corlette PUBLICIST Yvonne Zammit Customer Relationship Management MARKETING MANAGER CRM Aaron Curran ONLINE & PUBLICATIONS MANAGER Robert Murray DATABASE ANALYST Martin Keen Marketing Communications MARKETING COMMUNICATIONS MANAGER Georgia Rivers MULTICULTURAL MARKETING MANAGER Xing Jin ASSISTANT MARKETING MANAGER Simon Crossley-Meates CONCERT PROGRAM EDITOR Yvonne Frindle Corporate & Tourism CORPORATE & TOURISM SALES MANAGER Georgina Gonczi Box Office BOX OFFICE MANAGER Lynn McLaughlin BOX OFFICE COORDINATOR Anna Fraser CUSTOMER SERVICE REPRESENTATIVES Wendy Augustine Matthew D Silva Michael Dowling ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert DEPUTY ORCHESTRA MANAGER Lisa Mullineux ORCHESTRAL CO-ORDINATOR Greg Low OPERATIONS MANAGER John Glenn TECHNICAL MANAGER Derek Coutts PRODUCTION CO-ORDINATOR Tim Dayman PRODUCTION ASSISTANT Ian Spence STAGE MANAGER Marrianne Carter COMMERCIAL PROGRAMS DIRECTOR OF COMMERCIAL PROGRAMMING Baz Archer BUSINESS SERVICES DIRECTOR OF FINANCE Teresa Cahill FINANCE MANAGER Anthony Rosenthal OFFICE ADMINISTRATOR Shelley Salmon INFORMATION TECHNOLOGY MANAGER Tim Graham PAYROLL AND ACCOUNTS PAYABLE OFFICER Caroline Hall HUMAN RESOURCES Helen Kidston 31 Sydney Symphony

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