Oscar A. Kambly Chairman Kambly of Switzerland

It is my great pleasure to welcome you to the first concert in the 2010 Tea & Symphony series as Kambly celebrates its 100th anniversary. The theme for the morning is heroism, beginning with Beethoven s great piano masterpiece, the Emperor concerto, and concluding with orchestra highlights from Wagner s epic Ring cycle. We re especially delighted to welcome Australian conductor Alexander Briger and French pianist François-Frédéric Guy, who is making his Australian debut this month. These artists have worked together overseas and now bring their partnership to Sydney: representatives of the current generation interpreting two great masterworks from our musical heritage. Kambly has epitomised the Swiss tradition of the finest biscuits for three generations. Each masterpiece from the Emmental is a small thank you for life; a declaration of love for the very best; the peak of fine, elegant taste. Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fitting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people s love of live symphonic music. We hope you enjoy this morning s program with the Sydney Symphony, and look forward to welcoming you to future concerts in the Tea & Symphony series in 2010. Oscar A. Kambly Chairman Kambly of Switzerland

2010 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY Friday 19 March 11am Sydney Opera House Concert Hall THE HALL OF HEROES Alexander Briger conductor François-Frédéric Guy piano LUDWIG VAN BEETHOVEN (1770 1827) Piano Concerto No.5 in E flat, Op.73 (Emperor) Allegro Adagio un poco mosso Rondo (Allegro) Wednesday night s performance will be broadcast live across Australia on ABC Classic FM. RICHARD WAGNER (1813 1883) Orchestral highlights from Götterdämmerung (Twilight of the Gods) Suite arranged by Alexander Briger Dawn (Prologue to Act I) Siegfried s Rhine Journey Siegfried s Death Siegfried s Funeral March Brünnhilde s Immolation Approximate durations: 38 minutes, 30 minutes The concert will conclude at approximately 12.20pm. The suite is played without pause. PRESENTING PARTNER Biscuits at Tea & Symphony concerts kindly provided by Kambly

ABOUT THE MUSIC BEETHOVEN Piano Concerto No.5 (Emperor) The year 1809 began well for Beethoven: in March three of his noble patrons, including the Archduke Rudolph youngest brother of the Emperor, and a pupil of Beethoven s banded together to guarantee him an annual income of 4000 florins on condition that he remain in Vienna and devote himself to the creation of great and sublime works. The contract promised, and to a large extent gave, him the financial security to banish the spectre of dying, like Mozart, in poverty. But in May, Napoleon s troops invaded Vienna for the second time in four years, and occupied the city until October. During the initial bombardment, Beethoven fled his apartment and hid in the cellar of his brother Carl, covering his head with pillows to protect the fragile remnants of his hearing. The Archduke Rudolph and the rest of the Imperial family managed to escape the city barely a week before the invasion and had to remain in exile throughout the occupation. The self-proclaimed Emperor, Napoleon, maintained his headquarters in the palace at Schönbrunn. Three weeks into the occupation, Beethoven s former teacher, Haydn, died. Food became a black-market commodity. Beethoven found himself largely confined to his apartment: to go for an innocent walk was to risk arrest, and to carry a musical sketchbook was to risk being taken for a spy. Ironically, the great work on which the arch-democrat was engaged at this time was one to which others would later give the designation Emperor (supposedly in recognition of its commanding majesty) his Concerto No.5 in E flat. Yet as long as the Emperor Napoleon s presence in the city continued, work on the Emperor Concerto largely stalled. Beethoven spent much of his time not composing but copying out large passages from theoretical works by C.P.E. Bach, Fux and others. Nevertheless one remarkable composition of 1809 was his Piano Sonata Op.81a, intended for presentation to Archduke Rudolph on his return remarkable among Beethoven s works in having an explicit program, and even more remarkable in the avowedly heartfelt quality of the sentiments expressed by the democrat for the brother of an Emperor. Its three movements represent the farewell to the departing Archduke, his absence, and reunion on his return; and there is no doubting the composer s outrage at his publisher s presumption in turning the movement headings into impersonal French (Les Adieux and Le Retour) LUDWIG VAN BEETHOVEN German composer (1770 1827) 4 Sydney Symphony

at the expense of the warmly personal German he wanted Das Lebewohl and Das Wiedersehen. When it came to be published in 1811, the Emperor Concerto would be yet another monumental work dedicated to his favourite patron. Listening Guide In an innovative opening, the orchestra is permitted three imposing chords, on each of which the piano immediately interjects a grandiloquent flourish, each longer than its predecessor and the third almost a short cadenza. Only then, when the orchestra essays another chord on the E flat of the original, does the piano let it go unhindered about its business and begin the formal exposition. The major theme goes with a swing derived from a little enclosed triplet figure; and there are, besides, an attractively hesitant second subject as well as at least three minor ideas. Most significantly, however, the orchestra remains anchored monotonously in the home key of E flat. This serves to highlight the rich contrasts offered when the piano, after entering quietly on a chromatic scale (which will become something of a signature tune), sets out through a series of astonishing modulations to explore remote and exotic tonalities. The grand scale of the work becomes apparent as the orchestra picks up the exposition where the piano interrupted it, and the piano duly returns to complete what is effectively a double exposition. This leads to a development section which falls into distinct halves the first dominated by the orchestra with piano accompaniment; the second by the piano playing vigorously in octaves as a bassoon insistently interjects reminders of the rhythm of the main theme. Following a crescendo, we hear the arresting chords and solo flourishes from the opening, now slightly elaborated, to launch the recapitulation. Distant tonalities are now explored with an adventurousness absent from the original exposition. At the point where a solo cadenza is to be expected, Beethoven writes a few bars in the style of a cadenza, but in a footnote forbids the soloist to improvise or interpolate any other cadenza. The quasi-cadenza is firmly integrated in the overall structure, beginning normally but soon leading into a coda where gradually, all the other instruments join in. The slow movement moves to the rarefied atmosphere of B major a remote key in the context of E flat. In hushed to carry a musical sketchbook was to risk being taken for a spy. 5 Sydney Symphony

tones, the orchestra introduces a solemnly prayerful main theme, one in which, like all the greatest melodies, apparent simplicity masks the magnitude of the composer s effort in making it so. The piano initially meditates in rhapsodic fashion around the theme before taking it up. Beethoven maintains the atmosphere by developing his material out of the original theme, rather than introducing a contrasting idea. At the end of this rapt movement, the piano subsides into silence, underpinned by low, sustained notes on bassoons and horns. Suddenly we sink a semitone, to B flat, and to paraphrase Tovey, the cold greyness begins to glow. The piano quietly picks out fragmentary phrases which point to the coming rondo theme, then finds itself already in E flat, balances momentarily, and plunges directly into the bounding cross-rhythms of the finale. Beethoven declares his last movement a rondo but unifies the movement thematically by treating the whole almost as sonata form. The piano begins to wind up the concerto with a scale passage, and finds itself softly accompanied by an ominous timpani ostinato. The drumbeat ceases as the piano slows and its solo peters out. Then, the piano leaps into a florid outburst of the chromatic scales which have been such a feature of the concerto and carries the orchestra with it to a quick and emphatic conclusion. Beethoven s abandonment of the traditional opportunity for an improvised cadenza in this work was a direct result of his deafness, and was to have far-reaching consequences in future concertos. Though he had been the first soloist in all four of his earlier concertos, Beethoven was now too deaf to play in public, and it fell to Friedrich Schneider in Leipzig to premiere the Emperor Concerto, apparently in November 1811. Where Beethoven would have performed from mere shorthand sketches of his part, he was now obliged to write the solo part out in full, taking care that no ambitious soloist should have an opportunity for self-aggrandisement at the expense of musical taste or coherence. None of the great concertos since, apart from the Brahms Violin Concerto, has left room for an unwritten cadenza. ABRIDGED FROM A NOTE BY ANTHONY CANE 1998 taking care that no ambitious soloist should have an opportunity for selfaggrandisement The Sydney Symphony was the first ABC orchestra to perform the Emperor Concerto, with pianist Artur Schnabel and conductor George Szell in 1939. Our most recent performance of the concerto was in the 2007 Beethoven Festival conducted by Gianluigi Gelmetti, with soloist Gerhard Oppitz. 6 Sydney Symphony

WAGNER Orchestral highlights from Götterdämmerung Suite arranged by Alexander Briger Today s suite represents highlights from the final opera in the massive cycle known as Der Ring des Nibelungen (The Ring of the Nibelung), written by Richard Wagner between 1848, when he first sketched out a scenario about the Germanic hero Siegfried, and 1874, when he put the finishing touches on the orchestral score of Götterdämmerung (Twilight of the Gods). The performance of instrumental excerpts from Wagner s music dramas (as he preferred to call them) has often been felt to betray the composer s concept of the Gesamtkunstwerk the complete work of art employing the combined resources of music (including singing), mime, poetry, theatrical effects and scenic design. But Wagner himself sanctioned the performance of specific excerpts from the Ring, in particular several from Götterdämmerung, which were played under his direction when he toured Europe as a conductor often to raise money to fill the coffers exhausted by his work on this massive theatrical project. Richard Wagner was not primarily a composer for the concert hall. Widely regarded as the towering genius of 19th-century music, his overriding aim, put simply, was to elevate the dramatic integrity of opera. He believed that theatre, as the 19th century s principal public art form, was a powerful instrument of social change, having almost a redemptive capability; and he believed that opera, as the 19th century s multimedia art form, had the greatest potential to communicate the deepest of messages to a broad public. Wagner sought to achieve in his music dramas a superlative new art form using lessons from the symphonic music of Beethoven to inform dramas constructed along the lines of classical Greek drama, and based on myths which resonated deeply in the German consciousness. The Ring of the Nibelung, drawn from both the Icelandic Edda-songs and the Burgundian Nibelungen- Lied, is, in the eyes of many, his crowning achievement. Initially, Wagner sought to compose music that would enhance the singer s articulation of the text in this regard the first two operas, Das Rheingold and Die Walküre, follow quite faithfully the radical theories espoused in his tract, Oper und Drama. By the time of the third act of Siegfried, however, composed after a 12-year break, the RICHARD WAGNER German composer (1813 1883) 7 Sydney Symphony

orchestra had assumed a position of greater primacy. More than an accompaniment, it had become a commentator, a collaborator in the action, indeed, you could almost say, the author s voice. Wagner s most obvious tool was the Leitmotif ( leading motif ), a short melody or theme which represents a certain character, object or concept, and morphs, modulates and develops in accordance with the shifting emotions and action of the drama, allowing listeners to follow the dramatic developments. There are numerous Leitmotifs in the Ring they also provided Wagner with a means of creating musical unity in the absence of abstract musical forms. The Leitmotifs have little time to establish themselves in today s suite. But you will gain some idea of Wagner s ability to make the orchestra part and parcel of the action. Wagner has been criticised for falling short of his reformist aim to match perfectly words with music, but such criticism underestimates Wagner s theatrical instincts. He knew that the basic units of drama are actions (whether physical, verbal or psychological), and in concert performances you can assess how well his orchestra adds the visuals, from the exhilarating trilling which depicts the Valkyries flying through the air, to the destruction of Valhalla, the kingdom of the gods, by flame and flood. Above left: Having given Brünnhilde the ring as a pledge of love, Siegfried winds his horn and leaves in search of adventure. Above: In the Hall of the Gibichung s Gutrune offers Siegfried a potion that causes him to forget Brünnhilde and fall in love with her instead. FROM ARTHUR RACKHAM S ILLUSTRATIONS FOR WAGNER S SIEGFRIED AND THE TWILIGHT OF THE GODS. 8 Sydney Symphony

Listening Guide The Dawn prologue to Götterdämmerung is a variation of Siegfried s horn theme, and Siegfried and Brünnhilde reaffirm their love before Siegfried sets out on the Rhine Journey that will lead to his betrayal and murder the orchestra suggests the rolling of the boat. Released from the spell of a potion of forgetfulness, Siegfried remembers Brünnhilde before his death. His body is returned to the Hall of the Gibichungs accompanied by the solemn pageant of Siegfried s Funeral March. Only Brünnhilde s self sacrifice can end the train of destruction. She builds a pyre around Siegfried s body, sets it ablaze and, mounting her horse, rides into the flames (Brünnhilde s Immolation). Wagner s final music is a miniature tone poem. To paraphrase his stage directions for the final minutes: The fire blazes up, filling the entire space before the Hall of the Gibichungs, and dies down forming smoke which lies like a fogbank along the Rhine. Then the river wells up and pours its waters over the pyre. The Rhinemaidens reappear (we hear their theme), and retrieve the ring which was forged from their gold. A melody expressive of Brünnhilde s love emerges from the tail-end of the Rhinemaidens melody, which is dove-tailed into the Valhalla theme which soon flares up in a final blaze of glory. Through the cloud bank now appears a red glow. In its light the Rhine can be seen to have returned to its bed, the Rhinemaidens playing with the ring in calmer waters. From the ruins of the Gibichung hall, spectators gaze awestruck on the distant sight of the gods sitting in Valhalla, now in flames. ADAPTED FROM A NOTE BY GORDON KALTON WILLIAMS SYMPHONY AUSTRALIA 2000 Brünnhilde and her horse Grane leap onto Siegfried s funeral pyre. The Sydney Symphony s most recent performance of a symphonic suite from Wagner s Ring cycle was in 2006, when Edo de Waart conducted Henk de Vlieger s The Ring An Orchestral Adventure. During de Waart s period as chief conductor, the Sydney Symphony also presented the complete cycle of operas in concert, culminating in performances of Götterdämmerung in 2000 as part of the Sydney Olympics Arts Festival. ARTHUR RACKHAM 9 Sydney Symphony

ABOUT THE ARTISTS Alexander Briger conductor Alexander Briger studied in Sydney and Munich and won first prize at the International Competition for Conductors in the Czech Republic in 1993. He later worked closely with Charles Mackerras and Pierre Boulez. He has performed regularly with the Philharmonia Orchestra and with the London Philharmonic Orchestra, including a tour to China in 2004. He made his BBC Proms and Berlin Festival debuts with the Birmingham Contemporary Music Group. He has also worked with the Orchestre de Paris, Scottish Chamber Orchestra, City of Birmingham Symphony Orchestra, Berlin Symphony Orchestra, Rotterdam Philharmonic, Orchestre Philharmonique de Radio France, BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, Gothenburg Symphony, Swedish Radio Orchestra, Danish Symphony Orchestra, Orchestre National du Capitole de Toulouse, Frankfurt Radio Orchestra, Deutsche Kammerphilharmonie, Academy of St Martin in the Fields, Salzburg Mozarteum, Salzburg Camerata, Ensemble InterContemporain, Japanese Virtuoso Symphony, Monte Carlo Philharmonic and with the London Sinfonietta, collaborating with Peter Sellars and pianist Hélène Grimaud for the premiere of Arvo Pärt s Lament Tate. In Australia he has conducted the Melbourne and West Australian symphony orchestras, and the Sydney Symphony in the 2006 Meet the Music series. His most recent appearance for the Sydney Symphony was in performances of Isaac Nathan s Don John of Austria in 2007. He made his debut with Opera Australia in 1998 conducting Jen ufa, and his operatic work for OA has since included Madama Butterfly, Così fan tutte, Cunning Little Vixen and The Marriage of Figaro. He has also conducted The Rape of Lucretia (Covent Garden), The Magic Flute (Glyndebourne), Rigoletto and The Makropulos Case (English National Opera), Cunning Little Vixen (Aix-en-Provence), From the House of the Dead (Canadian Opera), The Tales of Hoffmann (Royal Danish Opera), The Bartered Bride (Royal Swedish Opera), Pique Dame (Komische Oper, Berlin), La bohème (State Opera of South Australia) and Bartók ballets (Opera du Rhin), as well as the premiere of Simon Holt s Who put Bella in the Wych elm (Aldeburgh Festival). He is currently conducting Britten s Midsummer Night s Dream for Opera Australia. 10 Sydney Symphony

François-Frédéric Guy piano François-Frédéric Guy was born in 1969 to musical parents in a small French village on the border of Normandy. He began piano lessons at the age of seven and as a teenager he entered the Paris Conservatoire, where he studied with Dominique Merlet and Christian Ivaldi, graduating with a Premier Prix. While at the Conservatoire he discovered the orchestral works of the German Romantic tradition: Mahler, Bruckner, Richard Strauss and, especially, Wagner. His repertoire as a pianist also centres on the Austro- German tradition, and he has made a speciality of performing the major works of Brahms and Beethoven. He has recorded the complete Beethoven concertos and is in the process of recording the complete Beethoven sonatas, and has been performing these works around the world. As an emerging pianist, François-Frédéric Guy spent a period on the competition circuit and enjoyed some success. But it was a competition that he didn t win (the 1993 Leeds International Piano Competition) that was perhaps the most decisive in his career, as his playing attracted the attention of some leading pianists and conductors. A few years later he released his first recording of Beethoven s Hammerklavier Sonata. Other career highlights have included his debut recital at the Berlin Philharmonie, and his Proms debut in 2006, playing the Ravel Piano Concerto in G with the Philharmonia Orchestra and conductor Esa-Pekka Salonen. Since then he has appeared regularly with all the London orchestras and the other major British orchestras as well in Europe, Japan, Brazil and the United States. He has worked with conductors such as Wolfgang Sawallisch, Bernard Haitink, Paavo Berglund, Neeme Järvi, Michael Tilson Thomas, Daniel Harding, Günther Herbig, Osmo Vänskä, Yan-Pascal Tortelier and Thierry Fischer. As a chamber musician he has a regular partnership with the cellist Anne Gastinel, with whom he has performed and recorded the sonatas of Beethoven and Brahms; he has also worked with the Ysaÿe Quartet, clarinettist Michael Collins, violinist Ilya Gringolts and others. François-Frédéric Guy made his Sydney debut last week in a recital of Chopin and Beethoven. Photo: GUY VIVIEN 11 Sydney Symphony

MUSICIANS Photo: KEITH SAUNDERS Vladimir Ashkenazy Principal Conductor and Artistic Advisor Photo: KEITH SAUNDERS Michael Dauth Concertmaster Chair supported by the Sydney Symphony Board and Council Photo: KEITH SAUNDERS Dene Olding Concertmaster Chair supported by the Sydney Symphony Board and Council Performing in this concert FIRST VIOLINS VIOLAS OBOES TROMBONES Michael Dauth Concertmaster Goetz Richter Associate Concertmaster* Fiona Ziegler Assistant Concertmaster Julie Batty Jennifer Booth Marianne Broadfoot Brielle Clapson Sophie Cole Amber Gunther Jennifer Hoy Georges Lentz Nicola Lewis Alexandra Mitchell Léone Ziegler SECOND VIOLINS Kirsty Hilton Emma West Assistant Principal Maria Durek Stan W Kornel Benjamin Li Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D Elia# Mariana Green Claire Herrick Belinda Jezek* Anne-Louise Comerford Caroline Henbest* Sandro Costantino Graham Hennings Stuart Johnson Mary McVarish Felicity Tsai Leonid Volovelsky Arabella Bozic Rosemary Curtin# CELLOS Fenella Gill Adrian Wallis David Wickham Patrick Murphy# Rachael Tobin# Rowena Crouch# William Hewer DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley Principal Emeritus Steven Larson Richard Lynn David Murray Benjamin Ward Josef Bisits Shefali Pryor David Papp Alexandre Oguey Principal Cor Anglais Huw Jones* CLARINETS Lawrence Dobell Francesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet BASSOONS Matthew Wilkie Roger Brooke Noriko Shimada Principal Contrabassoon HORNS Ben Jacks Geoff Lierse* Geoffrey O Reilly Principal 3rd Lee Bracegirdle Euan Harvey Marnie Sebire Francesco Lo Surdo Alexander Love* James McCrow* TRUMPETS Ronald Prussing Scott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone Nigel Crocker* TUBA Steve Rossé TIMPANI Richard Miller Mark Robinson Assistant Principal PERCUSSION Rebecca Lagos Colin Piper Philip South* HARP Louise Johnson Genevieve Lang* Bold = Principal Italic = Associate Principal # = Contract Musician * = Guest Musician = Sydney Symphony Fellow FLUTES Janet Webb Emma Sholl Rosamund Plummer Principal Piccolo Kate Lawson# Michael Kirgan* John Foster Anthony Heinrichs To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/sso_musicians If you don t have access to the internet, ask a Sydney Symphony customer service representative for a copy of our Musicians flyer. 12 Sydney Symphony

THE SYDNEY SYMPHONY Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales Photo: KEITH SAUNDERS Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world s finest orchestras as Sydney has become one of the world s great cities. Resident at the Sydney Opera House, the Sydney Symphony also performs in venues throughout Sydney and regional NSW. International tours have earned the orchestra world-wide recognition for artistic excellence, and in 2009 it made its first tour to mainland Asia. The Sydney Symphony s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. The orchestra s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. The Sydney Symphony s awardwinning education program is central to its commitment to the future of live symphonic music, and the orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. The Sydney Symphony Live label has captured performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The orchestra has also released recordings with Ashkenazy on the Exton label, and numerous recordings for ABC Classics. Sydney Symphony Board CHAIRMAN John C Conde AO Ewen Crouch Stephen Johns David Smithers AM Jennifer Hoy Andrew Kaldor Gabrielle Trainor Rory Jeffes Goetz Richter 13 Sydney Symphony

14 Sydney Symphony

PLAYING YOUR PART The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499. $20,000+ Geoff & Vicki Ainsworth Mr Robert O Albert AO Roger Allen & Maggie Gray Tom Breen & Rachael Kohn Sandra & Neil Burns Mr John C Conde AO Robert & Janet Constable The Hon Ashley Dawson-Damer Mr J O Fairfax AC Fred P Archer Charitable Trust The Berg Family Foundation in memory of Hetty Gordon The Hansen Family Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Mrs Roslyn Packer AO Greg & Kerry Paramor and Equity Real Estate Partners Dr John Roarty in memory of Mrs June Roarty Paul & Sandra Salteri Mrs Penelope Seidler AM Mrs Joyce Sproat & Mrs Janet Cooke Mrs W Stening Mr Fred Street AM & Mrs Dorothy Street In memory of D M Thew Mr Peter Weiss AM & Mrs Doris Weiss Westfield Group The Estate of the late G S Wronker Ray Wilson OAM in memory of James Agapitos OAM Anonymous $10,000 $19,999 Brian Abel Alan & Christine Bishop Ian & Jennifer Burton Libby Christie & Peter James Penny Edwards Dr Bruno & Mrs Rhonda Giuffre Stephen Johns & Michele Bender Helen Lynch AM & Helen Bauer Isabel McKinnon Mrs Joan MacKenzie Justice Jane Mathews AO Tony & Fran Meagher Mrs T Merewether OAM Mr B G O Conor June & Alan Woods Family Bequest Anonymous (2) $5,000 $9,999 Mrs Antoinette Albert Andrew Andersons AO Jan Bowen Mr Donald Campbell & Dr Stephen Freiberg Mr Robert & Mrs L Alison Carr Emily Chang Bob & Julie Clampett Michael & Manuela Darling James & Leonie Furber Mr Robert Gay Mr David Greatorex AO & Mrs Deirdre Greatorex Irwin Imhof in memory of Herta Imhof Judges of the Supreme Court of NSW Gary Linnane Ruth & Bob Magid David Maloney & Erin Flaherty David & Andree Milman Eva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum David Smithers AM & Family Mrs Hedy Switzer In memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Jill Wran Anonymous $2,500 $4,999 David Barnes Marco Belgiorno-Zegna AM Lenore P Buckle Paul & Susan Hotz Mark Johnson Anna-Lisa Klettenberg Mr Justin Lam Mora Maxwell Judith McKernan James & Elsie Moore Mr & Mrs Ortis Bruce & Joy Reid Foundation Georges & Marliese Teitler J F & A van Ogtrop Anonymous (2) $1,000 $2,499 Adcorp Australia Limited Charles & Renee Abrams Mr Henri W Aram OAM Terrey & Anne Arcus Claire Armstrong & John Sharpe Richard Banks Optometrists Charles Barran Doug & Alison Battersby Jo-Anne Beirne Stephen J Bell Phil & Elesa Bennett Nicole Berger Gabrielle Blackstock Mr Alexander & Mrs Vera Boyarsky David S Brett Jane Brodribb & Colin Draper Mr Maximo Buch M Bulmer Pat & Jenny Burnett The Clitheroe Foundation Debby Cramer & Bill Caukill Ewen & Catherine Crouch Lisa & Miro Davis Mr James Graham AM & Mrs Helen Graham Ian Dickson & Reg Holloway Paul Espie Russell & Sue Farr Rosemary & Max Farr-Jones John Favaloro Mr Ian Fenwicke & Prof Neville Wills Firehold Pty Ltd Annette Freeman Ross & Jill Gavin Warren Green Anthony Gregg & Deanne Whittleston Akiko Gregory In memory of Oscar Grynberg Janette Hamilton Ann Hoban The Hon David Hunt AO QC & Mrs Margaret Hunt Dr Michael Joel AM & Mrs Anna Joel Sam & Barbara Linz Mallesons Stephen Jaques Mr Robert & Mrs Renee Markovic Ian & Pam McGaw Matthew McInnes Mrs Barbara McNulty OBE Mr R A Oppen Mr Robert Orrell Jill Pain Mrs Almut Piatti Adrian & Dairneen Pilton Robin Potter Mr & Ms Stephen Proud Ernest & Judith Rapee Patricia H Reid Pamela Rogers Jerome & Pamela Rowley Juliana Schaeffer Victoria Smyth Ezekiel Solomon Catherine Stephen Andrew & Isolde Tornya John E Tuckey Mrs Merle Turkington Andrew Turner & Vivian Chang Mrs Kathleen Tutton A W Tyree Foundation Estate of B M Warden Henry & Ruth Weinberg Audrey & Michael Wilson Geoff Wood & Melissa Waites Anonymous (11) $500 $999 Mr C R Adamson Dr Francis J Augustus Michael & Toni Baume AO G D Bolton Dr & Mrs Hannes Boshoff Hon. Justice J C & Mrs Campbell Joan Connery OAM Jen Cornish Bruce Cutler Prof Christine Deer Peter English & Surry Partners In Memory of Mr Nick Enright Dr & Mrs C Goldschmidt In memory of Angelica Green Damien Hackett The Hallway Martin Hanrahan Dr Heng & Mrs Cilla Tey Rev H & Mrs M Herbert Dr & Mrs Michael Hunter Jannette King Iven & Sylvia Klineberg Ian Kortlang Mr & Mrs Gilles T Kryger Dr and Mrs Leo Leader Margaret Lederman Erna & Gerry Levy AM Sydney & Airdrie Lloyd Alison Lockhart & Bruce Watson Locumsgroup Holdings LP Dr Carolyn A Lowry OAM & Mr Peter Lowry OAM Wendy McCarthy AO Macquarie Group Foundation Melvyn Madigan Mrs Silvana Mantellato Kenneth N Mitchell Helen Morgan Mr Graham North Dr M C O Connor Mrs Rachel O Conor K B Meyboom A Willmers & R Pal Mr George A Palmer Dr A J Palmer Dr Kevin Pedemont L T & L M Priddle Dr K D Reeve AM Rowan & Annie Ross Richard Royle Mr M D Salamon In memory of H St P Scarlett Caroline Sharpen Robyn Smiles E Stuart Mr John Sullivan Mr Ken Tribe AC & Mrs Joan Tribe Prof Gordon E Wall Ronald Walledge The Hon. Justice Anthony Whealy The Hon. Edward G Whitlam Mrs R Yabsley Anonymous (19) To find out more about becoming a Sydney Symphony patron please contact the Philanthropy Office on (02) 8215 4625 or email philanthropy@ sydneysymphony.com 15 Sydney Symphony

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