WELCOME TO TEA & SYMPHONY

WELCOME TO TEA & SYMPHONY It is my great pleasure to welcome you to this concert in the 2010 Tea & Symphony series. This morning s concert is framed by a youthful Mozart symphony astonishing music from the pen of a 10 year old and the high spirits of Shostakovich s brilliant first piano concerto with its trumpet highlights. But the heart of the program is an outpouring of creative inspiration from one of the best-loved composers, Tchaikovsky. His Serenade for strings glows with rich sounds and full emotions he said he was violently in love with this work and it s a masterpiece that continues to warm the hearts of music-lovers, more than a century after it was written. 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 11 June 11am Sydney Opera House Concert Hall SERENADE FOR STRINGS Dene Olding violin-director Nicholas Carter conductor (Shostakovich) Simon Tedeschi piano Paul Goodchild trumpet WOLFGANG AMADEUS MOZART (1756 1791) Symphony No.7a in G, K.Anh.221 (Old Lambach) Allegro maestoso Andante Molto allegro Estimated durations: 20 minutes, 28 minutes, 21 minutes The concert will conclude at approximately 12.15pm. PETER ILYICH TCHAIKOVSKY (1840 1893) Serenade in C for strings, Op.48 Pezzo in forma di sonatina Valse Elegia Finale (Tema russo) DMITRI SHOSTAKOVICH (1906 1975) Concerto No.1 in C minor for piano, trumpet and strings, Op.35 Allegro moderato Lento Moderato Allegro brio The last three movements are played without pause PRESENTING PARTNER Biscuits at Tea & Symphony concerts kindly provided by Kambly

ABOUT THE MUSIC MOZART Symphony in G (Old Lambach) What was long thought to have been the only original copy of this symphony was given by the Mozarts sometime around 1769 as a gift to the Benedictine Monastery at Lambach, probably in thanks for accommodation there. Later, scholars named it the Old Lambach Symphony, because they thought it was in an older style, and probably composed by Mozart s father, compared with another symphony there, duly dubbed the New Lambach, which they thought had probably been composed by Wolfgang. But in 1982, a set of orchestral parts copied for a performance in The Hague in 1766 while Wolfgang and his sister were on tour there was found, also containing the so-called Old Lambach. Any lingering doubts as to its authorship were cancelled out by Leopold s clear inscription on this second source: By Wolfgang Mozart of Salzburg, at The Hague 1766. In an advertisement for one of Wolfgang s public appearances at The Hague, Leopold boasted: All the overtures [i.e. symphonies] will be from the pen of this young composer [ ] Musical cogniscenti may put before him any musical work at all, and he will play it at sight. This symphony may also have been one of several works to which Leopold was referring when he wrote that Wolfgang had to compose something for the prince s concert, referring to Willem V, Prince of Orange. Scored for strings with pairs of oboes and horns, it follows the old Italian three-movement format that Mozart used for his earliest Salzburg opera overtures and symphonies (like Symphonies Nos.1, 4 and 5), until his 1767 68 visit to Vienna, after which he more often adopted the new Viennese four-movement scheme (as in his Symphony No.6). Two faster outer movements frame the lovely Andante middle movement, a slowish serenade with the violins playing con sordino (with mutes). WOLFGANG AMADEUS MOZART Austrian composer (1756 1791) GRAEME SKINNER 2010 This is the Sydney Symphony s first performance of this work. 4 Sydney Symphony

TCHAIKOVSKY Serenade for strings In the years 1877 85, following his disastrous marriage, Tchaikovsky went into a creative downturn, broken only by two acknowledged masterpieces, the brilliant and extrovert Capriccio italien and the Serenade for strings. The Serenade s composition came about, according to the composer, entirely by chance he had been sketching something between a symphony and a string quartet. His imagination was seized by a kind of inner compulsion, and on completion he wrote to his publisher, I am violently in love with this work and can t wait for it to be played. Audiences too were delighted with the Serenade, which had its first performance under Eduard Nápravnik in 1881. Anton Rubinstein said of it, It seems to me that this is Tchaikovsky s best thing. The Serenade for strings is by and large a cheerful, sunny piece, an impression contributed to by the fact that its tunes are in major keys, with only hints and shades of the minor. The writing for strings is outstandingly able and resourceful, yet so easy and economical as not to draw attention to its skill. Often writing in only three or even two parts, with doublings at the octave, Tchaikovsky achieves a transparency and delicacy which is in marked contrast to the thickness and complexity of texture so prevalent in music of the period. The Serenade impresses also by its unity, achieved at the most obvious level by Tchaikovsky s use of a recurring theme, first stated as the slow introduction to the first movement. This device, common in the composer s work, is no doubt suggested partly by Schumann s procedures for tying together his cycles of piano pieces. In the Serenade it is basic to the evolution of the whole piece: this theme, a descending scale, is closely related to the Russian folk tune which begins the Allegro section of the last movement, as Tchaikovsky demonstrates when he puts the two themes side by side towards the end of the movement. The ascending and descending scales of the introduction also turn out to be related to the first subject of the second movement, an elegant waltz, and to the opening of the deeply felt Elegy. The last movement also has a slow introduction: the theme is a Volga hauling PETER ILYICH TCHAIKOVSKY Russian composer (1804 1893) 5 Sydney Symphony

song. It leads by an absorbingly poetic process of transformation into the fast Russian first subject of the last movement. The whole Serenade enchants us with a poetic and organic inevitability much sought after by Romantic composers. This was achieved by Tchaikovsky more often in his finest ballet music, with which the Serenade has many affinities, than when he was preoccupied with the demands of symphonic form as conceived by the best authorities. I am violently in love with this work and can t wait for it to be played. TCHAIKOVSKY DAVID GARRETT, SYMPHONY AUSTRALIA 1994 The Sydney Symphony and conductor Bernard Heinze performed the Serenade in 1944 as part of its wartime Tchaikovsky Festival (in honour of our Russian allies). The most recent performance of the serenade was in 2005, conducted by Ola Rudner. 6 Sydney Symphony

SHOSTAKOVICH Piano Concerto No.1 Simon Tedeschi piano Paul Goodchild trumpet The early 1930s were a momentous time. In Europe, the collapse of entire economies facilitated the rise of Fascism. In Germany, Hitler came to power. In the Soviet Union in 1933, the situation was scarcely less gloomy. The much-vaunted Five Year Plan had all but disintegrated under the weight of its unrealistic production targets, and day-to-day life was taking on an increasingly surreal aspect as influential people started to disappear without trace. Soviet life became a particularly grim affair, with everybody watching everybody else, and with the ever-present threat of the ultimate punishment for those suspected of counter-revolutionary behaviour. Within the arts, Stalin himself took a hands-on approach. He personally rewrote Afinogenov s hit play The Lie to remove its deeply ironic but blatant condemnation of contemporary Soviet life. Artists deemed to be lacking in commitment to the Soviet cause were persecuted, punished, and forced to toe the party line. In the midst of the paranoia stood the 27-year-old Dmitri Shostakovich, whose high profile, compositional genius and parodic inclinations had been firmly established with the premiere of his First Symphony eight years earlier. One can only speculate about the extent to which Shostakovich understood the vulnerability of his position. A contemporary reported that at this time Shostakovich s entire manner seemed to imply that whatever was taking place around him was totally devoid of any serious meaning. A form of self-defence or youthful naivety? His behaviour will sustain debate into the future. Among Shostakovich s works from this period are: a Suite for Jazz Band in the sleazy style of Berlin cabaret, the opera Lady Macbeth of Mtsensk about a triplemurderess, and the outrageously parodic First Piano Concerto. These undeniably clever compositions were hardly the kind of thing to endear the internationally successful young composer to a regime bent on maintaining order at home at whatever cost. But the reaction wasn t to come just yet. It would build over the next year or two, awaiting its moment. DMITRI SHOSTAKOVICH Russian composer (1906 1975) 7 Sydney Symphony

In the meantime, the First Piano Concerto proved a riotous success. In its deliberate parody of multiple musical styles and conventions, it resembled the First Piano Concerto by Prokofiev while in its superficially light, almost divertissement style, it was surprisingly (and presumably coincidentally) similar to its contemporary: Ravel s Piano Concerto in G. Unlike those works, Shostakovich s First Piano Concerto employs a solo trumpet as a collaborator with, and sometimes rival to, the piano soloist. It s a striking device and the brilliance of the trumpet adds a real sense of urgency, not to mention flash of colour, to the instrumental textures of the piece as a whole (the orchestra is limited to strings). Shostakovich himself played the piano solo at the premiere with the Leningrad Philharmonic on 15 October 1933. The trumpet solo was conceived for Alexander Schmidt, who was a member of the Leningrad orchestra. Because of the deliberately sardonic character of the piece, it can be fun to listen to the Concerto as a spotthe-cliché exercise. Chunks of Tchaikovskian Romantic lushness are juxtaposed with Rachmaninoff-style piano rhapsodies, while the can-can and even Broadway musical gestures creep in from time to time. But as one would expect from a composer of Shostakovich s abilities, things are never that simple, and the piece is anything but a joke. The opening of the first movement is downright magnificent. After a brief flourish, a big walking figure in the left hand of the piano introduces the principal theme, which is then worked over in a relentless, dashing development section. The second theme starts out as lush Rachmaninoff, but Shostakovich quickly ushers in some Parisian nightclub. The trumpet becomes a flashy Master of Ceremonies and when the main walking theme returns moderato, it s as if the revellers have staggered back out onto the street, a little bewildered perhaps, but entirely satisfied. It is typical of Shostakovich that the Lento which follows is both sentimental and at the same time angry. In any case, the frivolity of the opening movement vanishes in this central slow movement, with its selfpitying shades of Mahler and continually sardonic turns. it can be fun to listen to the Concerto as a spot-the-cliché exercise. 8 Sydney Symphony

The third movement is essentially a Baroque pastiche pivoting around two piano cadenzas and leading without pause into the final Allegro con brio. It is almost as if we are off to the races, with the trumpet sounding the fanfare at the start of the various events and everyone else skittering around to take their places by the rails. It sounds like a rondo of a kind, a Keystone-Cops one, with the music driving on so frenetically that it can only come to an abrupt and crashing halt. Perhaps it was a strangely prescient conclusion to the Concerto, for just two years after its premiere, an eerily similar thing happened to Shostakovich s career itself, with his emphatic denunciation in Pravda. No party can last forever. it is almost as if we are off to the races, with the trumpet sounding the fanfare at the start of the various events and everyone else skittering around to take their places by the rails. MARTIN BUZACOTT, SYMPHONY AUSTRALIA 1997 Eugene Goossens conducted the first professional Australian performance of Shostakovich s First Piano Concerto in Melbourne in 1946. He conducted it again with the Sydney Symphony in 1952, with pianist Igor Hmelnitsky and the orchestra s then principal trumpet, John Robertson. The Sydney Symphony s most recent performance of the concerto was in 2001 with pianist Ignat Solzhenitsyn, SSO Principal Trumpet Daniel Mendelow and conductor Eri Klas. 9 Sydney Symphony

ABOUT THE ARTISTS Dene Olding violin-director CONCERTMASTER CHAIR SUPPORTED BY THE BOARD AND COUNCIL OF THE SYDNEY SYMPHONY Dene Olding is 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 the Australian symphony orchestras and has given the Australian premieres of Lutoslawski s Chain 2, Carter s Violin Concerto, and the Glass Violin Concerto, as well as concertos by Ross Edwards and Bozidar Kos, and Richard Mills Double Concerto, written for him and his wife, violist Irina Morozova. A graduate of the Juilliard School, in 1985 he was awarded a Winston Churchill Memorial Trust Fellowship and was a Laureate of the Queen Elisabeth of Belgium International Violin Competition. He rejoined the Sydney Symphony as Co-Concertmaster in 2002, having held the position from 1987 to 1994. Other concertmaster positions have included the Australian Chamber Orchestra and Melbourne Symphony Orchestra. He is also first violinist for the Australia Ensemble and a founding member of the Goldner String Quartet. As a conductor he has made appearances with the Sydney Symphony and Auckland Philharmonia, and as conductor-soloist with chamber orchestras in Australia and America. His recordings include Brahms, Beethoven and Mozart sonatas, concertos by Martin, Milhaud, Hindemith and Barber, the premiere recording of Edwards violin concerto, Maninyas, the complete Beethoven string quartets and a Rachmaninoff disc with Vladimir Ashkenazy. Dene Olding plays a 1720 Joseph Guarnerius violin. Nicholas Carter conductor ASSISTANT CONDUCTOR, SUPPORTED BY SYMPHONY AUSTRALIA Nicholas Carter graduated from Melbourne University in 2007, having studied voice and piano. As a member of the inaugural Artist Development Program with Victorian Opera, he conducted productions of Don Giovanni and Così fan tutte, Britten s Noye s Fludde and Graeme Dudley s Snow Queen, and assisted and prepared the chorus for a number of other productions. He also conducted Children s Opera productions of Brundibar and The Beggar s Opera for OzOpera. In 2008 he conducted performances with Orchestra Victoria as well as ChamberMade Opera s production of The Children s Bach. He was also co-chorusmaster for The Flying Dutchman and Shostakovich s Symphony No.13 with the Melbourne Symphony Orchestra. He has participated in the Symphony Australia Conductor Development courses for a number of years, working with the Queensland, Melbourne, Adelaide and West Australian symphony orchestras, and the Australian Opera and Ballet Orchestra. He also worked for Opera Australia as Assistant Conductor for the premiere production of Brett Dean s Bliss. In 2009 he joined the Sydney Symphony as Assistant Conductor, which has included conducting preparatory rehearsals for performances and recordings of Prokofiev symphonies with Vladimir Ashkenazy, and presenting Education concerts with the Sydney Sinfonia. Earlier this year he also assisted Ashkenazy with preparations for Mahler s Eighth Symphony with the New Zealand Symphony Orchestra. KEITH SAUNDERS KEITH SAUNDERS 10 Sydney Symphony

Simon Tedeschi piano Simon Tedeschi first performed a Mozart piano concerto at age nine in the Sydney Opera House. He studied piano in Sydney with Neta Maughan from 1990 to 2000, and with Noretta Conci in London. In 1998 he was named Symphony Australia Young Performer of the Year, and the following year he made his Sydney Symphony debut, performing Shostakovich s Piano Concerto No.2 for Symphony under the Stars in the Domain. Since then he has toured for Musica Viva Australia with guitarist Slava Grigoryan, and played recitals and concertos in New York, Philadelphia, London, Edinburgh and Wales, and toured Mexico. More recently he has performed a two-piano recital with Roger Woodward, toured with flautist Jane Rutter and with jazz violinist Ian Cooper, played Gershwin s Rhapsody in Blue (Queensland Symphony Orchestra), performed in the Brisbane Festival, and appeared at the Sydney Opera House for Kinderjazz! and at City Recital Hall Angel Place as well as performing with jazz pianist Kevin Hunt at The Basement. Last year he played in the G Day USA concert in Carnegie Hall. His recordings include Leroy Anderson s Piano Concerto (Melbourne Symphony Orchestra), Tchaikovsky s Piano Concerto No.1 and Grieg s Piano Concerto (QSO), and Mozart s Piano Concerto K488 (Tasmanian Symphony Orchestra). KEITH SAUNDERS Paul Goodchild trumpet ASSOCIATE PRINCIPAL TRUMPET, THE HANSEN FAMILY CHAIR Paul Goodchild studied trumpet in Sydney and Europe and was appointed a full-time member of the Sydney Symphony at age 18, later becoming Associate Principal Trumpet. With the SSO, he has toured extensively throughout the USA, Europe, Japan, Taiwan and Asia, as well as Singapore, China and Korea with the Adelaide Symphony Orchestra. He is Principal Trumpet of many of Sydney s freelance orchestras and frequently performs with the Chamber Soloists of Sydney, Collegium Musicum at UNSW, Australia Ensemble, and the Australian Chamber Orchestra, with whom he has also been a soloist. In 2009 he performed in the Townsville Chamber Music Festival and in the Sydney Festival with the London Sinfonietta and Morphoses Ballet. This year, he will perform at the International Trumpet Guild World Conference in Sydney. Many leading Australian composers have written works for him, including Carl Vine, Ross Edwards, Barry McKimm, David Stanhope, Matthew Hindson and Paul Stanhope. In 2005 he gave the premiere of Alan Holley s trumpet concerto Doppler s Web with the Sydney Symphony, reprising it in 2006 with the Queensland Orchestra. Paul Goodchild is Musical Director of the Waverley Bondi Beach Band and Director of Sydney Brass, one of Australia s oldest and most respected chamber music ensembles. KEITH SAUNDERS 11 Sydney Symphony

MUSICIANS KEITH SAUNDERS Vladimir Ashkenazy Principal Conductor and Artistic Advisor KEITH SAUNDERS Michael Dauth Concertmaster Chair supported by the Sydney Symphony Board and Council KEITH SAUNDERS Dene Olding Concertmaster Chair supported by the Sydney Symphony Board and Council Performing in this concert FIRST VIOLINS Dene Olding Concertmaster Sun Yi Associate Concertmaster Brielle Clapson Sophie Cole Georges Lentz Alexandra Mitchell Léone Ziegler SECOND VIOLINS Marina Marsden Lerida Delbridge* Maria Durek Stan W Kornel Emily Long Maja Verunica Alexandra D Elia# VIOLAS Roger Benedict Yvette Goodchild Assistant Principal Robyn Brookfield Sandro Costantino Graham Hennings CELLOS Catherine Hewgill Adrian Wallis David Wickham Patrick Murphy# Rachael Tobin# DOUBLE BASSES Alex Henery David Murray Benjamin Ward OBOES Diana Doherty Huw Jones* HORNS Robert Johnson Marnie Sebire HARPSICHORD Ray Harvey* Bold = Principal Italic = Associate Principal * = Guest Musician # = Contract Musician\ 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 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

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 Wiliam McIlrath Charitable Foundation 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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