It is my great pleasure to welcome you to the final concert in the 2007 EnergyAustralia Master Series – Schubert’s Great Symphony – with Sydney Symphony Chief Conductor and Artistic Director, Maestro Gianluigi Gelmetti. Tonight, Maestro Gelmetti will lead the Sydney Symphony through an awe-inspiring program of Romantic masterpieces, from Wagner’s rhapsodic Siegfried Idyll to Schubert’s Great C Major Symphony, renowned for its grand proportions and glorious melodies. I am also delighted to welcome acclaimed violinist, Frank Peter Zimmermann, who will perform the deeply emotional Violin Concerto (‘To the Memory of an Angel’) by Alban Berg. EnergyAustralia is one of Australia’s leading energy companies, with more than 1.4 million energy customers in NSW, the ACT and Queensland. With one of the most recognised brands in the energy industry, we are proud to be associated with the Sydney Symphony, and we’re very excited to be linked to the Orchestra’s flagship Master Series. I hope you have enjoyed the concerts as we have celebrated the 75th anniversary season with the Sydney Symphony and invite you to join us for the EnergyAustralia Master Series in 2008. George Maltabarow Managing Director
Transcript
It is my great pleasure to welcome you to the final concert in the2007 EnergyAustralia Master Series – Schubert’s Great Symphony– with Sydney Symphony Chief Conductor and Artistic Director,Maestro Gianluigi Gelmetti.
Tonight, Maestro Gelmetti will lead the Sydney Symphony throughan awe-inspiring program of Romantic masterpieces, fromWagner’s rhapsodic Siegfried Idyll to Schubert’s Great C MajorSymphony, renowned for its grand proportions and gloriousmelodies. I am also delighted to welcome acclaimed violinist,Frank Peter Zimmermann, who will perform the deeply emotionalViolin Concerto (‘To the Memory of an Angel’) by Alban Berg.
EnergyAustralia is one of Australia’s leading energy companies,with more than 1.4 million energy customers in NSW, the ACT and Queensland.
With one of the most recognised brands in the energy industry, weare proud to be associated with the Sydney Symphony, and we’revery excited to be linked to the Orchestra’s flagship Master Series.
I hope you have enjoyed the concerts as we have celebrated the75th anniversary season with the Sydney Symphony and invite youto join us for the EnergyAustralia Master Series in 2008.
George MaltabarowManaging Director
SEASON 2007
ENERGYAUSTRALIA MASTER SERIES
SCHUBERT’S GREAT SYMPHONY
Wednesday 5 December | 8pm
Friday 7 December | 8pm
Saturday 8 December | 8pm
Sydney Opera House Concert Hall
Gianluigi Gelmetti conductor Frank Peter Zimmermann violin
RICHARD WAGNER (1813–1883)
Siegfried Idyll
ALBAN BERG (1885–1935)
Violin Concerto (To the Memory of an Angel)
Andante – AllegrettoAllegro – Adagio
INTERVAL
Franz Schubert (1797–1828)
Symphony No.9 in C, D944 (Great C major)
Andante – Allegro ma non troppoAndante con motoScherzo (Allegro vivace – Trio)Finale (Allegro vivace)
The Sydney appearance of Frank Peter Zimmermann is supported by
Friday’s performance will bebroadcast live across Australia onABC Classic FM 92.9
Pre-concert talk by Yvonne Frindleat 7.15pm in the Northern Foyer.
Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.
Trust is proud of its long standing partnership with theSydney Symphony and is delighted to bring you theThursday Afternoon Symphony Series in 2007.
In this 75th anniversary season, the Series offers perfectafternoons with some of the best-loved composers – from Beethoven to Wagner. With these concerts bringingtogether leading conductors and soloists, you’re in for atruly delightful experience.
Just like the Sydney Symphony which has been the soundof the city for 75 years, entertaining hundreds of thousandsof people each year, Trust has been supporting publicworks for over 120 years.
Whether it be in administering an estate or charity,managing someone’s affairs or looking after their interestsvia financial planning, superannuation or fundsmanagement, people come to Trust because of ourpersonalised service and commitment to ensuring theirinterests are being looked after.
We hope that you enjoy a delightful Thursday afternoonwith the Sydney Symphony.
Jonathan SweeneyManaging DirectorTrust Company Limited
SEASON 2007
THURSDAY AFTERNOON SYMPHONY
PRESENTED BY TRUST
SCHUBERT’S GREAT SYMPHONY
Thursday 6 December | 1.30pm
Sydney Opera House Concert Hall
Gianluigi Gelmetti conductor Frank Peter Zimmermann violin
RICHARD WAGNER (1813–1883)
Siegfried Idyll
ALBAN BERG (1885–1935)
Violin Concerto (To the Memory of an Angel)
Andante – AllegrettoAllegro – Adagio
INTERVAL
Franz Schubert (1797–1828)
Symphony No.9 in C, D944 (Great C major)
Andante – Allegro ma non troppoAndante con motoScherzo (Allegro vivace – Trio)Finale (Allegro vivace)
The Sydney appearance of Frank Peter Zimmermann is supported by
This concert will be broadcastacross Australia on Friday 7 December at 8pm on ABC Classic FM 92.9
Pre-concert talk by Yvonne Frindleat 12.45pm in the Northern Foyer.
Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.
What makes a symphony ‘great’? In Schubert’s case the popular label for his Ninth Symphony is simplya convenient way of distinguishing it from the ‘Little C Major’ Symphony (the much shorter Sixth). ForSchubert himself ‘grosse’ was an objective reference tothe size and scale of the symphony – closer in meaning to ‘grand’ than to ‘great’ with its qualitative implications.Not that Schubert’s Ninth isn’t great in that sense too.‘Heavenly length,’ said the composer and critic RobertSchumann, drawing both ideas together.
Sadly, in Schubert’s lifetime the sheer length of thesymphony prevented it from receiving a publicperformance; it was too long to rehearse and too long to program. So modest, unassertive Schubert, lacking thearistocratic connections of a composer like Beethovenand the resources to stage his own concerts, never heardits greatness.
Berg never got to hear his Violin Concerto either. He died of blood poisoning just months before thepremiere. But he would never have doubted that itwould be performed, despite the fact that his musicalstyle pushed more boundaries than Schubert’s ever had.That musical style – let’s call it serialism, or 12-tonemusic – has attracted more than its share of antagonism,but of all its proponents Berg is the most popular. This is partly because of the reassuring nods he makes totradition and partly because of his lyricism. In the case of the concerto – written ‘To the Memory of an Angel’ –there is a story behind the music that only enhances itsexpressive qualities. In short, this is a concerto that letsus forget its technique to be lost in its powerful emotion.
Wagner did hear the first performance of the SiegfriedIdyll. It would be odd to call it a ‘premiere’, though, as it took place on the staircase of his home, waking his wife on her birthday. Later Wagner sanctioned itsperformance by orchestral ensembles, which removes the sense of the intimacy but in no way detracts from itsbeauty. From this exquisite beginning, then, the concertprogresses from private expression to public statementand a truly great symphony.
7 | Sydney Symphony
Richard Wagner
Siegfried Idyll
The Siegfried Idyll reveals a touchingly gentle anddomestic side of a composer who often displayed theopposite. Wagner’s full title for the piece was TribschenIdyll, with Fidi’s Birdsong and Orange Sunrise, as a SymphonicBirthday Greeting from Richard to Cosima.
Tribschen is the villa near the Swiss town of Lucernewhere Wagner was living with his wife Cosima, whom hehad recently married when her divorce from Hans vonBülow was finalised. She already had two daughters byWagner, and in 1869 a son was born, Siegfried, known inthe family circle as Fidi. On Christmas Day 1870, whichwas also Cosima’s birthday, she awoke to the strains ofmusic. As the music died away, Richard came into theroom and offered Cosima the score of the ‘symphonicbirthday poem’. The 13 musicians stood on various levels of the staircase of Tribschen. They were rehearsedsecretly by the young Hans Richter, who played horn,and also the brief trumpet part. Richter, later to becomefamous as a conductor, was at that stage living in theWagner household. He had almost given the game awayto Cosima, who wondered why he was disappearing every evening, and what on earth he was doing practisingthe trumpet!
The Siegfried Idyll is a kind of pendant to the musicdrama Siegfried, on which Wagner had been working,and many of its themes are to be found in the opera. The peaceful melody with which it begins is associated in the opera’s last act with Brünnhilde’s yielding, hergiving up of memories of immortality for love ofSiegfried. Another theme, appearing in counterpointwith it, is that of Brünnhilde’s sleep. There is a secondtheme, not from the opera, based on an old Germanlullaby, and later the wind instruments present the theme associated with the words ‘Siegfried, Treasure ofthe World’, from the opera’s love duet. We hear the hornmelody associated with the young Siegfried as hero,and the theme of the woodbird who leads Siegfried toBrünnhilde’s fire-surrounded rock.
ABOUT THE MUSIC
Keynotes
WAGNER
Born Leipzig, 1813Died Venice, 1883
Wagner is best known for his
near-complete transformation
of opera in the 19th century.
He regarded opera as a unity
of art forms: music and
words inextricably linked
and organically developed
as ‘music drama’. It was a
vision that influenced
singers, orchestras, the
theatre, and even the science
of acoustics. Wagner’s
personality, philosophies
and music were controversial
during his lifetime and after
his death, attracting equally
passionate fans and
detractors within the musical
world and beyond. His Ringcycle of four operas based
on The Ring of the Nibelungwas his most ambitious
creation, composed over
26 years.
SIEGFRIED IDYLL
The Siegfried Idyll had
intimate beginnings. Unlike
Wagner’s grand theatrical
projects, this was music for
a small ensemble (originally
13 musicians) and private
performance – intended
to wake his wife, Cosima,
on her birthday. It contains
motifs Wagner was
developing for the Ringopera, Siegfried, but it also
includes a theme from a
string quartet that Wagner
had planned early in his
relationship with Cosima.
The Idyll was later published
for performance with
orchestral strings, as we
hear it in these concerts.
8 | Sydney Symphony
Listening Guide
Although it began as private chamber music (Wagnerlater sanctioned its publication and performance withorchestral strings), the Siegfried Idyll is really an earlyexample of the symphonic poem. Liszt invented thisgenre and Richard Strauss developed it: Wagner heredepends less on an extraneous program than either ofthese composers. The Siegfried Idyll (which Wagneroriginally planned to call ‘Symphony’) can be heard as a single movement in a kind of expanded sonata form.The first theme, in fact, comes from a planned stringquartet Richard had promised to Cosima in the days oftheir first love. Only later was it incorporated into theopera Siegfried.
The second group of themes ends with the lullaby,played by the oboe and accompanied by string figureswhich, Wagner explained, represent sheep. The surpriseperformance of this piece was the most ambitious of a number of pantomimes mounted in the Wagnerhousehold. Although containing many private meaningsfor the family, the Siegfried Idyll is an application toinstrumental music of a method Wagner developed inhis music dramas – the building of broad melodies outof constantly repeated single phrases.
As Donald Tovey has written, the Siegfried Idyll is ‘a gigantic though intensely quiet piece of purelyinstrumental music, connected with the opera only bya private undercurrent of poetic allusion’. Cosima herselfrecalled Richard telling her that ‘all that he had set outto do was to work the theme which had come to him inStarnberg (where we were living together), and which hehad promised me as a quartet, into a morning serenade,and then he had unconsciously woven our whole life into it – Fidi’s birth, my recuperation, Fidi’s bird, etc. As Schopenhauer said, this is the way a musician works –he expresses life in a language which reason does notunderstand.’
The Siegfried Idyll is scored for flute, oboe, two clarinets, bassoon,two horns, trumpet and strings.
The Sydney Symphony first performed the Siegfried Idyll in 1942,conducted by Percy Code, and most recently in a 2003 gala concertconducted by Edo de Waart.
A pendant of the music
drama Siegfried,
containing private
meanings for the
Wagner family, the
Siegfried Idyll is really
a symphonic poem
Wagner at his villa, Tribschen, near
Lucerne – the year before Siegfried’s
birth.
9 | Sydney Symphony
Keynotes
BERG
Born Vienna, 1885Died Vienna, 1935
A student of Arnold
Schoenberg, Berg followed
his teacher’s lead from the
rich tonality of the late 19th
century to free atonality and
the formal processes of 12-
tone music. His greatest
works include the Lyric Suite
for orchestra, the operas
Wozzeck and Lulu, and the
Violin Concerto, his last
composition. As a result of
his lyrical inclinations and
an apparent lack of absolute
strictness in his use of the
12-tone technique, he has
always been more popular
with audiences than either
Schoenberg or his fellow
pupil Anton Webern
VIOLIN CONCERTO
Berg’s Violin Concerto was
dedicated “To the Memory
of an Angel” – a reference to
Manon Gropius, who had
died of polio. It was
commissioned and premiered
by an American violinist
attracted to the innate
lyricism of Berg’s style.
Each of the two movements
falls into two sections
defined by changes in tempo.
Berg adopts a tone row that
outlines four chords from
conventional harmony, and
in which the last four notes
match the beginning of a
Bach chorale. Other
traditional elements offset the
disorienting effects of the 12-
tone technique: the violinist
enters playing open strings,
and Berg quotes both the
Bach chorale and a folksong.
Alban Berg
Violin Concerto (To the Memory of an Angel)
Andante – AllegrettoAllegro – Adagio
Frank Peter Zimmermann violin
Alban Berg’s Violin Concerto is one of the mostcompelling demonstrations of the lyrical and emotionalpotential inherent in the 12-tone technique. It is one ofthose works which transcend style and period, and speakdirectly to the heart of the listener.
In 1935, Alban Berg was in dire financial straits, trying to complete his opera Lulu, even though it had fewprospects for performance, owing to the Nazis’ antagonismto the new musical language Berg represented.
Louis Krasner, an American violinist studying inEurope, had fallen in love with the music of Schoenbergand his pupils Berg and Webern – the so-called SecondViennese School. He asked for a concerto from Berg,believing him to be the most lyrical of the 12-tonecomposers, and the composer most able to reconcileaudiences with the Schoenbergian method.
Friends counselled Krasner not to get his hopes up,knowing that Berg had recently knocked back acommission for a string quartet from the Library ofCongress. But Krasner persisted. Having already provenhis clout by persuading Serge Koussevitsky and the Boston Symphony to perform Berg’s Lyric Suite, Krasnerhad whetted Berg’s interest and they met on severaloccasions to discuss the possibility of a commission. As Krasner said:
The personal tone between Berg and myself gradually grewin relaxation and harmony and during a conversation at hishome, I soon felt able to broach directly the subject of a full-scaleViolin Concerto…[Berg’s] reaction was not unfriendly but heseemed surprised at the idea…: ‘You are a young violinist in the beginnings of a promising concert career,’ he told me. ‘Whatyou require for your programs are brilliant compositions byWieniawski and Vieuxtemps…’ My response was not difficultto conceive: ‘Meister – Beethoven and Mozart also wrote ViolinConcertos.’ ‘Ah, ja,’ he said softly and smiled. I pursued mymomentary vantage and spoke on: ‘The attacking criticism of12-tone music everywhere is that this music is only cerebral andwithout feeling or emotion. If you undertake to write a ViolinConcerto, it certainly will have to be a very serious, deliberate
and communicative work – for the violin is a lyrical and songfulinstrument which I know you love...’
Stimulus for the work soon arrived, however, in thedeath on 22 April 1935 of Manon Gropius, 19-year-olddaughter of the architect Walter Gropius and GustavMahler’s widow, Alma. Berg was particularly close toManon, loving her almost as a daughter. At her death he was grief-stricken, and ideas for the work began tocrystallise. It acquired an underlying poetic idea: it wouldcommemorate Manon’s life. Berg called on Alma to askpermission to dedicate what he now called his ‘Requiemfor an Angel’ to Mutzi (as Manon had affectionately beenknown). He began writing feverishly, completing the work in time for Alma’s birthday on 31 August. The workwas premiered at the Barcelona International Society forContemporary Music Festival in April 1936. The soloistwas Krasner, with Hermann Scherchen conducting. ButBerg did not live to hear the premiere. He had died ofblood poisoning on Christmas Eve 1935. Ironically, thework proved also to be a requiem for him.
Berg’s Violin Concerto owes much of its appeal, notjust to its palpable grief and consolatory radiance, but to a musical language that re-incorporates the music of theimmediate past within Schoenberg’s 12-tone system. There are references here that the traditional listener can respond to on an intuitive level. As Anthony Pople,writing in the Cambridge Music Handbook to the worksays, ‘Key features of [classical-romantic] stereotypes areplaced in focus just sufficiently for the listener to be alertto the ongoing play of near-repetitions, developments,variations and near-recapitulations.’
The concerto is also based on a tone row which, inkeeping with Schoenberg’s system, sets out all 12 notes ofthe chromatic scale in an order which will remain uniqueto the piece, but also harks back to tradition in itsoutlining of common chords.
Berg’s harmonisation of this row can sound Brahmsianat times, as in a passage very soon after the beginning. Nor did it escape Berg’s notice that the last four notes ofthe row form a whole-tone sequence. The discovery thatthese four notes are identical to the first four notes ofJ.S. Bach’s chorale ‘Es ist genug’ (It is enough) from thecantata O Ewigkeit, du Donnerwort, BWV60, was therefore a particularly fruitful one.
10 | Sydney Symphony
…palpable grief and
consolatory radiance…
11 | Sydney Symphony
Listening Guide
The work is introduced with a poignant sequence derived from the open strings of the violin. It is one ofthe masterstrokes of this work that Berg makes such anexpressive virtue of this ‘given’ feature.
The opening Andante is in ternary form. With a variedrepetition of the chordal material we move into theAllegretto. This contains two Trios in a ternary form and the parody of a waltz, before the bittersweet quotation ofa folk tune ‘Ein Voger’l auf ’m Zwetschgenbaum’ – whichflows from the horn ‘come una pastorale’, and is thenanswered by a celestially high violin. The quotation of aCarinthian folksong at this point is intriguing. Could itrefer to Berg’s home on the Wörthersee, where he wrotethe work? Unlike the Bach chorale, Berg doesn’t quote the words, which originally referred to a girl called Mizzi.The movement comes to an almost-indecisive end with adissonant F sharp added to ‘tonic’ G minor chords.
Part II of the concerto, described as a ‘catastrophe’ inWilli Reich’s officially sanctioned program, begins with anaccompanied cadenza for the solo violin which leads into a highly rhythmic section (Rondo material which hadoriginally been intended for the ending of the work). In his sketches Berg had headed this section à la marcia,and it was meant to take on the characteristics of groaning(stöhnen). The rhythm assumes greater importance as theAllegro progresses. The solo violin takes it over. One of thesuperb examples of the work’s orchestration is revealed in the wailing of bassoons, bass clarinet, clarinet andsaxophone which accompanies the soloist. There is a lullin the music which recalls part of the first movement,and this eventually leads to a four-part canon for the soloviolin. The opening material of the movement returns andthe emotional pitch builds until the characteristic rhythmis beaten out, almost brutally, by the full orchestra.
Out of this, clearly intended to represent the disaster of Manon’s death, Bach’s chorale theme appears. Thewords of Bach’s original speak to the point: ‘It is enough!’
Lord, when it pleases Theerelieve me of my yoke!My Jesus comes:So goodnight now, O world!I’m going to my Heavenly home.I’ll surely journey there in peace,My great distress will stay below.It is enough. It is enough.
Berg’s “angel”, Manon Gropius
13 | Sydney Symphony
The chorale is first heard in Bach’s originalharmonisation, played on clarinets and bass clarinet as if in imitation of a small church organ. Only wisps ofdissonant phrases in the violins represent the distinctivestamp of Berg’s own style. The soloist answers (‘I’ll surelyjourney there in peace’), and the clarinets respond (‘Mygreat distress will stay below’).
The chorale is subjected to two variations. In the first,the soloist draws a beautiful plaintive melody out of therow, while the bass trombone, milked for all its tragicungainliness, plays the chorale melody. We enter thesecond variation, and, as if magically, in one of the work’smost moving touches, the soloist has become the leader of the entire violin section.
Towards the end, the Carinthian folksong reappears.There is a brief closing reference to the Bach choralemelody, and arpeggiated open fifths bring the music fullcircle to a close.
And perhaps we may wonder: why does the Carinthianfolksong reappear? It may pay to look closer at the words.We may see why they have been deleted. They refer tooversleeping in Mizzi’s bed. Was the subject inappropriatelylewd for Berg’s requiem-concerto, or was the reason morepersonal? Pople points out that there was a Mizzi, a MarieScheuchl, working in the Berg household, who bore Berg anillegitimate child in the spring of 1902 when Berg was thesame age as Manon Gropius when she contracted polio.Mutzi/Mizzi – we can at least twig there is a personalreference here – Berg’s youthful indiscretions/Manon’sinnocence…Perhaps Berg’s use of this folksong guaranteedthat when his Violin Concerto fulfilled its destiny as arequiem hidden personal references would make it all themore poignant.
The orchestra for the Berg Violin Concerto calls for two flutes(doubling piccolos), two clarinets (one doubling cor anglais), 3 clarinets (one doubling alto saxophone), bass clarinet, twobassoons and contrabassoon; four horns, two trumpets, twotrombones and tuba; timpani and percussion (bass drum, cymbals,snare drum, triangle, tam-tam, gong); harp and strings.
The Sydney Symphony first performed Berg’s Violin Concerto in 1963 with conductor Joseph Post and violinist Tibor Varga; earlierthat year Varga had been the soloist for the Australian premiere inMelbourne. The Sydney Symphony most recently performed theconcerto in the 2004 Thursday Afternoon Symphony and MasterSeries with conductor Markus Stenz and soloist Viviane Hagner.
Alban Berg in a photograph taken just
months after he completed the Violin
Concerto.
14 | Sydney Symphony
Franz Schubert
Symphony No.9 in C, D944 (Great C major)
Andante – Allegro ma non troppoAndante con motoScherzo (Allegro vivace – Trio)Finale (Allegro vivace)
More than a decade after Schubert’s death, his SymphonyNo.9 received its premiere. Even then, the performance wasnot in his native Vienna – where he was regarded principallyas a writer of songs – but in Leipzig, and it had taken theefforts of fellow composers Felix Mendelssohn and RobertSchumann to bring this magnificent and monumentalsymphony to the attention of audiences.
It was a great success. Following that first performance in1839, Mendelssohn, who had conducted, wrote to Schubert’solder brother Ferdinand: ‘There was great and sustainedapplause after each movement and, more important thanthat, all the musicians in the orchestra were moved anddelighted by the splendid work.’
But earlier attempts at performances had been plagued withdifficulties, not least the refusal of professional players to devotethe necessary rehearsal time to the symphony. When Schubertfirst presented it to Vienna’s Gesellschaft der Musikfreunde(in late 1826) it was played through at a rehearsal, but‘provisionally put aside, because of its length and difficulty.’
In Vienna, and later in London, 19th-century concertprogramming and the practicalities of rehearsing an hour-long work had delayed performances of the symphony.Certain technical difficulties in the string writing onlycompounded its fate. Anton Schindler complained thatthe second and fourth movements were lengthy to thepoint of boredom, criticising the ‘too frequent repetition’of musical ideas. On the other hand, Robert Schumann –who had discovered the symphony in the keeping of thecomposer’s brother – referred to its ‘heavenly length’ inletters and in his review for the Neue Zeitschrift für Musik.
For 21st-century listeners an hour may not be all thatlong. After all, we have symphonies of Bruckner or Mahlerfor comparison. But in 1828, the longest symphony wasBeethoven’s Ninth, and even this monumental work – while received with some enthusiasm – had lost itscomposer money at the premiere in May 1824.
The following year, Schubert began work on a ‘grosseSymphonie’ – a ‘grand symphony’, although this was never
Keynotes
SCHUBERT
Born Vienna, 1797Died Vienna, 1828
Like Beethoven, Schubert
inherited the Classical
tradition of Haydn and Mozart
and pushed the boundaries
of emerging Romanticism;
like Mozart he died young.
His greatest ambition was for
symphonic writing, but during
his lifetime he was regarded
principally as a writer of
songs. Nowadays those
songs are still regarded as
masterpieces, but his
symphonies – none of which
received professional
performances when he was
alive – have also found their
proper place in the concert
hall.
GREAT C MAJOR SYMPHONY
Completed two years before
Schubert’s death, the Ninth
Symphony [the Eighth in
German-speaking countries]
was also his final symphony.
It represents Schubert’s desire
to write a grand symphony
of monumental proportions,
and for many years its length
stood between it and a public
performance, although at least
one orchestra did play through
it. After Schubert’s death it
languished in the keeping
of his brother until it was
discovered by the composer
Schumann. Together with
Mendelssohn, Schumann
organised the premiere in
1839. The symphony was
acclaimed and its length – as
well as the long-range
development of musical ideas
that it encompasses within its
classical structure – became
a virtue.
15 | Sydney Symphony
his formal name for the work. The final result (followingclosely on four abandoned attempts, including the UnfinishedSymphony No.8), was the fruit of a long-held ambition towrite a symphonic work of the proportions of Beethoven’sNinth. In many ways, the originality of the UnfinishedSymphony – particularly in the broad unfurling of long-rangeharmonic thinking – reflects Schubert’s personal struggle toreconcile new ideas with inherited forms and musicallanguage.
The Great C major displays that same tension betweenflourishing Romanticism and Schubert’s Classicalbackground. (His teacher Antonio Salieri had raised himon the music of Haydn and Mozart.) Surrounded on eitherside by Beethoven’s Ninth and Berlioz’s Symphonie fantastique(1830), the Great C major has been described equally as thelast great Classical symphony and the first of the Romanticsymphonies. Perhaps it was this synthesis and bridging ofstyles that was slow to be valued. As Schindler pointed out,the structure of the music is built up of seamless repetitionsof smaller material. This need not, of course, be seen as a weakness, rather as a source of colour and variation, arhetorical device.
At the same time, it is in its structure that the symphonyis at its most Classical. Not only does Schubert return (as inhis piano sonatas) to the traditional four-movement patternof the late 18th century, but his use of sonata form in notone but three of the movements imparts a Classical sense ofdrama achieved through formal conflict between harmoniccentres. The traditional forms are enlarged and enriched in Schubert’s treatment. As Schumann wrote in his reviewof the symphony: ‘Herein is revealed the finest technical skill, life in every fibre of the music, the finest gradationsof colouring and care for the minutest detail; the wholestructure is shrouded in the cloak of Romanticism whichhas now become familiar to us in Schubert’s compositions.’
Listening Guide
The introduction of the first movement is Romantic in itsfunction as well as its feeling. In the manner of Beethoven’sSeventh and Ninth Symphonies, Schubert integrates theintroduction (Andante) with the main Allegro section, to thepoint where, as Brian Newbould observes, the concept of an‘introduction’ must be redefined. The distinctive openingmotif, played by unison horns, is more than a call for attention.It is a pivotal musical idea, reappearing at the end of themovement without reverting to the introductory tempo.
Work on the Ninth
Until the mid-1970s it wasbelieved that Schubert’sNinth Symphony was theproduct of the last fewmonths of his life,supposedly written in oneinspired burst of creativeenergy. It is now acceptedthat, in spite of the date onSchubert’s autograph score(March 1828), the Great C major Symphony wascomposed in 1825 and 1826.Furthermore, the outermovements show evidence of substantial revision duringthe compositional process.
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The second movement (Andante con moto) is a curious blendof rondo and variation form within a sonata-form context.Here, the opening oboe theme is developed by tirelesswinds above a measured accompaniment. Relentlessly thestrings occupy every beat until the climax of the movement,where the sudden hush is rendered all the more dramatic.
While a symphonic scherzo is traditionally light in spirit,Schubert’s ambitious Allegro vivace is both vibrant andweighty on a scale to match the surrounding movements.The composer’s leaning towards waltz themes is evident– perhaps the only suggestion of the fondly held‘Biedermeier’ image of Schubert to present itself in thesymphony. The weight of the Scherzo comes from itsrhythmic drive and Schubert’s unusual and brilliantorchestration. The harmonic support and colour given bythe three trombones reminds us of Schubert’s instinctivewriting for wind and brass – surpassing, as Schumann and later writers have assured us, even Beethoven.
The scoring of the Finale (Allegro vivace) harks back tothe outer movements of Schubert’s Fourth Symphony,with the strings sustaining the fierce energy of a gallopingcombination of triplet and dotted rhythms. In contrastwith Schubert’s supposed introvert nature and the privatetone of the Unfinished Symphony, this finale is, in everysense, spacious and extrovert music – not only in its scalebut in its uplifting joyousness.
‘Among more recent works,’ wrote Mendelssohn shortlyafter the Leipzig premiere of the symphony, ‘it is certainlyone of the best we have; lively, piquant and originalthroughout, it stands at the very summit of Schubert’sinstrumental works.’ And Schumann could say quitefrankly to a readership perhaps more familiar withSchubert’s songs than his instrumental works that ‘he who is not acquainted with this symphony knows but littleof Schubert...’
The symphony is scored for pairs of flutes, oboes, clarinets andbassoons; in this performance Maestro Gelmetti has chosen todouble the woodwinds, assigning two players to each part. The restof the orchestra comprises two horns, two trumpets and threetrombones; timpani and strings.
Felix Mendelssohn conducted the premiere of Schubert’s Great Cmajor Symphony at the Leipzig Gewandhaus on 21 March 1839. TheSydney Symphony first performed it in 1938 with conductor GeorgeSzell, and most recently in 2002 under Gianluigi Gelmetti.
Too long, too difficult
In October 1826 Schubertwrote to the Gesellschaft derMusikfreunde venturing ‘as a native artist, to dedicate tothem this, my Symphony, andto commend it most politelyto their protection.’ TheSociety did play through thesymphony but was unwilling,or unable, to undertake aperformance. But despitecomplaining of its ‘length anddifficulty’, the Society was notentirely unappreciative andSchubert was given (‘not as a fee’) an honorarium of 100 florins.
Heavenly length
The symphony ‘had a successin spite of some voices beingraised against its length, for it lasted a full hour...’
Publisher Raymund Härtel in aletter to Schumann
‘...all the instruments arehuman voices. It is giftedbeyond measure, thisinstrumentation, Beethovennotwithstanding – and thislength, the heavenly length,like a novel in four volumes,longer than [Beethoven’s]Ninth Symphony.’
Schumann in a letter to Clara Wieck
17 | Sydney Symphony
GLOSSARY
12-TONE TECHNIQUE – see serialism
BIEDERMEIER – a style in art and interiors thatflourished in Germany 1815–48, and was namedfor ‘Biedermaier’, a fictitious poet created in1854. It is strongly associated with comfort,convention and general ‘cosiness’; the termwas also used in a negative sense to refer tobourgeois style and values.
CANON – music in which a melody ispresented by one ‘voice’ and then repeated byone or more other voices, each entering beforethe previous voice has finished. Childhoodsinging rounds are the most common form of canon. A four-part canon is one in whichthere are four distinct voices or parts.
SCHERZO – literally, a joke; generally referringto a movement in a fast, light triple time, withwhimsical, startling or playful elements and a contrasting central section called a TRIO.
SECOND VIENNESE SCHOOL – a collectivereference for Arnold Schoenberg and hisstudents Alban Berg and Anton von Webern,and the style they championed in the first partof the 20th century. In different ways thesecomposers explored the idea of atonalitytogether with the compositional technique ofthe 12-note ‘tone row’ (also known as serialism),a formal system that allowed the composer toavoid creating any sense of conventional tonalcentre in the music. (The corresponding “first”Viennese School is, by implication, Haydn andMozart and their Classical contemporaries.)
SERIALISM – serialism commonly refers to thetechnique (devised by Arnold Schoenberg) oforganising a musical composition by means of a TONE ROW, in which each of the 12available notes in the octave (‘black’ and ‘white’notes) must be played in the given sequencebefore any note can be repeated. Rows can be transposed, inverted, mirrored and so on,giving an almost limitless number of pitchcombinations. The goal in a ‘pure’ use ofthe 12-NOTE TECHNIQUE is to undermineconventional tonality and to thwart the ear’snatural inclination to hear tonal relationshipsbetween different pitches.
SONATA FORM – this term was conceived inthe 19th century to describe the harmonicallybased structure most Classical composers had adopted for the first movements of theirsonatas and symphonies. It involves theEXPOSITION, or presentation of themes andsubjects: the first in the tonic or home key,the second in a contrasting key. The tensionbetween the two keys is intensified in theDEVELOPMENT, where the themes aremanipulated and varied as the music movesfurther and further away from the ultimategoal of the home key. Tension is resolved inthe RECAPITULATION, where both subjects arerestated in the tonic. Sometimes a CODA (‘tail’)is added to enhance the sense of finality.
SYMPHONIC POEM – a genre of orchestralmusic that is symphonic in scope but adopts a freer structure in service of an extra-musical‘program’ that provides the narrative or scene. Liszt was the first to use the term andRichard Strauss also championed thesymphonic poem in preference to writingregular symphonies.
TERNARY FORM – a more or less symmetricalthree-part structure in which the material ofthe first section returns after a contrastingmiddle section.
TONE ROW – see serialism
À LA MARCIA – in the style of a march
In much of the classical repertoire, movement titlesare taken from the Italian words that indicate thetempo and mood. A selection of terms from thisprogram is included here.
Adagio – slowAllegro – fastAllegro ma non troppo – fast but not too muchAllegro vivace – fast and livelyAndante – at a walking pace
This glossary is intended only as a quick and easyguide, not as a set of comprehensive and absolutedefinitions. Most of these terms have many subtleshades of meaning which cannot be included forreasons of space.
MORE MUSIC
Selected Discography
GELMETTI & ZIMMERMANN PLAY BERG
Zimmermann and Gelmetti recorded the Berg ViolinConcerto with the Stuttgart Radio SymphonyOrchestra in 1990 (with Stravinsky’s concerto andRavel’s Tzigane). The original release is now out ofprint, but the performance can be found in a Bergportrait collection that includes the Lyric Suite, LuluSuite, songs, the Piano Sonata Op.1 and other works.EMI CLASSICS 81771
GIANLUIGI GELMETTI
Among Gelmetti’s more recent releases is a recordingof an opera by Antonio Salieri, Schubert’s teacher.Les Danaïdes with Monserrat Caballé and the RAIOrchestra.DYNAMIC 489/1-2
Strauss and Schubert – recorded live at the SydneyOpera House. R. Strauss Four Last Songs; SchubertSymphony No.8 (Unfinished); J. Strauss II Blue DanubeWaltz. Gianluigi Gelmetti (conductor), Ricarda Merbeth(soprano)SSO1
And a live concert recording of Debussy’s La Mer withthe Sydney Symphony, recorded in 2005, appears on
75th Anniversary Collection: A Recording
Heritage
ABC CLASSICS 476 5962
FRANK PETER ZIMMERMANN
Zimmermann’s recent releases include two works by Ferrucio Busoni: the Violin Concerto (with RAIOrchestra Milan and John Storgårds) and the SecondViolin Sonata (with Enrico Pace)SONY SK94497
And Bach’s Violin Sonatas, also with Enrico PaceSONY 88697112432
SIEGFRIED IDYLL
Georg Solti and the Vienna Philharmonic convenientlycouple Wagner’s Siegfried Idyll with Schubert’s Great C Major Symphony.DECCA LEGENDS 460 311-2
SCHUBERT’S GREAT C MAJOR
In addition to the Solti performance mentionedabove…Karl Böhm’s distinguished and broadly conceivedinterpretations of Schubert symphonies with the Berlin Philharmonic have been assembled in a mid-price boxed set.DEUTSCHE GRAMMOPHON 471307
For a more athletic approach, try Frans Brüggen andthe Orchestra of the 18th Century in their collection ofthe complete Schubert symphonies.PHILIPS 000725802
Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: www.sydneysymphony.bigpondmusic.comDecember webcast:A TCHAIKOVSKY FANTASY
Live on Friday 14 December at 8pmAvailable On Demand from late December
sydneysymphony.com
Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.
2MBS-FM 102.5SYDNEY SYMPHONY 2008
Tue 8 January, 6pmWhat’s on in concerts, with interviews and music.
Webcast Diary
18 | Sydney Symphony
19 | Sydney Symphony
75 YEARS: HISTORICAL SNAPSHOT
Eugene Goossens conducting a recording session in 1952. Fifty-five years on the Sydney
Symphony continues to realise the importance of plans and relationships that will keep
permanent its sound in recordings.
was remembered as treasure measures up. Butthat shouldn’t worry anyone – the nexus betweenan orchestra and its public lies in things morefundamental than whether a standard worthyof repeated listening is always achieved.
Above all, an orchestra’s life is theexploration of one of the supremeachievements of our culture, an exploration itmakes in a kind of dialogue with its audiences.Both parties have needs, not least of which arethe orchestra’s need for a supportive public and the public’s need to discover both old andnew music performed live. If we listened to the Beethoven Festival concerts given in World War II under Bernard Heinze, to large andgrateful audiences, we might find the sound of little more than curiosity value, and theProms concerts under John Hopkins, in the1960s and 70s, surely would be heard as surveysof a great deal of music new to orchestra andaudience, under the pressures of short rehearsaltime – a condition of their happening at all.This writer’s memory stretches that far back,but the microphone can still bring surprises.
What can’t change is ‘that’s the first time I was there when that music was played’ –‘that’s when I first played that music’. We trusteach other – orchestra and audience – and thehistory tells us that there is a future.
David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studying the history of the ABC as a musical organisation.The complete nine-part series of snapshots can beread at sydneysymphony.com/history
History records, music flows on
As Sydney Symphony’s 75th Anniversary yearcomes to a close, it’s time to look both forwardand backward. How will history remember theorchestra? Every concertgoer will have memoriesof wonderful events. An orchestra is a complexbeast, in peak form as often as possible, but, let’sadmit it, not always. There can be a downside,but that’s part of what makes the concertexperience a ‘live’ one. Will the recording angeldetermine what is remembered? Those whoattended the composer festivals this year will nodoubt have been encouraged to note that all theconcerts were recorded for CD, and the printedprograms remind us that the Sydney Symphonyhas started its own label, documenting some ofthe orchestra’s best performances.
It was high time, since the most importantrecord of an orchestra is the sound of its music-making. The orchestra’s recently issued 5-CDretrospective [see page 4] brings the frustratingrealisation that in addition to the manywonderful things it includes – such as Mahler’sResurrection Symphony conducted byKlemperer, or the orchestra at the newly openedSydney Opera House with Birgit Nilsson and SirCharles Mackerras – many other thingsremembered fondly and with excitement havebeen lost. Especially disappointing is theknowledge that so many musical highlights wereindeed recorded, but not kept.
It’s true that memory can play tricks: trawlingsuch aural trove as has survived, it can bedisconcerting to discover that not everything that
20 | Sydney Symphony
ABOUT THE ARTISTS
Gianluigi Gelmetti, Chief Conductor and Artistic Directorof the Sydney Symphony, studied with Sergiu Celibidache,Franco Ferrara and Hans Swarowsky. For ten years heconducted the Stuttgart Radio Symphony Orchestra; he has conducted many of the leading orchestras in theworld and appears regularly at international festivals.Since 2000 he has been Music Director of the Teatrodell’Opera di Roma.
Highlights of past seasons include engagements inFrance, Germany, Great Britain, America, Australia, Japan,Switzerland and Italy, where he conducted Mascagni’s Irisand Respighi’s La fiamma at the Teatro dell’Opera di Romaand William Tell at the Rossini Opera Festival. In 1999 hewas awarded the Rossini d’Oro Prize. Gianluigi Gelmettihas also worked regularly at the Royal Opera House,Covent Garden.
His interpretation of Mozart’s The Marriage of Figaroearned him the title Best Conductor of the Year from the German magazine Opernwelt, and in 1997 he won theTokyo 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 Franceand Grande Ufficiale della Repubblica Italiana in Italy.
Gianluigi Gelmetti’s recording catalogue includesoperas by Salieri, Rossini, Puccini and Mozart, thecomplete orchestral music of Ravel, the late symphoniesof Mozart and works by many 20th-century composers,including Stravinsky, Berg, Webern, Varèse and Rota.Among his recent recordings are William Tell, Iris, Lafiamma, Bruckner’s Symphony No.6 and Rossini’s Stabat Mater.
Gianluigi Gelmetti is also a composer; his recentworks include In Paradisum Deducant Te Angeli, written tocommemorate the tenth anniversary of Franco Ferrara’sdeath, Algos, and Prasanta Atma, in memory of SergiuCelibidache.
Since summer 1997 he has been teaching at theAccademia Chigiana in Siena.
Gianluigi Gelmetti
CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
21 | Sydney Symphony
Born in 1965 in Germany, Frank Peter Zimmermannstarted playing violin when he was five years old, givinghis first concert with orchestra at the age of ten. Sincecompleting his studies in 1983, he has performed with all the major orchestras, collaborating with some of theworld’s most renowned conductors. His concerto andrecital engagements have taken him to the major concertvenues and international music festivals of Europe, Northand South America, Japan and Australia.
Earlier this year he gave the world premiere of BrettDean’s violin concerto The Lost Art of Letter Writing with theRoyal Concertgebouw Orchestra conducted by thecomposer. Previously, in 2003, he gave the world premiereof Matthias Pintscher’s violin concerto en sourdine with the Berlin Philharmonic Orchestra and Peter Eötvös.
Apart from his many engagements with orchestra,Frank Peter Zimmermann gives numerous recitalsworldwide, performing with artists such as HeinrichSchiff and Christian Zacharias as well as his regular recital partner, Italian pianist Enrico Pace. Together with Emanuel Ax he performed a highly acclaimed all-Beethoven program at summer festivals in Germany inJuly, and in the 2007/08 season he presents the newlyformed string trio with Antoine Tamestit and ChristianPoltéra.
He has recorded virtually all the major concertorepertoire from Bach to Weill, as well as many key worksfrom the recital repertoire, including several discs withEnrico Pace and a recording of duo works for violin andcello with Heinrich Schiff.
Frank Peter Zimmermann was awarded the Premio del Accademia Musicale Chigiana, Siena 1990, and theimportant Rheinischer Kulturpreis in 1994. In 2002 hereceived the Musikpreis from his home city of Duisburg.He plays a Stradivarius from 1711, which once belonged to Fritz Kreisler, and which is kindly sponsored by theWestLB AG.
His most recent appearances for the Sydney Symphonywere in 1993, when he performed the Tchaikovsky ViolinConcerto in Gianluigi Gelmetti’s first concerts with theorchestra, and in 1997 when he performed the HindemithViolin Concerto with Edo de Waart.
FRA
NZ
HA
MM
Frank Peter Zimmermann violin
22 | Sydney Symphony
THE SYDNEY SYMPHONY
Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Resident at theiconic Sydney Opera House where theSydney Symphony gives more than 100performances each year, the Orchestra alsoperforms concerts in a variety of venuesaround Sydney and regional New SouthWales. International tours to Europe, Asiaand the USA have earned the Orchestraworld-wide recognition for artisticexcellence.
Critical to the success of the SydneySymphony has been the leadership given by its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, Stuart
Challender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.
Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fourth year asChief Conductor and Artistic Director ofthe Sydney Symphony, a position he holdsin tandem with that of Music Director at the prestigious Rome Opera.
The Sydney Symphony is reaping therewards of Maestro Gelmetti’s directorshipthrough the quality of sound, intensityof playing and flexibility between styles. His particularly strong rapport withFrench and German repertoire iscomplemented by his innovativeprogramming in the Shock of the New concerts and performances ofcontemporary Australian music.
The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonymaintains an active commissioningprogram promoting the work of Australiancomposers and in 2005 Liza Lim wasappointed Composer-in-Residence forthree years.
In 2007, the Orchestra celebrates its 75th anniversary and the milestoneachievements during its distinguishedhistory.
JOH
N M
AR
MA
RA
S
PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
03 Fiona ZieglerIan & Jennifer Burton Chair of Assistant Concertmaster
04 Julie Batty05 Gu Chen06 Amber Gunther07 Rosalind Horton08 Jennifer Hoy09 Jennifer Johnson10 Georges Lentz11 Nicola Lewis12 Alexandra Mitchell
Moon Design Chair of Violin13 Léone Ziegler
Sophie Cole
Second Violins
01 Marina MarsdenPrincipal
02 Susan DobbieAssociate Principal
03 Emma WestAssistant Principal
04 Pieter Bersée05 Maria Durek06 Emma Hayes07 Shuti Huang08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica
Guest Musicians
Alexander Norton First Violin#
Martin Silverton First Violin#
Victoria Jacono First Violin†
Chia-Nan Hung First Violin
Belinda Jezek First Violin
Leigh Middenway First Violin
Emily Qin# First Violin
Alexandra D’Elia Second Violin#
Anna Albert Second Violin
Thomas Dundas Second Violin
Monique Irik Second Violin
Deborah Scholem Second Violin
Robin Wilson Second Violin
Jacqueline Cronin Viola#
Joanna Tobin Viola†
Rosemary Curtin Viola
Rowena Crouch Cello#
Janine Ryan Cello#
Martin Penicka Cello†
Jennifer Druery Double Bass#
Lauren Brandon Double Bass
Jill Griffiths Double Bass
Julia Sharatt Flute
Ann Peck Oboe
John Lewis Clarinet & AltoSaxophone
Casey Rippon Horn#
Joshua Davis Trombone#
Key:
# Contract Musician† Sydney Symphony
Fellow
Gianluigi GelmettiChief Conductor andArtistic Director
Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council
Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council
24| Sydney Symphony
08Cellos
09 10 11 01 02 03
01Violas
02 03 04 05 06 07
04 05 06 07 08 09
01Double Basses
02 03 04 05 06 07
08Harp
01Flutes
02 03Piccolo
MUSICIANS
Violas
01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola
02 Anne Louise ComerfordAssociate Principal
03 Yvette GoodchildAssistant Principal
04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe
Cellos
01 Catherine Hewgill Principal
02 Nathan Waks Principal
03 Leah LynnAssistant Principal
04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham
Double Basses
01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass
02 Alex HeneryPrincipal
03 Andrew RacitiAssociate Principal
04 Neil BrawleyPrincipal Emeritus
05 David Campbell06 Steven Larson07 Richard Lynn08 David Murray
Harp
Louise JohnsonMulpha Australia Chair of Principal Harp
Flutes
01 Janet Webb Principal
02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute
03 Carolyn Harris
Piccolo
Rosamund PlummerPrincipal
25 | Sydney Symphony
Cor Anglais Clarinets Bass Clarinet
Oboes
01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe
02 Shefali PryorAssociate Principal
Cor Anglais
Alexandre OgueyPrincipal
Clarinets
01 Lawrence Dobell Principal
02 Francesco CelataAssociate Principal
03 Christopher Tingay
Bass Clarinet
Craig WernickePrincipal
Bassoons
01 Matthew WilkiePrincipal
02 Roger BrookeAssociate Principal
03 Fiona McNamara
Contrabassoon
01 Noriko ShimadaPrincipal
Horns
01 Robert JohnsonPrincipal
02 Ben JacksPrincipal
03 Geoff O’ReillyPrincipal 3rd
04 Lee Bracegirdle05 Marnie Sebire
Trumpets
01 Daniel Mendelow Principal
02 Paul Goodchild Associate Principal
03 John Foster04 Anthony Heinrichs
Trombone
01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone
02 Scott KinmontAssociate Principal
03 Nick ByrneRogen International Chair of Trombone
Bass Trombone
Christopher Harris Trust Foundation Chair of Principal Bass Trombone
Tuba
Steve RosséPrincipal
Timpani
01 Richard MillerPrincipalAdam JeffreyAssistant Principal Timpani/Tutti Percussion
Percussion
01 Rebecca LagosPrincipal
02 Colin Piper
Piano
Josephine AllanPrincipal (contract)
01Bassoons Contrabassoon Horns
02 03 01 02 03
01Oboes
02 01 02 03
04 05 01Trumpets
02 03 04
01Trombones
02 03Bass Trombone Tuba
01Timpani
01Percussion
02Piano
MUSICIANS
The Company is assisted by the NSW Government through Arts NSW
SALUTE
26 | Sydney Symphony
PRINCIPAL PARTNER
PLATINUM PARTNER MAJOR PARTNERS
GOVERNMENT PARTNERS
GOLD PARTNERS
27 | Sydney Symphony
The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.
SILVER PARTNERS
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2MBS 102.5 –Sydney’s Fine Music Station
The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.
A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contact Alan Watt on (02) 8215 4619.
28 | Sydney Symphony
01 02 03 04 05 06
07 08 09 10 11 12
DIRECTORS’ CHAIRS
01Mulpha Australia Chair ofPrincipal Harp, Louise Johnson
02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl
03Sandra and Paul Salteri Chair ofArtistic Director Education,Richard Gill OAM
04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris
05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing
06Brian and Rosemary White Chair of Principal Double Bass,Kees Boersma
07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding
08Gerald Tapper, Managing Director Rogen International withRogen International Chair of Trombone, Nick Byrne
09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell
10Ian and Jennifer Burton Chair of Assistant Concertmaster,Fiona Ziegler
11Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty
12Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict
GR
EG B
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29 | Sydney Symphony
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° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter
The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace 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.
30 | Sydney Symphony
Sydney Symphony Board
BEHIND THE SCENES
CHAIRMAN
John Conde AO
Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid 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.
COVER PHOTOGRAPHS (clockwise from top left):
Malcolm Sargent arrives in Australia (c.1938); First Violin Alexandra Mitchell; streamersfall at the final night celebrations of the 1968 Town Hall Proms; the SSO in the televisionstudio (1960s); Music Under the Stars in Sydney’s Domain (1984); AssistantConcertmaster Fiona Ziegler plays for Music4Health.
31 | Sydney Symphony
Sydney Symphony Staff
MANAGING DIRECTOR
Libby Christie
EXECUTIVE ASSISTANT
Eva-Marie Alis
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC OPERATIONS
Wolfgang Fink
Artistic Administration
ARTISTIC ADMINISTRATION MANAGER
Raff Wilson
ARTIST LIAISON
Ilmar Leetberg
PERSONAL ASSISTANT TO THE
CHIEF CONDUCTOR
Lisa Davies-Galli
ADMINISTRATION ASSISTANT,
ARTISTIC OPERATIONS
Catherine Wyburn
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
Julia Owens
CORPORATE RELATIONS EXECUTIVE
Seleena Semos
PHILANTHROPY MANAGER
Alan Watt
MARKETING AND
CUSTOMER RELATIONS
DIRECTOR OF MARKETING AND
CUSTOMER RELATIONS
Julian Boram
Publicity
PUBLIC RELATIONS MANAGER
Yvonne Zammit
PUBLICIST
Stuart Fyfe
Customer Relationship
Management
MARKETING MANAGER – CRM
Rebecca MacFarling
ONLINE & PUBLICATIONS MANAGER
Robert Murray
DATABASE ANALYST
Marko Lång
Marketing Communications
MULTICULTURAL MARKETING
MANAGER
Xing Jin
CONCERT PROGRAM EDITOR
Yvonne Frindle
MARKETING COORDINATOR
Antonia Farrugia
Corporate & Tourism
NETWORK GROUP–SALES MANAGER
Simon Crossley-Meates
Box Office
BOX OFFICE MANAGER
Lynn McLaughlin
BOX OFFICE CO-ORDINATOR
Anna Fraser
CUSTOMER SERVICE
REPRESENTATIVES
Wendy AugustineMichael Dowling
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA
MANAGEMENT
Aernout Kerbert
ACTING DEPUTY ORCHESTRA
MANAGER
Greg Low
ORCHESTRAL ASSISTANT
Angela Chilcott
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
RECORDING ENTERPRISES
RECORDING ENTERPRISES MANAGER
Aimee Paret
BUSINESS SERVICES
DIRECTOR OF FINANCE
David O’Kane
EXECUTIVE PROJECT MANAGER
Rachel Hadfield
FINANCE MANAGER
Samuel Li
OFFICE ADMINISTRATOR
Shelley Salmon
INFORMATION TECHNOLOGY
MANAGER
Tim Graham
PAYROLL AND ACCOUNTS
PAYABLE OFFICER
Caroline Hall
HUMAN RESOURCES
Ian Arnold
This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulatedin any form of binding or cover other than that in which it waspublished.
All rights reserved, no part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanical,including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in thispublication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.
Please address all correspondence to the Concert Program Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO
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