It is my great pleasure to welcome you to the fi rst 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 fi nest 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 fi ne, 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 fi tting 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. KamblyChairmanKambly of Switzerland

2010 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY

Friday 19 March | 11am

Sydney Opera House Concert Hall

THE HALL OF HEROES Alexander Briger conductorFrançois-Frédéric Guy piano

LUDWIG VAN BEETHOVEN (1770–1827)Piano Concerto No.5 in E fl at, Op.73 (Emperor)

AllegroAdagio un poco mosso –Rondo (Allegro)

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

The suite is played without pause.

PRESENTING PARTNER

Biscuits at Tea & Symphony concerts kindly provided by Kambly

Wednesday night’s performance will be broadcast live across Australia on ABC Classic FM.

Approximate durations: 38 minutes, 30 minutes

The concert will conclude at approximately 12.20pm.

4 | Sydney Symphony

LUDWIG VAN BEETHOVENGerman composer (1770–1827)

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 fl orins 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 fi nancial 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

fl ed 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 confi ned 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 fl at. 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)

ABOUT THE MUSIC

5 | Sydney Symphony

…to carry a musical sketchbook was to risk being taken for a spy.

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 fl ourish, each longer than its

predecessor and the third almost a short cadenza. Only

then, when the orchestra essays another chord on the E fl at

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 fi gure; and there are, besides, an attractively

hesitant second subject as well as at least three minor

ideas. Most signifi cantly, however, the orchestra remains

anchored monotonously in the home key of E fl at. This

serves to highlight the rich contrasts off ered 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 eff ectively a double exposition. This leads to a

development section which falls into distinct halves –

the fi rst 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 fl ourishes 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 fi rmly 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 rarefi ed atmosphere

of B major – a remote key in the context of E fl at. In hushed

6 | Sydney Symphony

The Sydney Symphony was the fi rst 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.

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 eff ort 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 fl at,

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 fi nds itself already

in E fl at, balances momentarily, and plunges directly into

the bounding cross-rhythms of the fi nale.

Beethoven declares his last movement a rondo but

unifi es the movement thematically by treating the whole

almost as sonata form. The piano begins to wind up

the concerto with a scale passage, and fi nds 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 fl orid 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 fi rst 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 self-aggrandisement…

7 | Sydney Symphony

WAGNER Orchestral highlights from Götterdämmerung

Suite arranged by Alexander Briger

Today’s suite represents highlights from the fi nal opera

in the massive cycle known as Der Ring des Nibelungen

(The Ring of the Nibelung), written by Richard Wagner

between 1848, when he fi rst sketched out a scenario

about the Germanic hero Siegfried, and 1874, when he

put the fi nishing 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 eff ects and scenic design. But

Wagner himself sanctioned the performance of specifi c

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 fi ll the coff ers 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 fi rst 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 WAGNERGerman composer (1813–1883)

8 | 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 fl ying

through the air, to the destruction of Valhalla, the kingdom

of the gods, by fl ame and fl ood.

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”.

9 | Sydney Symphony

Listening Guide

The Dawn prologue to Götterdämmerung is a variation of

Siegfried’s horn theme, and Siegfried and Brünnhilde

reaffi rm 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 sacrifi ce can end the train of

destruction. She builds a pyre around Siegfried’s body,

sets it ablaze and, mounting her horse, rides into the

fl ames (Brünnhilde’s Immolation).

Wagner’s fi nal music is a miniature tone poem. To

paraphrase his stage directions for the fi nal minutes: The

fi re blazes up, fi lling 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 fl ares up in a fi nal 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 fl ames.

ADAPTED FROM A NOTE BY GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©2000 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.

Brünnhilde and her horse Grane leap onto Siegfried’s funeral pyre.

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ABOUT THE ARTISTS

Alexander Briger conductor

Alexander Briger studied in Sydney and Munich and won

fi rst 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 Butterfl y, 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 Hoff mann (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.

11 | 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 fi rst 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.

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12 | Sydney Symphony

Performing in this concert…

FIRST VIOLINS Michael Dauth Concertmaster

Goetz Richter Associate Concertmaster*

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Gunther Jennifer Hoy Georges LentzNicola Lewis Alexandra MitchellLéone 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*

VIOLASAnne-Louise Comerford Caroline Henbest*Sandro CostantinoGraham Hennings Stuart Johnson Mary McVarish Felicity Tsai Leonid Volovelsky Arabella Bozic†Rosemary Curtin#

CELLOSFenella Gill Adrian Wallis David Wickham Patrick Murphy#Rachael Tobin#Rowena Crouch#William Hewer†

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

Steven Larson Richard Lynn David Murray Benjamin WardJosef Bisits†

FLUTES Janet Webb Emma Sholl Rosamund Plummer Principal Piccolo

Kate Lawson#

OBOESShefali Pryor David Papp Alexandre Oguey Principal Cor Anglais

Huw Jones*

CLARINETSLawrence Dobell Francesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONSMatthew Wilkie Roger BrookeNoriko Shimada Principal Contrabassoon

HORNSBen JacksGeoff Lierse* Geoffrey O’Reilly Principal 3rd

Lee BracegirdleEuan HarveyMarnie Sebire Francesco Lo Surdo†Alexander Love*James McCrow*

TRUMPETSMichael Kirgan*John FosterAnthony Heinrichs

TROMBONESRonald PrussingScott KinmontNick Byrne Christopher Harris Principal Bass Trombone

Nigel Crocker*

TUBASteve Rossé

TIMPANIRichard MillerMark Robinson Assistant Principal

PERCUSSIONRebecca Lagos Colin Piper Philip South*

HARP Louise JohnsonGenevieve Lang*

Bold = PrincipalItalic = Associate Principal# = Contract Musician* = Guest Musician † = Sydney Symphony Fellow

To see photographs of the full roster of permanent musicians and fi nd 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 fl yer.

MUSICIANS

Vladimir AshkenazyPrincipal Conductor andArtistic AdvisorP

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and CouncilP

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and CouncilP

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13 | Sydney Symphony

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THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales

Founded in 1932 by the Australian

Broadcasting Corporation, the Sydney

Symphony has evolved into one of the

world’s fi nest 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

fi rst tour to mainland Asia.

The Sydney Symphony’s fi rst 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 fi gures such

as George Szell, Sir Thomas Beecham,

Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-

winning 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.

CHAIRMAN John C Conde AO

Ewen Crouch Stephen Johns David Smithers AM

Jennifer Hoy Andrew Kaldor Gabrielle TrainorRory Jeffes Goetz Richter

Sydney Symphony Board

14 | Sydney Symphony

15 | 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.

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$500–$999Mr C R AdamsonDr Francis J AugustusMichael & Toni Baume AO

G D Bolton Dr & Mrs Hannes Boshoff Hon. Justice J C & Mrs Campbell Joan Connery OAM

Jen Cornish Bruce CutlerProf Christine DeerPeter English & Surry PartnersIn Memory of Mr Nick EnrightDr & Mrs C Goldschmidt In memory of Angelica Green Damien HackettThe HallwayMartin HanrahanDr Heng & Mrs Cilla Tey Rev H & Mrs M Herbert Dr & Mrs Michael Hunter Jannette King Iven & Sylvia KlinebergIan KortlangMr & Mrs Gilles T Kryger Dr and Mrs Leo LeaderMargaret LedermanErna & Gerry Levy AM Sydney & Airdrie LloydAlison Lockhart & Bruce WatsonLocumsgroup Holdings LPDr Carolyn A Lowry OAM & Mr Peter Lowry OAM

Wendy McCarthy AO Macquarie Group FoundationMelvyn MadiganMrs Silvana MantellatoKenneth N MitchellHelen MorganMr Graham NorthDr M C O’ConnorMrs Rachel O’ConorK B MeyboomA Willmers & R PalMr George A PalmerDr A J PalmerDr Kevin Pedemont L T & L M PriddleDr K D Reeve AM

Rowan & Annie RossRichard RoyleMr M D SalamonIn memory of H St P ScarlettCaroline SharpenRobyn Smiles E StuartMr John SullivanMr Ken Tribe AC & Mrs Joan Tribe Prof Gordon E Wall Ronald WalledgeThe Hon. Justice Anthony WhealyThe Hon. Edward G WhitlamMrs R YabsleyAnonymous (19)

To fi nd out more about becoming a Sydney Symphony patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email philanthropy@sydneysymphony.com

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