Jonathan Sweeney...Petrushka, too, is a kind of piano concerto, especially when heard in concert...

Trust is proud of its long standing partnership with the SydneySymphony and is delighted to bring you the Thursday AfternoonSymphony series in 2008.

The series offers perfect afternoons with some of the best-lovedcomposers – Ravel, Bernstein, Elgar, Mozart, Stravinsky, and manyothers. These concerts bring together some of the world’s mosttalented conductors and soloists – you’re in for a truly delightfulexperience.

Just like the Sydney Symphony, which has been the sound of thecity for more than 75 years, entertaining hundreds of thousands of people each year, Trust has been supporting Australians for over 120 years.

Whether it be in administering an estate or charity, managingsomeone’s affairs or looking after their interests via estate planning,financial planning or funds management, people come to Trustbecause of our personal service and commitment to ensuring theirinterests are being looked after.

We hope you enjoy a delightful Thursday afternoon with the Sydney Symphony.

Jonathan SweeneyManaging DirectorTrust Company Limited

SUPPORTING PARTNER

SEASON 2008

THURSDAY AFTERNOON SYMPHONY

SUPPORTED BY TRUST

STRAVINSKY’S PETRUSHKA

Thursday 27 November | 1.30pm

Sydney Opera House Concert Hall

Lothar Zagrosek conductorMichele Campanella piano

WOLFGANG AMADEUS MOZART (1756–1791)

Symphony No.27 in G, K199

AllegroAndantino graziosoPresto

CÉSAR FRANCK (1822–1890)

Symphonic Variations for piano and orchestra, Op.46

INTERVAL

IGOR STRAVINSKY (1882–1971)

Petrushka – Ballet (1911)

Scene I. The Shrovetide FairThe Crowds – The Showman’s Booth – Russian Dance

Scene II. Petrushka’s CellScene III. The Moor’s Room

The Moor – The Dance of the Ballerina – Waltz for the Ballerina and the Moor

Scene IV. The Shrovetide Fair (Evening)The Dance of the Wet-nurses – The Dance of the Peasant and a Bear – The Dance of the Gypsy Girls – The Dance of the Coachmen – The Masqueraders – Petrushka’s Death

This concert will be recorded forbroadcast across Australia on

15 December at 8pm on ABC Classic FM 92.9.

Pre-concert talk by Yvonne Frindle at 12.45pmin the Northern Foyer.

Visit www.sydneysymphony.com/talk-bios

for biographies of pre-concertspeakers.

Estimated timings:18 minutes, 15 minutes,

20-minute interval, 36 minutesThe performance will conclude

at approximately 3.20pm.

Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and offering a common platform forvaried cultures and communities to come together. It is for these reasonsthat the Sydney Symphony – a first class orchestra in one of the world’smost diverse and beautiful cities – is an ideal partner for Emirates Airline.

With more than 300 major international awards for excellence, Emirateshas developed an international reputation for providing a standard ofservice and an inflight experience to which other airlines aspire.

And like the Sydney Symphony, Emirates reaches out to a truly globalaudience, flying to every continent in the world from its hub in Dubai. We also have a long term growth strategy for Emirates in Australia.Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of 2009. This will include a third daily flight from Sydney, makingconnections to our expanding network across Europe, Middle East,Africa, Asia and the Americas easier for local travellers.

Emirates continues to take great pleasure in supporting the SydneySymphony and fostering the growth of arts in the community.

We look forward to an exciting and memorable 2008.

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP

SEASON 2008

EMIRATES METRO SERIES


Friday 28 November | 8pm








INTERVAL















PRESENTING PARTNER

Apia and the Sydney Symphony – a wise move

A partnership between the internationally acclaimed Sydney Symphonyand Apia is a wise move indeed.

The worlds of a symphony orchestra and an insurance company mayappear far removed, but they have much in common. Just as anorchestra must have a working knowledge of the music it performs,so too must a specialist insurer have in-depth knowledge of its product in order to meet the needs of its customers.

And just like a complex orchestration, at Apia all the sectors within ourbusiness work in harmony to provide our customers with the bestpossible products and services.

Apia is a pioneer and leader in providing specialised home and contents,car, caravan, motorhome, boat and travel insurance, to customers aged50 and over, who are not working full-time.

Apia is also a proud sponsor of the Sydney Symphony, just one of theorganisations we support as part of our ongoing commitment to servingthe community in which we live and work.

We hope you take great pleasure from this performance, just as we takepleasure in our association with one of the world’s leading orchestras.

Geoff KeoghExecutive ManagerApia

Australian Pensioners Insurance Agency Pty Ltd is an authorised representative of Australian Alliance Insurance Company Limited.

SEASON 2008

GREAT CLASSICS

PRESENTED BY Apia


Saturday 29 November | 2pm








INTERVAL















PRESENTING PARTNER

Stravinsky’s Petrushka

In the Petrushka ballet the Showman plays a hypnoticflute tune to snare his audience before he unveils hismagical living puppet show. Music as curtain-raiser.Mozart’s symphony in this concert bears all the signs of a curtain-raiser too – one of the best kind. It’s in threemovements, just like the old Italian opera overtures from which the Classical symphony was born, andcaptures attention with music that is brilliant andarresting.

The program it introduces is an unusual one. There is no concerto by name, and yet it features not one buttwo piano ‘concertos’. The first of these is César Franck’sSymphonic Variations for piano and orchestra. Its singlemovement observes a three-part structure and the pianopart is satisfying for any virtuoso. But the unexpectedtitle gives us something to listen for: the ‘symphonic’working together of soloist and orchestra and, above all,Franck’s integration of his musical ideas as ‘variations’of a single motto.

Petrushka, too, is a kind of piano concerto, especiallywhen heard in concert without the stage action todistract. In fact, the ballet began life as a concert piece for piano and orchestra – not exactly a concerto, but abrilliant showpiece in which the keyboard is literally acentral character. Diaghilev recognised the dramaticpotential of Stravinsky’s music and background scenario,and so the concert piece became Petrushka, one of thethree great ballets Stravinsky made for the Ballets Russes.

INTRODUCTION

5 | Sydney Symphony

Vaslav Nijinsky, the first dancer to

give Petrushka a soul

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ABOUT THE MUSIC

Keynotes

MOZART

Born Salzburg, 1756 Died Vienna, 1791

Before he moved to Vienna

in 1781, Mozart worked in

Salzburg, alongside his

father and other musicians

at the court of the Prince-

Archbishop. He seems to

have found the environment

stifling, certainly he didn’t

like his status as a court

servant. But even so he

composed prolifically in all

the genres for which he’s

famous today: symphonies,

concertos, chamber music

and operas, as well as church

music and serenades.

SYMPHONY NO.27

In 1773, the year he

composed this symphony,

Mozart visited Vienna, where

four-movement symphonies

were preferred. Back home

in Salzburg, however,

shorter three-movement

symphonies had greater

currency. These were closer

in spirit and form to the old

Italian ‘sinfonia’ and

belonged to a tradition of

stirring ‘curtain-raisers’.

Symphony No.27 is a

substantial work – nearly

three times longer than the

other symphonies Mozart

was writing in Salzburg at

this time – but nonetheless

follows the three-movement

structure (fast—slow—fast)

his audience would have

expected.

Wolfgang Amadeus Mozart



Don’t be misled by a later meaning of the word‘symphony’. Music of Mozart’s like this piece, composedin April 1773, was designed precisely for the functiongiven it in tonight’s concert: a curtain-raiser, not themajor musical item of the entertainment. The three-movement structure recalls that of the early Italian operaoverture (or sinfonia), but the musical language showsMozart as a willing imitator of the emerging Vienneseclassical style. Some ten years later Mozart arranged for a group of nine of his Salzburg symphonies, to which this one belongs, to be sent to Vienna, where he probablywanted to present them as up-to-date, recently composed

7 | Sydney Symphony

Mozart – portrait by Barbara Krafft (1819)

It takes a Mozart to

make durable magic of

this style.

works. Most of them lack the minuet movementcharacteristic of the Viennese symphony, and to some(but not this one) Mozart added a minuet for Viennarevival.

One of Mozart’s models was the group of symphoniesJoseph Haydn composed in the 1760s. The connectionwas quite close, since Haydn’s brother Michael was aSalzburg colleague of the Mozarts. We know thatWolfgang Mozart made a close study of Joseph Haydn’ssymphonies, and this symphony provides evidence ofthe results, with a partly fugal finale based, according to Haydn expert H.C. Robbins Landon, on Haydn’sSymphony No.3 of c.1757–61.

Listening Guide

The first movement embodies a fruitful meeting of theItalianate, graceful style, associated above all with Mozart’s early mentor Johann Christian Bach (the lyricalsecond subject), and the more nervous intense manner(those repeated quavers) typical of Haydn’s style at thistime.

The violinists mute their strings, their fellow stringsplay pizzicato for a second movement, which we will no doubt find the most ‘Mozartian’ of the three, thoughthat may merely be because it is closest to the style ofSalzburg nightly entertainment music such as we find not only in Mozart’s serenades, divertimenti, andnotturni, but in those of some of his colleagues. It takes a Mozart to make durable magic of this style. Dare we hope that the listeners were seduced into lowering theirlevel of conversation to catch these subdued but arrestingconfidences (anticipating Mendelssohn’s Fairy Queenmusic from A Midsummer Night’s Dream)?

The finale is the most Haydnesque movement,making play of some scraps of thematic figures, which are handled increasing imitatively and contrapuntally.Then, in the second episode, the learned, style bursts out in full brilliance. This points forward to suchachievements in combining fugal texture and sonata form as the finales of the F major Piano Concerto K459,and the ‘Jupiter’ Symphony, where Mozart the Haydnadmirer has become fully himself.

© DAVID GARRETT

Mozart’s Symphony No.27 calls for two flutes, two horns andstrings.

The Sydney Symphony’s first and most recent performance ofMozart’s Symphony No.27 was in 1996 under Takuo Yuasa.

8 | Sydney Symphony

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César Franck

Symphonic Variations

for piano and orchestra, Op.46

Michele Campanella piano

César Franck’s D minor symphony has established itself inthe orchestral repertoire as his most frequently performedwork, despite carping criticism, particularly of the supposedrigidity of its cyclical form. The one orchestral work byCésar Franck which is by common consent a completesuccess is the Symphonic Variations, yet its length (about15 minutes) makes it hard to program – not quite aconcerto – and while it is gratifying for the soloist, itlacks the unabashed technical display and the big gestures virtuosos can’t resist. It is in fact a highly originalcollaboration between piano and orchestra, and as a work in variation form, daring, in that the theme of thevariations doesn’t appear in a full statement until wellinto the work.

This music was composed in 1885 as a thank-offering tothe pianist Louis Diémer, who had played the importantpiano part in the first performance of Franck’s symphonicpoem Les Djinns earlier in the year. He also premiered theSymphonic Variations, with Franck conducting, in Parison 1 May 1886. The title immediately recalls the Etudessymphoniques for solo piano of Robert Schumann, andFranck’s structural concerns, subtly disguised as poeticexpression, also recall Schumann.

Franck’s Symphonic Variations is adventurous – not onlyexploring the theme’s musical essence rather than merelyits melodic outline, but departing from the classicalconception of variation form. One of the most perceptiveanalyses of this piece, by Sir Donald Tovey, describes it as‘a finely and freely organised fantasia with an importantepisode in variation form’. This ‘episode’ is preceded by anintroduction almost half as long and followed by a finalemore than twice as long. The theme is only hinted at inthe introduction, and is brought in as a bass counterpointin two passages in the finale.

Listening Guide

The introduction recalls the slow movement of Beethoven’sFourth Piano Concerto in the way a gruff motif from the strings is answered by the piano’s gentle pleading.

Keynotes

FRANCK

Born Liège, 1822Died Paris, 1890

César Franck was of Flemish

birth and partly German

ancestry, but Paris was his

home. (He became a

naturalised Frenchman in 1837

in order to enrol in the Paris

Conservatoire and a citizen

when he was appointed

professor of organ there in

1871.) His musical career

began as a touring virtuoso

organist and from his mid-20s

he held various church organ

posts. Franck’s musical style

reflects the complexity of

his background and

influences: not wholly French

but frequently Germanic in

his approach to harmony and

structure. The Symphony in

D minor (1886–88) is his most

often performed orchestral

work.

SYMPHONIC VARIATIONS

The Symphonic Variations was

composed in 1885 when Franck,

already in his 60s, had finally

found his ‘groove’. He combined

teaching responsibilities with

composition by composing

during his summer holidays,

and worked with great

intensity on oratorios, chamber

music and symphonic poems,

including Les Djinns (1884),

which featured the piano.

This became the trigger for

the Symphonic Variations. It

is an unusual piece: scored

for solo piano and orchestra

but not a piano concerto,

and following a curious and

intricate single-movement

structure that blends variation

form with more fantasia-like

elements.

10 | Sydney Symphony

These two themes are worked up in dialogue. Then thetime changes to 3/4, and the strings, pizzicato, with windsand kettledrums, give out two phrases of what is to turnout to be the theme. The piano rhapsodises on the themeof its answer, which will also provide the main material of the finale. The dialogue resumes, quietens down, andthe piano states the theme in full – a quiet, thoughtfultheme.

The first variation breaks the theme into dialoguephrase by phrase, the second hands it to the cellos overpiano figuration, which becomes even more flowing in the next variation, contrasting with pizzicato strings.Variation four re-introduces the unison string themefrom the introduction, relating it, fortissimo, to thevariation theme. The fifth variation is less lively, in thesame rhythm, and dies away into the sixth, a poeticreverie with rippling piano in counterpoint to the theme. In the final variation, under constant pianoarpeggios, the cellos ‘spell out a wonderful dream’ (Tovey)on the first phrase of the piano’s answer from theopening bars.

This is suddenly transformed rhythmically, to theaccompaniment of a long piano trill, into the dance tunewhich dominates the finale, and to which some wit putthe words ‘get your hair cut’! No doubt this catchy tunecontributes to the popularity of the variations, and it isbrilliantly treated, not without a contrasting solo passagemore typical of Franck’s lofty tone, which appeals somuch to longhairs.

DAVID GARRETT ©1999

Franck’s Symphonic Variations call for an orchestra comprisingpairs of flutes, oboes, clarinets and bassoons; four horns and twotrumpets, timpani and strings.

The Sydney Symphony first performed the Symphonic Variations in 1940 with Georg Schnéevoigt conducting and Beatrice Tange as soloist, and most recently in 1994 in a Summer Nights concertwith Sir William Southgate and pianist Rebecca Chambers. Prior to that the work was performed in a 1982 special concert with Franz-Paul Decker and Vladimir Ashkenazy as soloist.

César Franck at the organ


MUSICIAN SNAPSHOT

Carolyn Harris – quietly confident

The Concert Hall is the home of a symphonyorchestra; in the hall next door, mostnights of the week, you can hear anotherorchestra, a ‘pit orchestra’. Carolyn Harrishas enjoyed the distinction of playing in both. She describes herself as ‘veryfortunate to have had two orchestral jobs –one in the pit and one on the stage’.

Before joining the Sydney Symphonyin 2005 as Second Flute, Carolyn was amember of the Australian Opera and BalletOrchestra. ‘Playing in the pit is completelydifferent to playing in the symphonyorchestra. It’s like apples and orangesreally. I find the two jobs hard to compare.’

‘Working for the opera is very excitingbecause you can’t see the singers or what’shappening on stage. You’re reliant on the conductor to guide you and to be thatcrucial link between the stage and the pit.’

Tucked away underneath the action and mostly out of sight of the audience,performances for the opera or ballet had a different feeling to being centre stage inthe concert hall. ‘You know you’re not themain attraction. People generally come to hear the music but more specifically,to watch the stage. I sometimes feel the music is a bit like in a film – it creates theatmosphere but you’re not always listeningintently to it.’

After successfully auditioning for theSydney Symphony, Carolyn was surprisedto discover her sight-reading skills hadlapsed. ‘They were completely kaput! I’dlost them playing the same operas, two orthree nights a week, for weeks on end.’The greatest challenge of the first sixmonths in her new job was learning a lotof symphonic repertoire quickly. ‘It wasrepertoire that I’d listened to for years andyears, but never actually played, so it waspretty gruelling in the beginning, but verysatisfying too.’

Other aspects of orchestral music-making didn’t change, however. ‘In a windsection, you listen to one another’s breath,pitch, sound, articulation and phrasing. It’s an organic being in a way; we all have to breathe together. Sometimes we makethis huge block of sound – on our own incertain parts of the repertoire, or within the orchestra – but our sound has to blend,and has to come out as one “wind”sound.’

Quietly determined and self-assured,Carolyn does occasionally marvel at her job. ‘Sometimes I sit there thinking “Gee,I’m at work, and all these people arelooking at me, and I had to go through a lot to get here. Not just today, not just lastweek, or last year. Over my life – just goingthrough lots of hoops and hurdles, and upsand downs – to get here.” ’

GENEVIEVE LANG ©2008

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Igor Stravinsky

Petrushka – Ballet (1911 version)





Petrushka, first staged in Paris in 1911, may well be themost representative and successful collaboration betweenStravinsky and Diaghilev’s Ballets Russes. The visualappearance of the ballet was Russian. Its scenario, by thedesigner Alexander Benois and the composer, dealt withthe universal world of the theatre, and the puppet-with-a-soul Petrushka, as danced by Nijinsky, was pathetic,moving, and brilliant. The music matched all this with a sense of gesture which built on the colouristicinventions of the Russian nationalist composers, butwith an originality and modernity all Stravinsky’s own.

Petrushka originated in a musical idea of Stravinsky’s,as he explains: ‘I had a vision of a puppet, suddenlyendowed with life, exasperating the patience of theorchestra with diabolical cascades of arpeggios, theorchestra in its turn retaliating with menacing fanfares of brass…ending in the sorrowful and querulous collapseof the poor puppet.’

Stravinsky began to sketch this music in 1910, as apiece for piano and orchestra, which he described as aKonzertstück (Concert-piece). It lacked a title, until one dayStravinsky ‘jumped for joy – Petrushka! The immortal andunhappy hero of every fair in all countries: I had foundmy title!’ The impresario Diaghilev, as soon as Stravinskydescribed the idea to him, saw its potential as a ballet,and persuaded the composer to transform the music intoa full-scale choreographic work. They agreed to set theaction of the ballet in the Shrovetide Fair, the Mardi Grasin St Petersburg, where they both grew up. (Benois, inparticular, retained a strong affection for this event, andhe had been a devotee of Russian puppet theatre sincechildhood.)

Keynotes

STRAVINSKY

Born near St Petersburg, 1882Died New York, 1971

One of the 20th century’s

greatest and most influential

composers, Igor Stravinsky

was born in Russia, later

adopting French and then

American nationality. His style

is similarly multi-faceted,

from the exotic instrumental

and harmonic colours of TheFirebird – his first big hit – to

the transparency of his later

neoclassical style. His most

popular orchestral works include

the three ballets created for

Diaghilev’s Ballets Russes,

with Petrushka and The Rite of Spring following the success

of Firebird. All three, despite

their obvious differences,

demonstrate Stravinsky’s

power as a musical storyteller

and creator of viscerally

compelling music for dance.

PETRUSHKA

Petrushka is a ballet (or

‘burlesque’ as Stravinsky

called it) in four scenes.

It combines Russian folk

traditions with magic and

fantasy in a scenario of

fairground puppets brought

to life. Petrushka is a Russian

Punch with aspects of the

melancholy and lovelorn

Pierrot – a puppet with a soul

and a tragic story. The music

began life as a kind of piano

concerto, and the piano

remained closely linked to

Petrushka’s character. The

ambiguity of his condition is

echoed by the combination

of two unrelated chords (one

made from white notes, the

other from black) to form the

anguished ‘Petrushka chord’.


Nijinsky created the role of Petrushka in 1911 and remained closely associated wth this tragic and tormented character

for the rest of his life.

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Petrushka is the Russian version of Punch, who, in a stroke of genius on the part of the ballet’s creators,assumes the soulfulness of Pierrot. Although the characteris universal, the ballet inhabits the world of Russianfolklore, and Stravinsky makes use of Russian tunes andstreet songs.

The dual nature of Petrushka as puppet and sensitivehuman being is conveyed by bitonality, using derivationsfrom Rimsky-Korsakov’s synthetic scales. This isintroduced with the ‘Petrushka chord’, two unrelatedchords superimposed and first outlined in an slowarpeggio played by two clarinets. The origins of this seemto be pianistic (one hand on the white keys for C major,one on the black for F sharp major), and the piano partremains very important in the ballet score, not only in the original version heard in this concert but in theversion with reduced orchestration that Stravinsky madein 1947.

Stravinsky writes:

Before tackling The Rite of Spring, whichwould be a long and difficult task, I wantedto refresh myself by composing anorchestral piece in which the piano wouldplay the most important part – a sort ofKonzertstück. In composing the music, I hadin my mind a distinct picture of a puppet,suddenly endowed with life, exasperatingthe patience of the orchestra with diabolicalcascades of arpeggios. The orchestra in turnretaliates with menacing trumpet blasts. The outcome is a terrific noise whichreaches its climax and ends in the sorrowfuland querulous collapse of the poor puppet.Having finished this bizarre piece, Istruggled for hours, while walking beside the Lake of Geneva, to find a title whichwould express in a word the character of mymusic and, consequently, the personality ofthis creature.

One day I leaped for joy. I had indeed foundmy title – Petrushka, the immortal and

unhappy hero of every fair in all countries.Soon afterwards, Diaghilev came to visit meat Clarens, where I was staying. He wasmuch astonished when, instead of sketchesof the Rite, I played him the piece I had justcomposed and which later became thesecond scene of Petrushka. He was so muchpleased with it that he would not leave italone and began persuading me to developthe theme of the puppet’s sufferings andmake it into a whole ballet. While heremained in Switzerland, we worked outtogether the general lines of the subject andthe plot in accordance with Ideas which I suggested. We settled the scene of action:the fair, with its crowd, its booths, the littletraditional theatre, the character of themagician, with all the tricks; and the comingto life of the dolls – Petrushka, his rival andthe dancer – and their love tragedy whichends with Petrushka’s death. I began at onceto compose the first scene of ballet, which I finished at Beaulieu, where I spent thewinter with my family.

Procrastination and Petrushka

Stravinsky and Nijinsky in 1911

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Synopsis

The ballet is in four scenes.

I. In a St Petersburg square during the last three days of Carnival in 1830, the Showman has set up his puppettheatre. Brightly dressed crowds stroll about to musicdrawn from traditional Russian themes. A hurdy-gurdyand a music box compete and clash, then the Showman,gaining attention by a magical cadenza on his flute,brings three puppets to life: Petrushka, the Ballerina,and the Moor. Beginning the wild and angular RussianDance, they soon leave the hooks on which they’ve beensuspended and join the astonished crowd.

II. The second tableau is set in Petrushka’s bare cell. He is kicked through the door, falling on the floor. This can’t hurt his sawdust body, but the Showman’s magic has given Petrushka human feelings and emotions and he struggles to escape, with grotesque piano arpeggiosechoing his frantic gropings and the brass his growingfrustration. The Ballerina enters unexpectedly. Petrushkawoos her, but she is repelled by his ugliness and uncouth

The long life of Russian-born Igor Stravinskytraversed many of the dramatic social andartistic changes of the 20th century. He livedin Switzerland, France and America, and hiscosmopolitan life is reflected in the variety ofstyles found in his music.

In his early years he was taken under thewing of the great Russian impresario, SergeDiaghilev. Several of the scores he wrote forDiaghilev’s Ballets Russes (The Firebird,Petrushka, and The Rite of Spring ) areamong his most popular works to this day.These works exhibit a definite ‘Russian-ness’in their use of melodic and thematicsources.

His years in both Switzerland and Francesaw Stravinsky entering what is now knownas his neoclassical phase. Neoclassicismwas a widespread trend among composerswho aspired to the ideals of classicism, thesorts of virtues perceived, for example, in

Mozart’s writing – economy, clarity, andformal beauty. Many composers applied theneoclassical criteria to other models, suchas Bach. Stravinsky even re-set the music ofmore recent composers, Tchaikovsky andHugo Wolf. He saw the music of all periodsas raw, symbolic material for him tomanipulate and invest with new meaning.

In his American years Stravinsky adoptedserialism, the style developed bySchoenberg and Webern. But despite theoutward changes in style, certaincharacteristics were always part ofStravinsky’s expression: rhythmic vitality, thechopping and changing of metres, intriguingand subtly changing melodies, pungentharmonies, and colourful, if in later years‘brittle’, orchestration.

GORDON WILLIAMS ©SYMPHONY AUSTRALIA

Stravinsky and Style

For the second hurdy-gurdytune in scene one, Stravinskyborrowed a music-hall song,‘Elle avait un’ jambe en bois’,which he had heard beingplayed under his window atBeaulieu. He’d assumed it tobe traditional and only laterdiscovered it was still incopyright, with its composerEmile Spencer owed royaltiesevery time the ballet wasperformed.


gestures. In despair Petrushka hurls himself at a portraitof the Showman, tearing a hole in the cardboard wall ofhis cell.

III. The third tableau opens in the Moor’s magnificentlyappointed room, vibrant and luxurious. He is playingwith a coconut, and trying to break it with his scimitar.The Ballerina is attracted to the handsome Moor despitehis stupidity; she dances for him, to a cornet solo andthen a waltz (its themes borrowed from one of the fathers of the Viennese waltz, Joseph Lanner). The Moortries to join in, but cannot manage the triple time!Petrushka, mad with jealousy, bursts in on the love scene which follows and is just as rapidly ejected by theMoor.

IV. Finally we are back at the fair, in the evening. A groupof wet-nurses dance, as do a peasant’s performing bear, arich merchant with two Gypsy girls, a group of coachmen,joined by the wet-nurses, then some masqueraders.

Suddenly a commotion is noticed in the little theatre:Petrushka runs out, chased by his rival the Moor, whostrikes him with his scimitar. The puppet shudders,spasms and dies. The Showman, picking up Petrushka,easily convinces everyone that the body is only wood and sawdust. The crowd disperses, but the Showman isterrified to see, above his booth, the ghost of Petrushkamocking and jeering at everyone whom the Showman has fooled.

ADAPTED FROM A NOTE © DAVID GARRETT

The original version of Stravinsky’s Petrushka calls for a largeorchestra comprising four flutes (two doubling piccolo), four oboes(one doubling cor anglais), four clarinets (one doubling bass clarinet)and four bassoons (one doubling contrabassoon); four horns, two trumpets, two cornets, three trombones and tuba; timpani and percussion (glockenspiel, field drum, tambourine, xylophone,tam-tam, cymbal, bass drum, triangle, and tambourin provençal, a narrow two-headed drum); two harps, piano, celesta and strings.

The ballet Petrushka was premiered on 13 June 1911 in the Théâtredu Châtelet, Paris. The choreography was by Michel Fokine, sets byAlexandre Benois, and Pierre Monteux conducted. Vaslav Nijinskydanced the title role. The Australian Ballet will revive Petrushka forits 2009 season.

The Sydney Symphony first performed Stravinsky’s Petrushka(1911 version) in 1944 for a Russian Festival conducted by BernardHeinze. The most recent performance of this version was in 2001under Charles Dutoit.

Petrushka’s ghost, saidStravinsky, ‘is the realPetrushka, and hisappearance at the end makesthe Petrushka of thepreceding play a mere doll.His gesture is not one oftriumph or protest, as is sooften said, but a nose-thumbing addressed to theaudience.’

In the original production, Tamara

Karsavina danced the Ballerina and

Alexandre Orlov the Moor.

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GLOSSARY

ARPEGGIO – a musical gesture, especiallycommon in piano music, in which the notesof a chord are ‘spread’, or played one afterthe other instead of simultaneously. It nearlyalways starts at the bottom of the chord.

BITONALITY – used to describe music thatmaintains two distinct key centressimultaneously. One of the most famousinstances occurs in Stravinsky’s Petrushka,where the ‘Petrushka chord’ superimposes aC major chord against an F sharp major chord.

CADENZA – a virtuoso passage for a soloinstrument.

COUNTERPOINT, CONTRAPUNTAL – two ormore different musical lines or melodiesplayed at the same time.

ETUDES SYMPHONIQUES – Symphonic Studies,piano studies in the form of a set ofvariations, composed by Schumann in 1837.

FORTISSIMO – very loud.

FUGAL – in the style of a fugue, characterisedby imitation between different parts orinstruments, which enter one after the other.The Latin word fuga is related to the idea of both ‘fleeing’ and ‘chasing’.

METRE – the way in which we experiencemusical time as organised in a hierarchyof bars, beats and subdivisions of the beat(usually indicated in musical notation with a ‘time signature’). March time, for example,is commonly indicated as 4/4: four beats tothe bar, or quadruple metre; waltz time is3/4: three beats to the bar, or triple metre.

NEOCLASSICISM – a movement in 20th-centurymusic – especially between the two world wars– that revived the balance, transparency andthematic logic of the Classical style in reactionto the exaggerated gestures and lush effectsof late Romanticism. Its central composersincluded Stravinsky (Pulcinella), Hindemithand Prokofiev (Classical Symphony), who avoidedovert emotional display and revived earliertechniques such as baroque-style counterpoint,balanced structures and lighter textures.

PIZZICATO – a technique for stringedinstruments in which the strings are pluckedwith the fingers rather than bowed.

QUAVER – a rhythmic unit that divides acrotchet beat into two; except at very slowtempos, quavers will tend to sound likequick notes

SERENADE – the Classical serenade wasmulti-movement work intended for outdoorperformance in the evening or as incidentalentertainment for private functions; theDIVERTIMENTO was a similar ‘diversionary’genre.

SINFONIA – Italian for ‘symphony’. In 18th-century Italy a sinfonia was a short, vigorousorchestral piece, usually in three movements(fast–slow–fast/dance-like) performed beforean opera. Over time, the sinfonia gained aplace in the concert hall; later in the centuryit acquired an extra movement, becomingthe Classical symphony of Haydn, Mozartand Beethoven.

SYNTHETIC SCALE – an artificial scale (not amajor or minor scale, nor one of the churchmodes) devised by a composer; it can featureunusually wide ‘steps’, more or fewer thanthe eight notes found in traditional scales,and symmetrical patterns. Stravinsky learnedfrom Rimsky-Korsakov the device of usingsynthetic scales to represent supernaturalcharacters.

In much of the classical repertoire, movementtitles are taken from the Italian words thatindicate the tempo and mood. A selection of termsfrom this program is included here.

Allegro – fastAndantino grazioso – a gentle and gracefulwalking pacePresto – as fast as possible

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

MOZART

For a vibrant interpretation of Mozart’s SymphonyNo.27 try Nikolaus Harnoncourt and ConcentusMusicus Wien in a 2-CD set that contains nine of theearly symphonies.DEUTSCHE HARMONIA MUNDI 75736

FRANCK

Ivan Moravec gives a gracefully brilliant performanceof the Symphonic Variations with Schumann’s PianoConcerto and his Kinderszenen. Václav Neumannconducts the Czech Philharmonic Orchestra.SUPRAPHON 3508

STRAVINSKY

The composer himself conducts the original 1911version of the Petrushka ballet, together with The Riteof Spring, both with the Columbia SymphonyOrchestra.CBS MASTERWORKS 42433

Also worth hearing is Pierre Monteux, conductor of thepremiere, in a 7-CD set that also includes The Firebird(1919) and The Rite of Spring. He conducts theOrchestre de la Société du Conservatoire Paris and the pianist is Julius Katchen.DECCA 000797902

For a more recent recording try Simon Rattle and theCity of Birmingham Symphony Orchestra in a 2-CD setthat brings together Firebird, Petrushka, The Rite ofSpring and Apollo.EMI CLASSICS 06876

LOTHAR ZAGROSEK

Among Lothar Zagrosek’s most important releases ishis recording of von Einem’s Dantons Tod (Death ofDanton), made with the Austrian Radio SymphonyOrchestra and Chorus from live performances at the1983 Salzburg Festival.ORFEO 102842

His recording of Wagner’s Ring cycle with theStuttgart State Opera Orchestra and Chorus and castsincluding Lisa Gasteen is available on the Naxos label.NAXOS 8660170 (Das Rheingold); 8660172 (Die Walküre); 8660175 (Siegfried); 8660179 (Götterdämmerung)

MICHELE CAMPANELLA

Michele Campanella features in two Liszt recordings in Philips’ Duo series. Complete Hungarian Rhapsodiesis still in the catalogue; The Great Transcriptions, alsofeaturing Claudio Arrau, is out of print but available asan ArkivCD from www.arkivmusic.comPHILIPS DUO 438371 (Rhapsodies)PHILIPS DUO 456052 (Transcriptions)

DECEMBER–JANUARY

5 December, 8pmBEETHOVEN, MOZART, SCHUBERT

Lothar Zagrosek conductorDiana Doherty oboe

15 December, 8pmSTRAVINSKY’S PETRUSHKA


27 December, 8pmCRIME TIME

Frank Strobel conductorClive James presenter

3 January, 12.05pmHOMELANDS (2008)Tomas Netopil conductorArabella Steinbacher violinSculthorpe, Korngold, Smetana

8 January, 1.05pmSCHUBERT & TCHAIKOVSKY (2008)Oleg Caetani conductor

16 January, 1.05pmLATIN AMERICAN NIGHTS (2008)Kristjan Järvi conductorCarel Kraayenhof bandoneon

16 January, 8pmA GUIDE TO THE ORCHESTRA (2007)Martyn Brabbins conductorStephanie McCallum piano

Broadcast Diary

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 2009

12 January, 6pmWhat’s on in concerts, with interviews and music.

Selected Sydney Symphony concerts are recorded forwebcast by BigPond and are available On Demand.Visit: sydneysymphony.bigpondmusic.comCurrent webcast:GELMETTI’S FAREWELL

Available On Demand

Webcast Diary


ABOUT THE ARTISTS

Lothar Zagrosek conductor

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Since the 2006/07 season he has been Chief Conductor of the Konzerthausorchester Berlin. Previous posts include Chief Conductor of the Austrian Radio SymphonyOrchestra in Vienna and Principal Guest Conductor ofthe BBC Symphony Orchestra, and since 1995 he has beenFirst Guest Conductor and Artistic Advisor of the JungeDeutsche Philharmonie.

He spent three years at the helm of the Paris Opera(1986–1989), was General Music Director of the LeipzigOpera (1990–1992) and of the Stuttgart State Opera(1997–2006). He has also guest conducted for the Viennaand Hamburg state opera companies, Bavarian State Operain Munich, Deutsche Oper Berlin, Semperoper Dresden,the Théâtre de la Monnaie in Brussels, Royal Opera HouseCovent Garden and the Glyndebourne Festival.

He has conducted many leading orchestras, including theLeipzig Gewandhaus Orchestra, Berlin Philharmonic, MunichPhilharmonic and all the major German radio orchestras, aswell as the Vienna Symphony Orchestra, London Philharmonic,Orchestra dell’Accademia di Santa Cecilia, Orchestre Nationalde France, Montreal Symphony, and the NHK SymphonyOrchestra Tokyo. His festival appearances include the LondonProms, Munich Opera Festival and the Salzburg Festivaland he is a regular guest at the festivals for contemporarymusic in Donaueschingen, Berlin, Brussels and Paris. Nextyear he will tour Britain with the KonzerthausorchesterBerlin, and conduct the Royal Concertgebouw Orchestraand the Atlanta Symphony Orchestra.

His extensive discography includes Messiaen’s SaintFrançois d’Assise (with Dietrich Fischer-Dieskau) andHindemith’s complete works for choir and orchestra. Hehas also recorded for Decca’s Entartete Musik series andreleased Wagner’s Ring cycle with Stuttgart State Opera onCD and DVD. Earlier this year he released a live recordingof Beethoven’s Seventh and Eighth symphonies. Several ofLothar Zagrosek’s recordings received major internationalawards, including the Edison Prize, the Cannes ClassicalAward and the Deutsche Schallplattenpreis, and in 2006 he was awarded the Hessischer Kulturpreis in Frankfurt.


Michele Campanella piano

Michele Campanella’s impressive career spans over 35years and he is internationally known as one of the majorinterpreters of Liszt.

Trained at the Vincenzo Vitale school in Naples,Michele Campanella is a versatile artist, with repertoireincluding Clementi, Weber, Poulenc, Busoni, Rossini,Brahms, Prokofiev and Ravel, as well as the completepiano concertos of Mozart and the major original works,transcriptions and paraphrases of Liszt. The Franz LisztAcademy in Budapest has awarded him the Grand Prix du Disque three times (1976, 1977 and 1998), most recentlyfor Franz Liszt – The Great Transcriptions, I-II.

In the 1990s he developed a strong chamber musicpartnership with violinist Salvatore Accardo and cellistRocco Filippini. More recently he has performed asconductor-soloist with several Italian orchestras,including the Accademia Nazionale di Santa CeciliaOrchestra in Rome, the ORT-Orchestra della Toscana,and the Haydn Orchestra of Bolzano and Trento. He has taught piano at the Accademia Chigiana in Siena for20 years, and is a recipient of the prestigious FondazionePremio Napoli and Fondazione Guido e Roberto Corteseawards.

Michele Campanella has performed with many of themajor European and American orchestras, including the Philadelphia Orchestra, Chicago Symphony and SanFrancisco Symphony. Notable conductors with whom he has collaborated include Claudio Abbado, GianluigiGelmetti, Eliahu Inbal, Charles Mackerras, Zubin Mehta,Riccardo Muti, Georges Prêtre, Esa-Pekka Salonen,Wolfgang Sawallisch, Thomas Schippers, Hubert Soudantand Christian Thielemann. His international schedulebrings him frequently to Russia, United Kingdom,Argentina, Asia, Europe and Australia.

His first performance in Australia was in 1978 with the Sydney Symphony, and he has performed since withall the major orchestras in this country. His most recentappearance in Sydney was in 2006, when he performedMozart’s Concerto for two pianos (K365) with MonicaLeone conducted by Gelmetti, and gave a solo recital ofmusic by Haydn, Mozart and Beethoven sonatas.


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. Last year theOrchestra celebrated its 75th anniversaryand the milestone achievements during itsdistinguished history.

Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.

Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender 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 fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, aposition he holds in tandem with thatof Music Director at Rome Opera. As partof his farewell season, he recently led theOrchestra on a tour of Italy, with concertsin eight cities.

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 Symphonyalso maintains an active commissioningprogram promoting the work of Australiancomposers, and recent premieres haveincluded major works by Ross Edwards and Brett Dean, as well as Liza Lim, whowas composer-in-residence from 2004 to 2006.

In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.

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


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13 14

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate Concertmaster

03 Kirsty HiltonAssistant Concertmaster

04 Fiona ZieglerAssistant Concertmaster

05 Julie Batty06 Sophie Cole07 Amber Gunther08 Rosalind Horton09 Jennifer Hoy10 Jennifer Johnson11 Georges Lentz12 Nicola Lewis13 Alexandra Mitchell

Moon Design Chair of Violin14 Léone Ziegler

Marriane Broadfoot

Second Violins

01 Marina MarsdenPrincipal

02 Emma WestA/Associate Principal

03 Shuti HuangA/Assistant Principal

04 Susan DobbiePrincipal Emeritus

05 Pieter Bersée06 Maria Durek07 Emma Hayes08 Stan W Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Brielle Clapson First Violin

Emily Long First Violin#

Emily Qin First Violin#

Manu Berkeljon Second Violin†

Rohana Brown Second Violin†

Alexandra D’Elia Second Violin#

Thomas Dethlefs Second Violin

Belinda Jezek Second Violin

Alexander Norton Second Violin#

Jennifer Curl Viola#

Ludovit Kanta Principal Cello

Rowena Crouch Cello#

Patrick Murphy Cello#

Gordon Hill Double Bass#

Matthew McDonald Double Bass

Kate Lawson Flute†

David Papp Oboe†

Stephanie Pitt Oboe

Alexandra Carson Clarinet

Robert Llewellyn Bassoon#

Greg Taylor Bassoon

Michael Dixon Horn

Alexander Love Horn

John Douglas Percussion

Brian Nixon Percussion#

Owen Torr Harp

Catherine Davis Keyboard

Ben van Tienan Keyboard

# = 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


08Cellos

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01Violas

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04 05 06 07 08 09

01Double Basses

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Harp01 Flutes

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 Tony and Fran Meagher Chair of Principal Cello

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 Neil BrawleyPrincipal Emeritus

04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Gordon Hill(contract, courtesy Auckland Philharmonia)

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


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

Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Euan Harvey06 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet

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 ByrneRogenSi International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

Richard MillerPrincipal

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 06 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba Timpani

01Percussion

02Piano

MUSICIANS


PRINCIPAL PARTNER

GOLD PARTNERS

The Company is assisted by the NSW Government through Arts NSW

SALUTE

PLATINUM PARTNER

MAJOR PARTNERS

GOVERNMENT PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNERS

ITALIAN TOUR 2008 PARTNERS


The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Austrian National Tourist Office

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

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 links Australia’s top performers in the executive andmusical worlds. For information about the Directors’ Chairs program, please callCaroline Sharpen on (02) 8215 4619.

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DIRECTORS’ CHAIRS

01Mulpha Australia Chair of Principal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul SalteriChair of Artistic DirectorEducation, 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 DoubleBass, Kees Boersma

07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding

08Gerald Tapper, Managing Director RogenSi withRogenSi Chair of Trombone, Nick Byrne

09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell

10Andrew Kaldor and RenataKaldor AO Chair of PrincipalOboe, Diana Doherty

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11Andrew Turner and VivianChang Chair of PrincipalViola and Artistic Director,Fellowship Program, Roger Benedict

12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild

13 Tony and Fran Meagher Chair of Principal Cello,Catherine Hewgill

Mr John C Conde AO – ChairmanMr Peter Weiss AM – Founding President,

Maestro’s Circle

Mr Geoff & Mrs Vicki AinsworthMs Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Mr Andrew Kaldor & Mrs Renata Kaldor AO

Mrs Penelope SeidlerWestfield Group

MAESTRO’S CIRCLE


Mrs Catherine Gaskin Cornberg§Jen Cornish °Mr Stan Costigan AO &

Mrs Mary Costigan °*Mr Michael Crouch AO *M Danos °Lisa & Miro Davis *Joan De Hamel °Mr Peter & Mrs Mary Doyle °*Mr Colin DraperMrs Francine J Epstein °Mr and Mrs David Feetham Mr Steve GillettIn memory of Angelica Green §Dr & Mrs C Goldschmidt §Beth Harpley *Mr Ken Hawkings °*Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Doctor Faith M Jones §Mr Noel Keen *Mrs Jannette King *Iven & Sylvia Klineberg *Dr Barry LandaDr & Mrs Leo Leader °Margaret Lederman §Ms A Le Marchant *Mr Joseph Lipski °*Mrs A Lohan *Mr James McCarthy *Mr Matthew McInnes §Ms Julie Manfredi-HughesMs J Millard *‡Helen Morgan *Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A Oppen §Mrs S D O’TooleMrs Roslyn Packer AO °Mr Tom PascarellaDr Kevin Pedemont *Mr & Mrs Michael Potts Mr John Reid AO Catherine Remond °Mr John &

Mrs Lynn Carol Reid §Mr M D Salamon §In memory of H St P Scarlett §Mr John Scott °William Sewell *‡Dr John Sivewright &

Ms Kerrie Kemp ‡Margaret Suthers °Mrs Elizabeth F Tocque °*Mr & Mrs Richard Toltz °Mr Andrew & Mrs Isolde TornyaRonald Walledge °Louise Walsh & David Jordan °Mrs Lucille Warth ‡Mrs Christine WenkartA Willmers & R Pal °‡Dr Richard Wing §Mr Robert Woods *Jill WranMiss Jenny Wu Mrs R Yabsley °§Anonymous (31)

PLAYING YOUR PART

MaestriBrian Abel & the late

Ben Gannon AO °Geoff & Vicki Ainsworth *Mrs Antoinette Albert §Mr Robert O Albert AO *‡Mr Terrey & Mrs Anne Arcus §†Mr Anthony Berg AMAlan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§†Mr John Curtis §Mrs Ashley Dawson-Damer °Eric Dodd†Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*In memory of Hetty Gordon §Mr Harcourt Gough §Mr James Gragam AM &

Mrs Helen Graham †Mr David Greatorex AO &

Mrs Deirdre Greatorex §The Hansen Family §Mr Stephen Johns §†Mr Andrew Kaldor &

Mrs Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mrs T Merewether OAM & the

late Mr E J Merewether Mr James & Mrs Elsie Moore °Mr B G O’Conor °§The Paramor Family *The Ian Potter Foundation °Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Dr John Roarty in memory of

Mrs June RoartyRodney Rosenblum AM &

Sylvia Rosenblum *Mr Paul & Mrs Sandra Salteri °†David Smithers AM & Family °§Mrs Joyce Sproat &

Mrs Janet Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (2) *

VirtuosiMr Roger Allen &

Mrs Maggie GrayMr Charles Barran §Ms Jan Bowen °§Mr Robert & Mrs L Alison Carr §Mrs Emily Chang §Mr Bob & Mrs Julie Clampett °§

Mr Greg Daniel Ian Dickson & Reg Holloway°Mr Ross Grant †Mr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM Helen Lynch AM & Helen Bauer°Mr & Mrs David Milman §The Perini Family FoundationMrs Helen Selle §Ms Ann Sherry AO °Ms Gabrielle Trainor °In memory of Dr William &

Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1)

SoliMr David Barnes °Mr Alexander &

Mrs Vera Boyarsky §Mr Peter Coates Ms Elise Fairbairn-SmithMr Robert Gay §Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mr Philip Isaacs OAM °§Mr Bob Longwell Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mrs Alexandra Martin & the

late Mr Lloyd Martin AM §Mrs Mora Maxwell °§Mr and Mrs John van OgtropMs Robin Potter °§Ms Julie Taylor ‡Mr Geoff Wood &

Ms Melissa Waites †Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (6)

TuttiRichard Ackland °Mr C R Adamson §Mr Henri W Aram OAM §Mrs Joan Barnes °Doug & Alison Battersby °Mr Stephen J Bell *‡Mr Phil Bennett Nicole Berger *Mr Mark BethwaiteGabrielle Blackstock °‡Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §A I Butchart °*Debby Cramer & Bill Caukill §Joan Connery OAM °§Mr & Mrs R Constable °‡Mr John Cunningham SCM &

Mrs Margaret Cunningham °§Mr & Mrs J B Fairfax AM §Mr Russell Farr Mr Ian Fenwicke &

Prof Neville Wills §Anthony Gregg & Deanne

Whittleston ‡Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr Charles Hanna †Rev H & Mrs M Herbert °*Mr A & Mrs L Heyko-Porebski°

Dr & Mrs Michael Hunter §Ms Judy JoyeMr & Mrs E Katz §Mrs Margaret Keogh °*Miss Anna-Lisa Klettenberg §Mr Andrew Korda &

Ms Susan Pearson Mr Justin Lam §Dr Garth Leslie °*Erna & Gerry Levy AM §Mrs Belinda Lim & Mr Arti Ortis §Mr Gary Linnane °§Mr & Mrs S C Lloyd °Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM °Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee Markovic °§Wendy McCarthy AO °Mr Ian & Mrs Pam McGaw *Mrs Barbara McNulty OBE §Kate & Peter Mason °†Justice Jane Mathews AO §Ms Margaret Moore &

Dr Paul Hutchins *Mr Robert Orrell °Mrs Jill Pain ‡Timothy & Eva Pascoe §Ms Patricia Payn °§Mrs Almitt PiattiMr Adrian & Mrs Dairneen Pilton Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Pamela Rogers °‡Mr Brian Russell &

Mrs Irina SinglemanMs Juliana Schaeffer §Robyn Smiles §The Hon. Warwick SmithDerek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Michael &

Mrs Georgina SuttorMr Georges &

Mrs MarlieseTeitler §Dr Heng & Mrs Cilla Tey §Mr Ken Tribe AC &

Mrs Joan Tribe §Mr John E Tuckey °Mrs Merle Turkington °Mrs Kathleen Tutton §Ms Mary Vallentine AO §Henry & Ruth WeinbergAudrey & Michael Wilson °Anonymous (14)

Supporters over $500Ms Madeleine AdamsPTW Architects §Mr John Azarias Mr Chris & Mrs Mary Barrett °Ms Wendy BlackBlack CommunicationsMr G D Bolton °Dr & Mrs Hannes Boshoff §M BulmerHugh & Hilary Cairns *Ms C Cathels °Marty Cameron §Hon. Justice J C &

Mrs Campbell °*Mr Brian CaseyMr B & Mrs M Coles °Dr Malcolm Colley °

Patron Annual

Donations Levels

Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999

To discuss givingopportunities, please call(02) 8215 4619.

° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter † Italian Tour 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.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen Pearse

Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsJulianna SchaefferLeo Schofield AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC

Minister for Primary Industries, Energy, MineralResources and State Development

Dr Richard Sheldrake Director-General, Department of Primary Industries

Mark Duffy Director-General, Department of Water and Energy

Colin Bloomfield Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBilliton

Romy Meerkin Regional Express Airlines

Peter Freyberg Xstrata

Tony McPaul Cadia Valley Operations

Terry Charlton Snowy Hydro

Sivea Pascale St.George Bank

Paul Mitchell Telstra

John Azarias Deloitte Foundation

Greg Jones

Peter King Royal Agricultural Society

Gerard Lawson Sunrice

Grant Cochrane The Land

Sydney Symphony Staff

MANAGING DIRECTOR

Libby ChristieEXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff WilsonARTIST LIAISON MANAGER

Ilmar LeetbergADMINISTRATION ASSISTANT

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret MooreARTIST DEVELOPMENT MANAGER

Bernie Heard

Library

LIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Development

HEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Seleena SemosHEAD OF PHILANTHROPY

Caroline SharpenDEVELOPMENT EXECUTIVE

Kylie AnaniaEVENTS COORDINATOR

Lisa Davies-Galli

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

Public Relations

PUBLIC RELATIONS MANAGER

Yvonne ZammitPUBLICIST

Stuart Fyfe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottMANAGER OF SUBSCRIPTIONS

Rebecca MacFarlingMANAGER OF CLASSICAL SALES

Simon Crossley-MeatesMANAGER OF COMMERCIAL SALES

Penny EvansNETWORK GROUP SALES MANAGER

Lucia CasconeONLINE MANAGER

Kate TaylorMEDIA SERVICES COORDINATOR

Antonia FarrugiaGRAPHIC DESIGNER

Christie HutchinsonDATA ANALYST

Varsha Karnik

Box Office

ACTING MANAGER OF TICKETING &CUSTOMER SERVICE

Paul HansonBOX OFFICE COORDINATOR

Peter GahanCUSTOMER SERVICE REPRESENTATIVES

Michael DowlingErich GockelNatasha Purkiss

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRAMANAGEMENT

Aernout KerbertACTING DEPUTY ORCHESTRAMANAGER

Greg LowACTING ORCHESTRAL COORDINATOR

Stephanie MirowOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian Spence

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTS ASSISTANT

Li LiOFFICE ADMINISTRATOR

Rebecca WhittingtonPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

COMMERCIAL ENTERPRISES

COMMERCIAL ENTERPRISES MANAGER

David PrattRECORDING ENTERPRISES EXECUTIVE

Philip Powers


This is a PLAYBILL / SHOWBILL publication

Publisher

Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office:

1017 Pacific Highway, Pymble, NSW 2073

Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected]: www.playbill.com.au

Operating in Sydney, Melbourne, Canberra, Brisbane,

Adelaide, Perth, Hobart and Darwin

EXECUTIVE CHAIRMAN

Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR

Michael Nebenzahl

EDITORIAL DIRECTOR

Jocelyn Nebenzahl

By arrangement with the Sydney Symphony, this publication isoffered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out orotherwise 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 than that in which it was published,or distributed at any other event than specified on the title page ofthis publication.

Overseas Operations:

New Zealand: Playbill (N.Z.) Limited, Level 5, 94 Dixon Street, PO Box 11-755, Wellington, New Zealand; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose,Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148,Email: [email protected] London: Playbill UK Limited, C/- Everett Baldwin BarclayConsultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill (Malaysia) Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3)7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum ConsultantsPte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett ChownInc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should bedirected to the above company and address.

Entire concept copyright. Reproduction without permission inwhole or in part of any material contained herein is prohibited.

Title ‘Playbill’ is the registered title of Playbill Proprietary Limited.

Title ‘Showbill’ is the registered title of Showbill ProprietaryLimited.

Additional copies of this publication are available by post from thepublisher; please write for details.

15449 – 1/271108 – 44TH/E/G S98/100

SYMPHONY AUSTRALIA LIMITED

Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007GPO Box 9994, Sydney NSW 2001Telephone (02) 8333 1651Facsimile (02) 8333 1678

www.symphony.net.au

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Facsimile (02) 8215 4646

Customer Services:GPO Box 4338, Sydney NSW 2001Telephone (02) 8215 4600Facsimile (02) 8215 4660

www.sydneysymphony.com

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 Publications 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

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, FINANCE & INNOVATION . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, BUILDING DEVELOPMENT & MAINTENANCE . .Greg McTaggartDIRECTOR, COMMERCIAL & OPERATIONS . . . . . . . . . . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

Bennelong PointGPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com

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