SEASON 2008
THE COLOUR OF TIME
Friday 22 August | 8pm
Sydney Opera House Concert Hall
David Robertson conductor and presenter
CLAUDE DEBUSSY (1862–1918)
Prélude à l’après-midi d’un faune
(Prelude to the Afternoon of a Faun)
DEBUSSY
Jeux (Games) – poème dansé
INTERVAL
OLIVIER MESSIAEN (1908–1992)
Chronochromie (Time-Colour)
Introduction –Strophe I –Antistrophe I –Strophe II –Antistrophe II –Epôde –Coda
Estimated timings:10 minutes, 17 minutes, 20-minute interval, 30 minutes.
The performance will conclude at approximately 10.05pm.
Seeing Music, Hearing Colours
I love the moment when something familiar comes alive with a fresh perspective. Sometimes a painting you have seen so often shocks you by presenting a newdetail or a song you have heard dozens of times reveals a surprising, previously unnoticed inner voice. Wehumans are extremely gifted at making connectionsand, when we bridge the apparent gap betweencontrasting ways of experiencing the world around us,the results are frequently inspiring. The beauty in acanvas by Monet or Van Gogh, the sensual excitementin the sounds composed by Debussy or Bartók becomeenchanted islands where we can all discover our ownsecret places of wonder.
In tonight’s concert presentation, the visual and auralworlds of Monet and Debussy are set side by side withprojected images and performed sounds. What I hopeyou will come away with is a renewed appreciation forthe incredible talents and mastery of both artists. Youmay even wonder how it might have resulted hadDebussy turned to painting and Monet to music. In fact, Monet almost seems to approach music’s repetitionand development of themes when he paints his famousseries of the same motif in different lights. Debussy’salmost improvisatory compositions make you feel he is capturing the music at the very moment it happens,paralleling the Impressionist painters’ attempt to render a fleeting visual experience in all its ineffablesplendour.
Although Messiaen was not closely associated withany one movement in the visual arts, his works often act as the most marvellous musical canvases for freeassociation. In Chronochromie, we find a fertile fieldwhere the composer’s experience and love of nature’slandscapes, colours and birdsong all contribute to theformation of his unique world of sound.
I hope the evening will generate some thoughts andideas for your own explorations and insights.
DAVID ROBERTSON
INTRODUCTION
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Claude Debussy (1862–1918)
Prélude à l’après-midi d’un faune
(Prelude to the Afternoon of a Faun)
Pierre Boulez once said that modern music awoke withthe premiere of Prelude to the Afternoon of a Faun. On 22 December 1894, in the Salle d’Harcourt, Paris, thefaun’s flute ushered in a new world of structure, rhythm,harmonic relations and colour, and perhaps, more thanany other single work, reoriented the development ofmusic in the succeeding century.
Debussy’s tone-poem is based on StéphaneMallarmé’s symbolist poem L’Après-midi d’un faune, of1876. Though Ballets Russes choreographer VaslavNijinsky was able to extract a storyline from Mallarmé’satmospheric verse, it was Mallarmé’s deliberatelyblurred descriptions which appealed most to Debussy inthe first place.
Those nymphs, I want to perpetuate them.So bright,
Their light rosy flesh, that it flutters in the airDrowsy with tangled slumbers.
Did I love a dream?My doubt, hoard of ancient night, draws to a closeIn many a subtle branch, which, themselves remaining truewood, prove, alas! that all alone I offeredMyself as a triumph the perfect sin of roses.
The elusiveness of Mallarmé’s text inspired Debussyin his attempt to escape the emphatic and assertivemusic of the German Romantic masters, and uncovernew means of musical narrative.
Debussy’s desire to avoid the ‘polychromatic putty’of some of the scores of 19th-century giants such asWagner can be heard in the exposure of individualinstrumental sonorities. The opening bars for exampleare left to the solo flute. A single sustained discord onclarinets and oboes followed by a weaker discord onmuted lower strings underlies a mere hint of movementfrom French horns and a fleeting wash of colour fromthe harp. Bold declamatory assertions are gone. After the opening ‘action’ there is a bar of silence. Then theminimal gestures simply resume. No concrete sense ofa beat has been established. Within four bars Debussy
ABOUT THE MUSIC
Debussy, etching by Ivan Thièle
(Paris, 1913)
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has circumvented the periodically recurring downbeat,and escaped the ‘tyranny of the barline’.
It is easy to see why Debussy allowed his music to be considered pointillistic (though this was mainlyto counter the label of Impressionism): dabs of colourpiece the opening together; there is no openingrhetorical statement. This music is not going to beargumentative, like symphonic music. More obviousoverall form does become apparent later in the piece –the work could be considered to be in a broad ternaryform with the accompanied repetition of the Faunmelody after the more ‘passionate’ middle section – but it is important to note that this form is notenunciated, as of old, by the sculptured relationship of clear-cut tonalities.
It has been claimed that Debussy alone among themusicians of his time heard the music of the Javaneseand Annamese musicians at the Paris World Exhibitionin 1889 as speaking intimately to him. Perhaps this was because he, uniquely among his European peers,was ready to conceive of a music that was free from the conventions of the symphonic tradition. Debussy’smusic, when it was first heard, was considered ‘vague’,‘insubstantial’, even ‘morbid’ – but that is anunderstandable complaint from those who have notyet adjusted to a new range of aesthetic values.
GORDON KALTON WILLIAMS, SYMPHONY AUSTRALIA ©1997EXCERPT FROM MALLARMÉ’S AFTERNOON OF A FAUNTRANSLATED BY ALAN EDWARDS
Debussy’s Prélude… calls for three flutes, two oboes, cor anglais,two clarinets and two bassoons; four horns; percussion (crotales);two harps and strings.
The Sydney Symphony first performed the Prélude… in 1941 underPercy Code, and most recently in 2005 under Gianluigi Gelmetti.
…the faun’s flute
ushered in a new
sound-world…
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Bakst’s costume design for Nijinsky’s Faun
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Debussy
Jeux (Games) – poème dansé
Jeux, Debussy’s contribution to the heyday of the BalletsRusses, is a close contemporary of Ravel’s Daphnis etChloé and Stravinsky’s Rite of Spring. Alongside thesespectacular showpieces, Jeux is relatively unknown,although composers have long considered it a landmark,prizing it precisely for the elusiveness which makes itso forward-looking. Traditional thematic and harmonicrelationships are present, but raised to a new level ofsophistication and subordinated to a dreamlike, stream-of-consciousness continuity. The orchestra is large, butthe colours are always veiled, the textures simultaneouslycomplex and weightless; Debussy described the intendedeffect as ‘an orchestra with no feet’, and a ‘colour whichseems to be lit from behind’.
For all its subtleties, the score for this ‘dance poem’is unified by one simple idea: the gradual emergence,triumph and dissolution of a waltz-like dance. Seven yearslater, Ravel took up the same structural principle, albeitin apocalyptic form, for La Valse (which Diaghilev rejectedas being fundamentally un-balletic). Despite enormousdifferences, the two works are also linked by theirsophisticated use of dance as metaphor: La Valse symbolisesthe collapse of fin-de-siècle European culture, while thewaltzes in Jeux stand for abandonment to the fleeting –perhaps transgressive – pleasures of the moment.
The initial inspiration for Vaslav Nijinsky’schoreography was a fascination with the qualities of theplayers’ movements in a game of tennis, but the titlerefers equally to the idea of love as a game. In its quietlysubversive way, the work is quintessentially anti-Romantic: here are no grand passions, only namelesscharacters in a flirtatious ménage à trois. According toNijinsky’s memoirs, the already risqué scenario is anencoded representation of a homosexual love triangle,with the two girls standing for boys (impossible to puton the stage in 1913). Regardless of these undercurrents,the prevailing mood is one of innocence and fantasy.
Jeux opens with a mysterious prelude, reminiscent ofDukas’ Sorcerer’s Apprentice, interrupted by anticipations of the dance movement that will dominate the score. The curtain rises on an empty park at nightfall.
…the waltzes in Jeuxstand for abandonment
to the fleeting –
perhaps transgressive –
pleasures of the
moment.
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Suddenly the music freezes on a high chord, followed bya rapid descent: a tennis ball lands on stage, pursued bya young man.
Two girls appear timidly. They are not yet differentiated;each dances alone briefly, but to variations of the samemusic. Discovered by the young man, they want to flee,but he convinces them to stay and begins to dance(spacious string chords introducing a languorous waltz),soon joined by one of the girls. He cajoles a kiss fromher.
Meanwhile the second girl watches mockingly. Herironic dance is the score’s only substantial passage induple time, resisting the romantic sweep of the triplemetre. However, the young man, intrigued, abandons hisfirst conquest and engages in a (musical) tussle with thesecond girl, eventually coaxing her out of duple rhythmsand into a flowing waltz led off by the horns.
Matters come to a screeching halt on high violins, asthe first girl, betrayed, bursts into tears and tries to runaway. Her friend tries to reason with her, their dialoguescored in delicate colours including solo violin andclarinets. The young man intervenes, and the waltzrhythms resume as all three begin to dance together,tentatively at first but then more and more passionately.The dance builds to an ecstatic triple kiss, set to a longdrawn-out, echoing phrase, followed by exquisitelytender music for solo strings, harps and two piccolos.
The spell is rudely broken as a second tennis ball,thrown by an unseen hand, lands at the dancers’ feet.(According to one – perhaps unreliable – informant,Nijinsky originally wanted the interruption caused byan aeroplane crashing onto the stage!) They disappear,alarmed, into the darkness, as the eerie music of the veryopening returns. This is not quite the last word, though:Debussy gently dispels the fantasy with the musicalequivalent of a bemused shrug.
ELLIOTT GYGER ©2007
Debussy’s Jeux calls for two flutes, two piccolos, three oboes, coranglais, three clarinets, bass clarinet, three bassoons andcontrabassoon (taking the sarrusophone part); four horns, fourtrumpets, three trombones and tuba; timpani and percussion(xylophone, triangle, tambourine, cymbals); two harps, celesta andstrings.
The Sydney Symphony gave the first Australian performance of Jeuxin 1951 under Eugene Goossens.
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Nijinsky in the Paris (1913) production
of Jeux. (Photograph by Charles
Gerschel)
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Olivier Messiaen (1908–1992)
Chronochromie
Introduction –Strophe I –Antistrophe I –Strophe II –Antistrophe II –Epôde –Coda
For a period of about a dozen years, from 1949 to theearly 1960s, Messiaen was not just a mentor to theyoung post-war avant-gardists: he was a major playeramongst them. His piano study Mode de valeurs etd’intensités (1949), which the 22-year-old Stockhausendescribed as ‘fantastic star music’, unleashed anuncompromising young serialist avant-garde, devoted to sweeping away every trace of the past.
For a while, Messiaen’s music seemed to followa parallel course, though with one very significantdifference: his use of birdsong. In the last movementof his work for organ, Livre d’orgue (1951), a huge,abstract rhythmic scheme was ‘coloured’ by his owntranscriptions of birdsong, and from that time on, themusic of the birds became central to his own music.Perhaps this was in part a refuge from a perceived crisis in ‘human music’ at the time, but its origins go a long way back: even in his student days, Paul Dukashad advised him to learn from birdsong. And in aconversation published in 1960, the year thatChronochromie was completed, Messiaen went so far as to comment that: ‘despite my profound admiration forthe folklore of all countries, I do not believe one canfind in any human music, however inspired, melodiesand rhythms which have the sovereign liberty ofbirdsong.’
The title Chronochromie means ‘the colour of time’,or perhaps more accurately ‘coloured time’. In hispreface to the score, Messiaen refers to a complexunderlying scheme of durations (reminiscent of theLivre d’orgue), and explains that the melodies andsonorities, drawing on birdsong from France, Sweden,Japan and Mexico, ‘are placed at the service of thedurations, which they underline by colouring them.
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Thus colour serves to make clear the cutting up of time.’But the listener’s priorities are likely to be the other wayaround: it is the sound of the orchestra, sometimesmassive, more often glittering and mercurial, thatcatches the ear, while the temporal schematics recedeinto the background. Messiaen’s orchestra is large(about 100 players), but while every player is engaged atsome point or another in the presentation of birdsong,pride of place goes to three of the six percussionists,who perform with unremitting virtuosity onglockenspiel, xylophone and marimba.
Chronochromie is in seven linked sections (Messiaentakes the unusual step of notating the interveningpauses exactly, as silent bars). The Introduction is akaleidoscope of different musics – birdsong, but alsoevocations of wind and sea – ending in a massive andastringent sort of chorale. As for the five middlesections, the terms strophe, antistrophe and epodenotionally refer to the structure of Greek choral odes,but here they merely denote two pairs of contrastedsections (strophe and antistrophe), with a final part thatleads in yet another direction. The strophes presenta dense counterpoint of birdsong in wind andpercussion, and are more or less consistent in texturethroughout, whereas the antistrophes consists of manybrief contrasting sections, in which all the instrumentsinvolved fuse together into a single ‘maxi-bird’. The Epôde – undoubtedly the most provocative partof the work, and the cause of a near-riot at one earlyperformance – is a dense 18-part counterpoint ofbirdsong, this time for solo strings (12 violins, fourviolas, two cellos). The Coda brings back thekaleidoscopic materials of the Introduction in a differentsequence, though ending with the same huge blockchords.
RICHARD TOOP ©2001
Chronochromie is scored for three flutes, piccolo, two oboes, coranglais, two clarinets, bass clarinet, E flat clarinet, and threebassoons; four horns, four trumpets, three trombones and tuba;percussion (xylophone, marimba, chimes, suspended cymbal,Chinese cymbal, tam-tam, three gongs, keyboard glockenspiel) andstrings.
The Sydney Symphony first performed Chronochromie in 1977, withHiroyuki Iwaki; and more recently in 1983 with Louis Frémaux and in 2001 with Reinbert de Leeuw.
‘I do not believe one
can find in any human
music, however
inspired, melodies and
rhythms which have
the sovereign liberty
of birdsong.’
MESSIAEN
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PRELUDE TO THE AFTERNOON OF A FAUN
Branch of the Seine, near Giverny (1897) by Claude Monet (Musée d’Orsay, Paris/Giraudon/The Bridgeman Art Library)
Monet’s paintings of the same motif under different atmospheric
conditions are inherently musical in their attempt to capture time and
fluid sensation.
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Branch of the Seine, near Giverny, Mist (1897) by Monet (Mr and Mrs Martin A Ryerson Collection, The Art Institute of Chicago)
GLOSSARY
COUNTERPOINT – two or more differentmusical lines or melodies played at thesame time.
EPODE – in ancient Greek choral odes, thethird section of the structure.
SERIALISM – serialism commonly refers to the technique (devised by ArnoldSchoenberg) of organising a musicalcomposition by means of a tone row, inwhich each of the 12 available notes in theoctave (‘black’ and ‘white’ notes) must beplayed in the given sequence before anynote can be repeated. Rows can betransposed, inverted, mirrored and so on,giving an almost limitless number of pitchcombinations. The goal in a ‘pure’ use ofthe 12-note technique is to undermineconventional tonality and to thwart theear’s natural inclination to hear tonalrelationships between different pitches.
STROPHE – the first section in an ancientGreek choral ode; the ANTISTROPHE thenfollows as the second section.
TERNARY FORM – a more or lesssymmetrical three-part structure in whichthe material of the first section returnsafter a contrasting middle section.
TONALITY – another word for referring to‘key’ in music. In Western music there aretwo main categories of scale or tonality,major and minor, which are differentiatedby the patterns of intervals between thenotes. Aurally, a major scale will sound‘brighter’ or more cheerful, while a minorscale will sound sombre or mournful(‘Happy Birthday’ is in a major key, funeralmarches are in minor keys). The keynote or main note of a scale gives it its name(e.g. C minor, a minor scale beginning onthe note C, or F major, a major scalebeginning on F).
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.
Claude Monet (1840–1926) in his garden (silver print, 1880) (b/w photo) attributed to Theodore Robinson (1852–96) Musée Marmottan, Paris, France / Giraudon / The Bridgeman ArtLibrary
Stéphane Mallarmé (1842–98) (b/w photo, 19th century) byFrench photographer Bibliothèque Nationale, Paris, France / Archives Charmet / The Bridgeman Art Library
Claude Debussy (1862–1918) (b/w photo) by Paul Nadar(1856–1939) Private Collection / The Bridgeman Art Library
Branch of the Seine Near Giverny (oil on canvas, 1897) byClaude Monet (1840–1926) Musée d’Orsay, Paris, France / Giraudon / The Bridgeman Art Library
Manuscript of Debussy’s L’après-midi d’un faune, 1st page
The Robert Owen Lehman Collection, on deposit at the PierpontMorgan Library, New York
Branch of the Seine Near Giverny (Mist) from the Mornings
on the Seine series (oil on canvas, 1897) by MonetMr and Mrs Martin A Ryerson Collection, The Art Institute ofChicago. Photograph ©The Art Institute of Chicago.
Morning on the Seine, Giverny (oil on canvas, 1897) by MonetMead Art Museum, Amherst College, Amherst, MA. Bequest ofSusan Dwight Bliss.
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Morning on the Seine, Giverny (oil on canvas, 1897) by MonetMuseum of Fine Arts, Boston
Morning on the Seine, near Giverny (oil on canvas, 1897) by MonetThe Metropolitan Museum of Art / Art Resource / Scala, Florence
The Seine at Giverny, Morning Mists (oil on canvas) by MonetNorth Carolina Museum of Art, Raleigh, Purchased with funds from the Sarah Graham Kenan Foundation and the NorthCarolina State Art Society (Robert F. Phifer Bequest).
Three panels from Water Lilies (oil on canvas, 1920) by MonetPhotograph SCALA, Florence ©2008. Image ©The MetropolitanMuseum of Art / Art Resource / Scala, Florence
Gamelan Orchestra in Java, Indonesia (photograph)©J Highet / Lebrecht Music and Arts
‘The Second Coming of Christ’ – Rose Window from the
south transept of Chartres Cathedral
Photograph: akg-images / Erich Lessing
Polar Red by Sam FrancisLicensed by VISCOPY, Australia, 2008
Blue Poles by Jackson PollockLicensed by VISCOPY, Australia, 2008
Do-Do-Do by Yves KleinLicensed by VISCOPY, Australia, 2008
Image Credits
Production CreditsStephanie Mirow, Producer/Image researchRaff Wilson, Supervising producerInteractive Originals, Image design and production
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MORE MUSIC
Selected Discography
DAVID ROBERTSON
Acclaimed for his performances of 20th-centuryrepertoire, David Roberton’s discography includes:
Bartók: The Miraculous Mandarin
Lyon National Orchestra and Chorus perform Bartók’sstunning ballet score. Also on the disc: Dance Suite for orchestra and Four Pieces for orchestra.HARMONIA MUNDI 901777
Boulez: Rituel in memoriam Bruno Maderna
This all-Boulez disc with the Lyon National Orchestraalso includes Notations for orchestra.NAIVE 82163
DEBUSSY
Pierre Boulez’s 1993 Grammy-nominated recording of Jeux with the Cleveland Orchestra is a benchmark.Also on this recording: La Mer, the Nocturnes, and the Première Rhapsodie for clarinet and orchestra, with the Cleveland Orchestra’s Franklin Cohen assoloist.DEUTSCHE GRAMMOPHON 439896
Boulez’s recording of Prélude à l’après-midi d’un faunewith the New Philharmonia Orchestra can be found on a 2-CD set of Debussy’s orchestral works. This setalso includes Jeux (also with the New Philharmonia).SONY 68327
Both Jeux and the Prélude… are available in anexcellent Philips Duo release that includes most ofDebussy’s orchestral music. The orchestra is the Royal Concertgebouw and Bernard Haitink is theconductor. Also in the collection is La Mer, Imagesfor orchestra, and the three Nocturnes, as well as theconcertante works featuring harp and clarinet.PHILIPS 438742
MESSIAEN
Boulez’s recording of Chronochromie with theCleveland Orchestra is matched with La ville d’en hautand Et exspecto resurrectionem mortuorum.DEUTSCHE GRAMMOPHON 445827
SEPTEMBER
5 September, 8pmGRIEG’S PIANO CONCERTO
Eivind Gullberg Jensen conductorGabriela Montero pianoGrainger, Grieg, Honegger
9 September, 8pmSYMPHONY AUSTRALIA
YOUNG PERFORMERS AWARDS
STAGE III FINAL – STRINGS
Adelaide Symphony OrchestraVladimir Verbitsky conductorInclude Sydney Symphony double bassDavid Campbell performing Bottesini’s Double Bass Concerto No.2 in B minor
20 September, 8pmGELMETTI’S FAREWELL
Gianluigi Gelmetti conductorBeethoven, Wagner, Verdi, Mascagni, Verdi, Ravel
24 September, 1.05pmWEST SIDE STORY
Wayne Marshall conductorGoldmark, Bernstein
27 September, 8pmMOZART & GRIEG
Michael Dauth violin-directorJasminka Stancul pianoGrieg, Mozart, Bridge
Broadcast Diary
Selected Sydney Symphony concerts are recorded forwebcast by BigPond and are available On Demand.Visit: sydneysymphony.bigpondmusic.comJuly webcast:MAHLER 1
Available On Demand
sydneysymphony.com
Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.
2MBS-FM 102.5
SYDNEY SYMPHONY 2008
Tue 9 September, 6pm
What’s on in concerts, with interviews and music.
Webcast Diary
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JEUX (GAMES)
The rich variety in Monet’s Water Lilies is composed through careful
observation and blending of the same few elements. In Debussy’s Jeuxthe complex musical textures are created out of the interaction of a small
number of ideas which are in constant flux.
Central panel from Water Lilies by Monet (Metropolitan Musem of Art/SCALA, Florence)
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CHRONOCHROMIE (TIME-COLOUR)
‘The Second Coming of Christ’ – Rose Window from the south transept of Chartres Cathedral (akg-images/Erich Lessing)
Messiaen was both profoundly religious and blessed with synæsthesia,
so when he observed a stained glass window, it sounded to him like the
music of light.
ABOUT THE ARTIST
David Robertson conductor and presenter
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ODavid Robertson is currently Music Director of the St Louis Symphony Orchestra and Principal GuestConductor of the BBC Symphony. He was the firstartist ever to simultaneously hold the posts of MusicDirector of the Orchestre National de Lyon and ArtisticDirector of that city’s Auditorium (2000–2004). From1992 to 2000 he was Music Director of the Paris-basedEnsemble Intercontemporain. David Robertsoncontinues to guest conduct nationally andinternationally. Additional credits have included theLondon Symphony Orchestra, Orchestre de Paris, andNHK Symphony, among others. In North America, heregularly guest conducts the New York Philharmonic,Chicago Symphony Orchestra, Philadelphia Orchestra,and San Francisco Symphony. With over 45 operas in his repertoire, his opera house credits include theMetropolitan Opera, La Scala, Opéra de Lyon, BavarianState Opera, Théâtre du Châtelet, Hamburg State Operaand San Francisco Opera.
Born in Santa Monica, California, David Robertsonwas educated at London’s Royal Academy of Music,where he studied French horn and composition beforeturning to conducting. He is the recipient of ColumbiaUniversity’s 2006 Ditson Conductor’s Award, and he and the St Louis Symphony received the ASCAP MortonGould Award for Innovative Programming for the2005–06 season from the American Symphony OrchestraLeague. Musical America named him Conductor of theYear for 2000.
David Robertson is credited with creating and leading many outreach programs with the EnsembleIntercontemporain and Orchestre National de Lyon,and has worked with students at the Paris Conservatory,Juilliard, Tanglewood, the National Orchestra Institute in Maryland, Aspen Music Festival and as part ofCarnegie Hall’s Perspective series. His recordings includeworks by composers such as Adams, Bartók, Boulez,Carter, Dusapin, Dvorák, Ginastera, Lalo, Milhaud,Reich, Saint-Saëns, and Silvestrov.
David Robertson first conducted the SydneySymphony in 2003, and most recently in 2006.
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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 duringits distinguished 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, a positionhe holds in tandem with that of MusicDirector at Rome Opera. Maestro Gelmetti’sparticularly strong rapport with Frenchand German repertoire is complementedby his innovative programming in theShock of the New concerts.
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 ofAustralian composers, and recentpremieres have included major works byRoss Edwards and Brett Dean, as well asLiza Lim, who was composer-in-residencefrom 2004 to 2006.
In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.
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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
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
Leigh Middenway First Violin
Michele O’Young First Violin
Emily Qin First Violin#
Martin Silverton First Violin
Manu Berkeljon Second Violin†
Rohana Brown Second Violin
Alexandra D’Elia Second Violin#
Belinda Jezek Second Violin
Alexander Norton Second Violin#
Jacqueline Cronin Viola#
Jennifer Curl Viola#
Tahlia Petrosian Viola
Minah Choe Cello
Rowena Crouch Cello#
Anna Rex Cello
Timothy Walden Cello
Lauren Brandon Double Bass
Jill Griffiths Double Bass
Gordon Hill Double Bass#
Ann Peck Oboe
Robert Llewellyn Bassoon#
Joshua Clarke Trumpet
Ian Cleworth Percussion
Timothy Constable Percussion
Philip South Percussion
Miriam Lawson Harp
# = 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
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08Cellos
09 10 11 01 02 03
01Violas
02 03 04 05 06 07
04 05 06 07 08 09
01Double Basses
02 03 04 05 06 07
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 Mr Tony & Mrs Frances 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
25 | Sydney Symphony
Cor Anglais Clarinets Bass Clarinet
Oboes
01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe
02 Shefali PryorAssociate Principal
Cor Anglais
Alexandre OgueyPrincipal
Clarinets
01 Lawrence Dobell Principal
02 Francesco CelataAssociate Principal
03 Christopher Tingay
Bass Clarinet
Craig WernickePrincipal
Bassoons
01 Matthew WilkiePrincipal
02 Roger BrookeAssociate Principal
03 Fiona McNamara
Contrabassoon
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 ByrneRogen International Chair of Trombone
Bass Trombone
Christopher Harris Trust Foundation Chair of Principal Bass Trombone
Tuba
Steve RosséPrincipal
Timpani
01 Richard MillerPrincipal
02 Adam JeffreyAssistant Principal Timpani/Tutti Percussion
Percussion
01 Rebecca LagosPrincipal
02 Colin Piper
Piano
Josephine AllanPrincipal (contract)
01Bassoons Contrabassoon Horns
02 03 01 02 03
01Oboes
02 01 02 03
04 05 06 01Trumpets
02 03 04
01Trombones
02 03Bass Trombone Tuba
01Timpani
02
01Percussion
02Piano
MUSICIANS
The Company is assisted by the NSW Government through Arts NSW
SALUTE
PRINCIPAL PARTNER
PLATINUM PARTNER
MAJOR PARTNERS
GOVERNMENT PARTNERS
GOLD PARTNERS
26 | Sydney Symphony
27 | Sydney Symphony
The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.
SILVER PARTNERS
REGIONAL TOUR PARTNERS
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 linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please call (02) 8215 4619.
01 02 03 04 05
06 07 08 09 10
11 12
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
GR
EG B
AR
RET
T
KEI
TH S
AU
ND
ERS
13
KEI
TH S
AU
ND
ERS
11Andrew Turner and VivianChang Chair of PrincipalViola and Artistic Director,Fellowship Program, Roger Benedict
12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild
13 Mr Tony & Mrs FrancesMeagher Chair of PrincipalCello, Catherine Hewgill
28 | Sydney Symphony
29 | Sydney Symphony
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 §†Alan & 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 §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 EJ 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 Anthony Berg AMMr 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 °§Mrs Ashley Dawson-Damer °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 Matthews §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 and Mrs Georgina
SuttorMr Georges & Mrs Marliese
Teitler §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.
30 | Sydney Symphony
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 Matthews AO*Danny MayWendy McCarthy AO
John MorschelGreg ParamorDr Timothy Pascoe AM
Stephen Pearse
Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna 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 OPERATIONS
Wolfgang Fink
Artistic Administration
ARTISTIC ADMINISTRATION MANAGER
Raff WilsonARTIST LIAISON MANAGER
Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR
Lisa Davies-GalliADMINISTRATION ASSISTANT
Catherine Wyburn
Education Programs
EDUCATION MANAGER
Margaret MooreEDUCATION COORDINATOR
Bernie Heard
Library
LIBRARIAN
Anna CernikLIBRARY ASSISTANT
Victoria GrantLIBRARY ASSISTANT
Mary-Ann Mead
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Rory Jeffes
Development
CORPORATE RELATIONS MANAGER
Leann MeiersCORPORATE RELATIONS EXECUTIVE
Julia OwensCORPORATE RELATIONS EXECUTIVE
Seleena SemosDEVELOPMENT EXECUTIVE
Kylie Anania
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 Elliott
Customer Relations
MARKETING MANAGER – CRM
Rebecca MacFarlingDATA & ONLINE TECHNOLOGY MANAGER
Marko LångONLINE MANAGER
Kate Taylor
Marketing Communications
MARKETING MANAGER – TRADITIONALMARKETS
Simon Crossley-MeatesMARKETING MANAGER – NEW MARKETS& RECORDINGS
Penny EvansMARKETING COORDINATOR
Antonia Farrugia
Box Office
BOX OFFICE MANAGER
Lynn McLaughlinBOX OFFICE COORDINATOR
Peter GahanCUSTOMER SERVICE REPRESENTATIVES
Michael DowlingErich GockelNatasha Purkiss
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRAMANAGEMENT
Aernout KerbertDEPUTY ORCHESTRA MANAGER
Lisa MullineuxORCHESTRAL COORDINATOR
Greg LowTECHNICAL 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
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