WELCOME MESSAGE FROM PAUL FEGAN It is with great pleasure that I welcome you to the Sydney Symphony Mozart in the City series for 2008. We at St.George are delighted to continue our partnership in 2008 after a successful 2007 and the Orchestra’s 75th anniversary celebrations. The Sydney Symphony has become an important part of Sydney’s cultural calendar, delighting people of all ages with powerful musical experiences. Whether playing for tens of thousands in the Domain, in the concert hall of the Opera House or in the relative intimacy of the City Recital Hall, the Sydney Symphony makes each venue its own, to the enchantment of the audience. In 2008 our involvement will see four wonderful performances at City Recital Hall as part of the Mozart in the City series. We are very excited to play a role in bringing this beautiful music to the Australian public and we sincerely hope you enjoy the experience. St.George is very committed to the arts and we are excited to strengthen that link to this widely acclaimed orchestra. In the same way that the Sydney Symphony offers a breadth of musical talent and commitment to both contemporary and classical music, at St.George we cater to a wide range of financial needs. We are committed to becoming Australia’s most respected service company and I encourage you to experience the St.George difference today. We sincerely hope that you enjoy the beautiful experiences that will be part of the Sydney Symphony Mozart in the City series. Chief Executive Officer St.George Bank Ltd.
Transcript
WELCOME MESSAGE FROM PAUL FEGAN
It is with great pleasure that I welcome you to the Sydney Symphony
Mozart in the City series for 2008.
We at St.George are delighted to continue our partnership in 2008 after a
successful 2007 and the Orchestra’s 75th anniversary celebrations.
The Sydney Symphony has become an important part of Sydney’s cultural
calendar, delighting people of all ages with powerful musical experiences.
Whether playing for tens of thousands in the Domain, in the concert hall of
the Opera House or in the relative intimacy of the City Recital Hall, the Sydney
Symphony makes each venue its own, to the enchantment of the audience.
In 2008 our involvement will see four wonderful performances at City Recital
Hall as part of the Mozart in the City series. We are very excited to play a role
in bringing this beautiful music to the Australian public and we sincerely hope
you enjoy the experience.
St.George is very committed to the arts and we are excited to strengthen that
link to this widely acclaimed orchestra. In the same way that the Sydney
Symphony offers a breadth of musical talent and commitment to both
contemporary and classical music, at St.George we cater to a wide range of
financial needs.
We are committed to becoming Australia’s most respected service company
and I encourage you to experience the St.George difference today.
We sincerely hope that you enjoy the beautiful experiences that will be part
of the Sydney Symphony Mozart in the City series.
Chief Executive Officer
St.George Bank Ltd.
SEASON 2008
MOZART IN THE CITY
PRESENTED BY ST.GEORGE
MOZART IN ITALY
Thursday 14 August | 7pm
City Recital Hall Angel Place
Michael Dauth violin-directorOrli Shaham piano
GIOACCHINO ROSSINI (1792–1868)
String Sonata No.1 in G
ModeratoAndantino Allegro
WOLFGANG AMADEUS MOZART (1756–1791)
Piano Concerto No.21 in C, K467
Allegro maestosoAndanteAllegro vivace assai
OTTORINO RESPIGHI (1879–1936)
Ancient Airs and Dances: Set III
Italiana Arie di corte SicilianaPassacaglia
This concert will be recorded forbroadcast across Australia on ABC Classic FM 92.9
Pre-concert talk by David Garrettat 6.15pm in the First FloorReception Room.
There are many ways of appreciating ‘old’ music. If youthink of tonight’s Mozart as the Elvira Madigan concerto,you’re probably showing your age. That rather soft-focusfilm with part of the slow movement in the soundtrackhasn’t proved very durable. But it did give 1960saudiences a whiff of some marvellous music – not justMozart, but Vivaldi too. They go together well. YoungMozart, his father decided, had to go to Italy, the fountof music, and soak up all he could. Certainly in hisconcertos Mozart equalled or surpassed anything fromItaly, at least since Vivaldi. Mozart’s genius re-imaginedthe singing voice of Italian opera in instrumental terms.So this piano concerto’s slow movement could be anidyllic reverie in an operatic drama.
So taken was Rossini with the northerners Haydn and Mozart who had picked up the baton of compositionfrom Italy that he was dubbed ‘il tedeschino’: the littleGerman. When still a mere boy, Rossini at the Ravennaresidence of an amateur double bass player penned‘sonatas’ for strings. He later disparaged them, yet the last century rediscovered them with delight. A precociousboy’s assimilation of the style in which Mozart hadworked, in their lively freshness they prefigure theRossini operas that put Italy back on the musical map.
By the beginning of the 20th century, some Italianmusicians were well aware that in instrumental music,their opera-mad compatriots had dropped the ball. Noone did more to put this right than Ottorino Respighi.Not just in the technicolor tone-poems in which he tookon the Russians and Germans at their own game, but alsoby dressing up music from Italy’s Renaissance heydayin up-to-date instrumental garb. The later revival of thismusic in its original instrumentation and manner hasmade some people rather sniffy about Respighi’s AncientAirs and Dances, The Birds, and so on. But you won’t beshowing your age if you enjoy this Respighi. He foundthese old Italian pieces beautiful, and he’ll make you feelthat, too.
INTRODUCTION
5 | Sydney Symphony
Gioacchino Rossini (1792–1868)
String Sonata No.1 in G major
Moderato Andantino Allegro
With typically self-deprecating wit Rossini inscribed theset of six quartets (Sonate a quatro), which he claimed tohave composed in 1804 when he was only 12 years old,as follows: ‘Parts for first violin, second violin,violoncello, and double bass of six horrid sonatascomposed by me during my holidays (near Ravenna) atthe country estate of my friend and patron AgostinoTriossi, in my very early childhood, and not having had a single harmony lesson; the whole composed and copied out in three days, and given a perfectly doggishperformance by Triossi, double bass; his cousin Morini,first violin; the latter’s brother, cello, and myself playingthe second violin, who was, to speak the truth, slightly theleast doggish of the lot!’
For years, posterity could well agree with Rossini’sassessment, because these works were known only intranscriptions for conventional string quartet and forwind quartet, made by a musical hack and publishedagainst the composer’s wishes. It was a revelation whenthe original versions for two violins, cello and doublebass were discovered in the Library of Congress,Washington. They turned out to be so skilfully writtenthat doubt has been cast on Rossini’s claim that he wrotethem at age 12.
The important part for double bass can be explainedby the hobby of Rossini’s host, Triossi. The writing for all the instruments is virtuosic, and the cello rarelydoubles the bass part, but is often brought forward forsolo passages. These sonatas are now more often heardfrom a string orchestra than in their original scoring,but passages like these can sound more efffective whenplayed one to a part.
The first sonata opens with a blithely insouciant theme,typical of the winning freshness of all these pieces. No less attractive themes follow, and the double bass getsa smile-raising solo. The development, such as it is, israther Mozartian. It is hard to believe that young Rossinidid not know the music of Haydn and Mozart, but wherecould he have heard it, before he had a music lesson?
ABOUT THE MUSIC
6 | Sydney Symphony
7 | Sydney Symphony
…the double bass
sheds all restraint and
assumes the tone of
the fairground…
A few years later he became known as Il tedeschino (thelittle German) because of his enthusiasm for thesecomposers – but could it be that he was alreadyinstinctively on their wavelength?
The slow movement in E minor has a wonderfulostinato for the double bass, while the third movement,a rondo, is the most Italian, with coruscating writing forthe fiddles, and an episode in which the double basssheds all restraint and assumes the tone of thefairground, which Rossini knew well from his travelsaround the Romagna with his itinerant musician parents.
According to existing records this is the Sydney Symphony’s firstperformance of this string sonata.
Rossini claimed to have composed his string sonatas when he was 12 years old;
four of the six were published, as string quartets, in Milan in 1825–26.
8 | Sydney Symphony
Wolfgang Amadeus Mozart (1756–1791)
Piano Concerto No.21 in C, K467
Allegro maestosoAndanteAllegro vivace assai
Orli Shaham piano
This concerto is one of six Mozart completed betweenFebruary 1785 and December 1786, during which time healso wrote The Marriage of Figaro. They were composed for a series of subscription concerts intended to raisemoney and consolidate Mozart’s position with theViennese public, both as performer and composer. Hefinished the Concerto in C on 9 March 1785, only a monthafter the Concerto in D minor, and apparently played itat a concert in the Royal Imperial National Court Theatrethe next day.
It is an interesting comment on changing attitudes to Mozart that this concerto, the antithesis of the stormy,even demonic D minor concerto, K.466 (often admired,wrongheadedly, for showing a ‘Beethovenish’ Mozart),should have joined, perhaps even surpassed its immediatepredecessor in popularity. This is not just because atantalisingly truncated part of the slow movement wasused in the soundtrack of the film Elvira Madigan, thoughthat no doubt helped.
One would prefer to think that greater familiarity andsympathy with Mozart had led to the realisation that hismusic is not necessarily at its richest and most impressivewhen it breathes the accents of Romantic pathos. Anyonewho loves the operas The Marriage of Figaro or Così fan tutte should love this concerto. It is like a dialoguebetween two partners, piano and orchestra, speakingdifferent languages but to the same purpose: heroic ormock heroic, coruscating and massive by turns in the first movement; a dream of beauty speaking of a passionfreed from earthly trammels in the second; a comic operascene with a quicksilver leading character in the third.
Listening Guide
The march theme which opens the concerto (so simple:just the notes of the common chord), is charminglydescribed by Cuthbert Girdlestone in his book on Mozart’spiano concertos as a tiptoed march, in stockinged feet.
9 | Sydney Symphony
The tempo indication maestoso (majestically) may not beMozart’s, but it correctly identifies the breadth which issoon proclaimed by the full orchestra. The elaboratelyprepared entry of the soloist, who is eventually called inby repeated invitations from solo wind instruments, setsthe tone for the movement – the piano’s material seemsconcerned to be as different as possible from that of thetutti. Every time the opening march is stated, the pianobranches off into quite different excursions. The pianopart is of a virtuosity at least equal to anything in Mozart’sconcertos thus far, and comparable with that of the verydifferent D minor concerto. But the orchestra is a veryfull partner – indeed Mozart’s father Leopold commentedafter reading the parts, ‘The concerto is astonishinglydifficult, but I very much doubt whether there are anymistakes, as the copyist has checked it. Several passagesdo not harmonise unless one hears all the instrumentsplaying together.’
The slow movement in F induces its rapture by themagic of its atmosphere, with the piano as one voice among many in a lapping, throbbing texture of mutedstrings and long-breathed winds. The piano here is asinger, as though Mozart was dreaming at the keyboard of an aria where the limitations of the human voice were overcome. This is Alfred Einstein’s insight, andGirdlestone adds that this is the most beautiful of whathe calls Mozart’s ‘dream Andantes’ (which include those of the Violin Concerto K.216 and Symphony No.34).
Many writers on Mozart confess themselves a littledisappointed with the Rondo which concludes theconcerto – finding in it little that is searching or exquisite.Doesn’t this show the instinctive soundness of Mozart’sjudgment? How better to refresh the ear almost surfeitedwith beauty and intensity than with this playful banter,full of irregularities and witty interplay between pianoand wind instruments, not to mention the revelling inpowers of execution with which Mozart must have liftedhis audience to its feet?
This concerto calls for flute, two oboes, two bassoons, two horns and two trumpets; timpani and strings.
The Sydney Symphony first performed this concerto in 1939 withGeorge Szell and pianist Artur Schnabel, and most recently in the 2001 Mozart series with director John Harding and pianist David Tong.
‘It is like a dialogue
between two partners…
speaking different
languages but to the
same purpose.’
10 | Sydney Symphony
Ottorino Respighi (1879–1936)
Ancient Airs and Dances: Set III
Italiana Arie di corte SicilianaPassacaglia
Respighi is an intriguing figure in 20th-century musicand perhaps a composer whose time is only now arriving.Like Vaughan Williams in England, the Italian-born,Russian- and German-educated Respighi’s compositionalinfluences virtually bypassed the Romantic and Classicalperiods altogether. As Schoenberg, Berg and Webernpushed the musical gestures of late-Romanticism intothe austere realms of twelve tones, and Stravinskyrediscovered ‘pure’ Classicism, Respighi went his own quiet way in his native Bologna, writing highly-distinctive works influenced by the mediæval modes,Gregorian chant, 16th- and 17th-century lute music andmadrigals.
Respighi’s major orchestral works such as thepicturesque The Fountains of Rome (1914–16), ConcertoGregoriano for violin and orchestra (1921) and The Pines of Rome (1923–24) have never lacked an appreciativeaudience, nor great conductors such as Toscanini andKarajan to champion their cause, but they have alwaystended to be underrated by critics. Respighi’s brief entryin the 1980 first edition of the New Grove Dictionary ofMusic and Musicians typically for its time describes the‘undeniable limitations of Respighi’s art’, which, perhapseven more unfortunately, are linked to ‘limitations ofhis personality’:
Though a man of considerable culture, [Respighi] remainedat heart...very simple, even childlike...When deeper emotionsbreak through the music’s glittering surface, they often recall the fresh, radiant emotions of a child.
The misunderstanding and critical neglect seem to stemfrom the fact that Respighi was an ‘ancient’ in a ‘modern’world. Perhaps now that the ‘pre-Classical’, often modal,works of modern composers such as Górecki, Pärt andTavener are top of the pops, Respighi’s music, whichshares so many of the same attributes, will now find awider audience. If nothing else it can be appreciated forits lyrical inspiration and sophisticated orchestration(learned from his teacher Rimsky-Korsakov) alone.
11 | Sydney Symphony
Respighi composed three sets of Ancient Airs andDances, dating from 1917, 1924 and 1932 respectively,and in the same year in which the third set appeared,he, along with nine other Italian composers, issued acompositional manifesto which noted in part: ‘We areagainst art which cannot and does not have any humancontent and desires to be merely a mechanicaldemonstration and a cerebral puzzle…’ In arguing thatold musical forms return to fashion in cycles – a factagain demonstrated recently in the work of Górecki,Pärt and Tavener – Respighi attacked the value of thesupposed ‘innovations’ embodied in atonal music. Thethird set of Ancient Airs and Dances sought to prove the point.
Scored for string orchestra only (the other two sets arefor full orchestra), the third set is based on music writtenin the 16th and 17th centuries. Respighi first encounteredthe pieces in a variety of scholarly editions prepared bythe Italian musicologist Oscar Chilesotti in the late 19thcentury and he orchestrated them so as to preserve theirmelodic and harmonic character, while making themmore gratifying to modern ears.
The Third Set opens with a charming Italiana by ananonymous 16th-century composer. A medley of severalsongs by Jean-Baptiste Besard (1567–1625) forms thesecond movement. It opens mournfully on the song ‘Itis sad to be in love with you’, but more cheerful numbersintervene, before the movement returns to the sadness of the opening melody. A Siciliana with a seductiverhythm forms the third movement, while the finale is the most ‘modern’ of the airs and dances: it’s aPassacaglia written by Lodovico Roncalli in 1692!
Although the first two sets of Ancient Airs and Dances includewoodwinds, brass, harp, harpsichord and percussion, Respighiscores the third set for strings alone.
The Sydney Symphony first performed Respighi’s Ancient Airs andDances in 1946 with Joseph Post, and the most recent performanceof the third set was in 1969 under Moshe Atzmon.
In his popular ballet,
La boutique fantasque(1918), Respighi paid
tribute to another of
tonight’s composers,
Rossini, by transcribing
themes from his Soiréesmusicales and other
pieces.
13 | Sydney Symphony
MUSICIAN SNAPSHOT
Robert Johnson – extreme sports
In 1995 Robert Johnson, Principal Horn of the Sydney Symphony, took up mountain climbing. ‘We played Strauss’Alpine Symphony 16 times in one year.’Presumably you need a breather aftersummiting that many peaks? ‘Well,I haven’t played it since, until just this year.’
A ‘Straussian’-sized horn sectionfrequently employs more than 12musicians. With so many players in asection, he says, ‘it’s very much anegotiation of weight of sound, and ofintonation. In that kind of music, where so much of it is extremely loud, it’s not inthe comfort zone. Much easier to tune acomfortable Brahms forte in a sweepingunison melody.’
A younger version of Rob Johnson might never have made it to the peak ofthe Alpine Symphony. In primary school,he inexplicably found himself drawingstraws with ‘tone-deaf Johnny’ for the lastremaining place in the sixth grade choir. ‘I got the right straw,’ he says, and singinghas remained a constant musical outlet,though not a professional focus. ‘It was our school policy that even after your voice changed, you still sang in the choir.And I felt happy singing as a male alto.’
There is some debate about whether ornot the male alto voice – usually considereda falsetto voice – is the same as thecountertenor voice, often described as thenatural upwards continuation of the tenorvoice. Regardless, for Rob, singing male alto opened the door to the world of EarlyMusic: ‘I did a lot of Mediæval music, and a lot of Renaissance music.’ In theseunofficial studies, consulting the historicalvocal manuals was a revelation. ‘You look at the stuff they sang – it was unbelievable.
The most incredibly florid cadenzas, with a million notes flying past; high notes – the real coloratura. It was pretty extreme –singing as an extreme sport!’
As a horn player, Rob has his feet firmlyplanted in the Romantic camp. ‘That wasan era when what was written for the hornwas all about the lovely sound.’ The hornhad progressed from the relative straight-forwardness of Baroque and Classicalharmonic structures, and was not yet beingdistorted by the Second Viennese School’sefforts ‘to focus on aspects other than thelovely sound that a horn has’. Music ofcomposers such as Berg and lateSchoenberg, while sometimes impressive,‘doesn’t uplift me. And to me, that’s thepower of music. That it does actually speakto the spirit.’
CADENZA – a virtuoso passage, traditionallyinserted towards the end of a concertomovement and marking the final ‘cadence’.
GREGORIAN CHANT – a style of Westernecclesiastical chanting associated with theRoman Catholic Church and some Anglicantraditions. Called Gregorian chant after PopeGregory (the Great), it is also known asplainchant.
MODE – modes are a system of scales foundedon mediæval plainchant and predating themajor and minor key system, which emergedin the late Renaissance. Unlike major andminor scales, each mode has its own patternof whole and half scale steps and therefore adistinctive sound and character. Classicalcomposers have often used modes to evokean ancient or religious mood, but sincemodes are also common in many traditionaland non-Western cultures, their use can alsogive a folk character to music.
OCTAVES AND UNISONS – an octave is theinterval spanning eight steps in the scale,e.g. the first two notes of ‘Somewhere overthe rainbow’. Acoustically, an octave leap isachieved by doubling the frequency of a note,for example, the note A at which an orchestratunes (440 Hz) becomes the note A one octavehigher when the frequency is increased to880 Hz. Unison is where two or more partsplay the same melody at the same pitch.Melodies doubled ‘at the octave’ can soundvery similar to melodies played in unison,with both emphasising a single melody line.
OPERA BUFFA – literally, ‘comic opera’; thisdown-to-earth genre came to prominence inthe 18th century; examples include Mozart’sMarriage of Figaro and Rossini’s Barber ofSeville.
ORCHESTRAL EXPOSITION – in nearly allClassical concertos the traditional SONATA
FORM is modified: instead of the exposition (statement of main themes) being repeated asis, the musical material is played first by the
orchestra (ORCHESTRAL EXPOSITION) andthen by the soloist (SOLO EXPOSITION). Afterthis follows the familiar DEVELOPMENT ofideas and exploration of harmonies and aRECAPITULATION of the original ideas.
ORCHESTRATION – the practice of arrangingor recomposing music for an orchestralensemble (often working from music writtenfor piano or for some other ensemble, orfrom a sketch or draft).
OSTINATO – a short musical pattern that isrepeated many times in succession, whileother elements in the music change. Anostinato can be a melody, a chord pattern,a rhythm, or a combination of these.
PASSACAGLIA – a musical form with Baroque origins, which, since its revival inthe 19th century, has been characterised byits recurring ground bass, providing thesupport for an extended set of variations,and its serious tone.
SICILIANA – a gentle, lilting dance popular in the Baroque period, and often associatedwith pastoral scenes. The tune of ‘SilentNight’ is a siciliana at heart, although itsdance-like character can be hard to discern if the carol is sung at hymn-like pace.
TUTTI – all together!
In much of the classical repertoire, movement titlesare taken from the Italian words that indicate thetempo and mood. A selection of terms from thisprogram is included here.
Allegro – fastAllegro vivace assai – fast and very livelyAndante espressivo – at a walking paceMaestoso – majesticallyModerato – a moderate speed
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.
14 | Sydney Symphony
15 | Sydney Symphony
MORE MUSIC
Selected Discography
ROSSINI
The most admired recording of the string orchestraversion of all the Rossini string sonatas is PolishChamber Orchestra conducted by Jerzy Maksymiuk.EMI 69524
The original versions for single strings are played onperiod instruments by an ensemble led by Australianviolinist Elizabeth Wallfisch.HYPERION CDH 66595
MOZART
A legendary performance of Mozart’s Piano Concerto,K467 comes from Dinu Lipatti with Herbert vonKarajan and the Lucerne Festival Orchestra, recordedlive in 1950 (Great Recordings of the Century).EMI 0724356777422
Another excellent pairing is Rudolf Serkin andconductor Alexander Schneider with the ColumbiaSymphony Orchestra.SONY, SNYC 47269S3K
Says Wolfgang Fink: ‘Deeply rooted in the oldViennese tradition, this performance may sound old-fashioned to our ears, but it is utterly musical andstriking in its combination of power, simplicity andgenerosity. Serkin recorded the work decades laterunder Claudio Abbado.DEUTSCHE GRAMMOPHON, DGG 4455162
The playing there is much more polished and“refined”, but it lacks the straightforwardness andspontaneity (at least for my ears).’
David Garrett mentions that the recording used on thesoundtrack of the film Elvira Madigan was by GézaAnda, playing and directing the orchestra of theSalzburg Mozarteum. It is available at bargain price on the local Eloquence label.DEUTSCHE GRAMMOPHON/ELOQUENCE 4632342
For a period instrument recording try Malcolm Bilsonwith the English Baroque Soloists conducted by JohnEliot Gardiner (with K466).ARCHIV 419609
RESPIGHI
Respighi’s Ancient Airs and Dances were onceperformed and recorded very often until they somehowfell nearly into unjustified oblivion. We asked WolfgangFink, David Garrett and Vincent Ciccarello for theirrecommendations. A famous recording by Philharmonia Hungarica under Antál Dorati featured on each of our experts’lists.MERCURY LIVING PRESENCE 028947063728
Adelaide Symphony OrchestraVladimir Verbitsky conductorInclude Sydney Symphony double bassDavid Campbell performing Bottesini’s Double Bass Concerto No.2 in B minor
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.com
Current 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 102.5SYDNEY SYMPHONY 2008
Tue 9 September, 6pmWhat’s on in concerts, with interviews and music.
Webcast Diary
16 | Sydney Symphony
ABOUT THE ARTISTS
Michael Dauth violin-directorCO-CONCERTMASTER OF THE SYDNEY SYMPHONY
KEI
TH S
AU
ND
ERSOf English-German origin, Michael Dauth began violin
studies under the direction of his father, later studyingwith Franz Josef Maier and the Amadeus Quartet inCologne, and with Yfrah Neaman at the Guildhall Schoolin London. Soon after, he became Concertmaster ofHanover’s North German Radio Orchestra andsuccessfully auditioned for the Berlin Philharmonic underHerbert von Karajan. He was invited to lead the BerlinPhilharmonic Octet, Berlin Piano Trio and ChamberVirtuosi. In 1988 he moved to Australia, becameConcertmaster of the Melbourne Symphony, and was afounding member, Special Concertmaster and ArtisticDirector of the Orchestra Ensemble Kanazawa, Japan, aposition he still holds today.
Michael Dauth has appeared as a soloist with majororchestras in Japan, Australia, New Zealand and Europe.His chamber music partners include Wenzel Fuchs,Pavel Gillilov, Phillip Moll, Karl Leister, Gerhard Oppitz,Leif Ove Andsnes, Cyprien Katsaris, Hiroku Nakamura,Vadim Sakarov, Geoffrey Tozer and Piers Lane, and he hasappeared at all the major festivals including Salzburg,Lucerne, Berlin and Tokyo.
He has recorded the Beethoven, Tchaikovsky andMendelssohn violin concertos, the Beethoven Romances,works by Saint-Saëns, Massenet, Kreisler and Drdla,Schnittke’s Concerto Grosso (which received the DeutscheGrammophon prize in Japan), and the world premiererecording of Takemitsu’s Nostalghia, as well as the Mozartand Brahms Clarinet Quintets with his Japan-basedSunrise String Quartet and Wenzel Fuchs. His recordingswith Orchestra Ensemble Kanazawa include an all-JohannStrauss release and most recently Eight Seasons, a programof Vivaldi and Piazzolla concertos.
Michael Dauth is frequently a guest professor and ajuror at international violin competitions. In 2003 hereceived the Centenary medal awarded by the Governor-General for service to Australian society and theadvancement of music.
As Concertmaster, Michael Dauth is sponsored by theBoard and Council of the Sydney Symphony as part ofthe Orchestra’s Directors’ Chairs program.
Orli Shaham piano
MA
RIA
N S
TEIN
ERReceiving her first musical scholarship from the America-Israel Cultural Foundation at the age of five, Orli Shahamstudied with Luisa Yoffe at the Rubin Academy of Music in Jerusalem. Aged seven, she travelled to New York withher family to begin study with Nancy Stessin. She became a scholarship student of Herbert Stessin at the JuilliardSchool, and then pursued musical studies at Juilliard while obtaining degrees from the Horace Mann Schooland Columbia University.
In the 2007-08 season Orli Shaham performed JohnAdams’ Century Rolls at Santa Barbara’s Music Academy ofthe West. She also appeared at the Aspen Music Festivalplaying Stravinsky’s Capriccio and Gershwin’s I Got RhythmVariations, and, for the first time, at the BBC Promsperforming Bernstein’s Symphony No.2 Age of Anxiety.
Orli Shaham has performed numerous times with theCleveland and Philadelphia Orchestras, San FranciscoSymphony, and Saint Louis Symphony, with whom shemade her Carnegie Hall debut. Festival appearancesinclude Ravinia, Verbier, Mostly Mozart, Caramoor, andSpoleto.
International career highlights have included severaltours of Japan, performances with the Filarmonica dellaScala, Stockholm Philharmonic, Orchestra della Toscana,and Orchestre National de Lyon, and with conductors such as Marriner, Norrington, Hogwood, Sawallisch,Slatkin, Spano, and her husband, David Robertson. Shehas given recitals in Carnegie Hall, the Kennedy Center,Concertgebouw, Frankfurt’s Alte Oper, and theHerkulessaal in Munich. Orli Shaham tours extensivelywith her brother, Gil Shaham, and their recordingsinclude music by Dvorák, Prokofiev and Mozart.
In 2002, Orli Shaham was an artist-in-residence onNational Public Radio’s Performance Today. She hasappeared on Robert Kapilow’s What Makes it Great? seriesin New York and Boston, taught music literature atColumbia University, and contributed articles to PianoToday and Symphony magazines. In 2005 she created andhosted Dial-a-Musician for Classical Public Radio Network.
Orli Shaham made her Sydney Symphony debut in 2003, performing Ravel’s Piano Concerto in G. She playedDvorák’s Piano Concerto with the Orchestra in 2006.
17 | Sydney Symphony
18 | Sydney Symphony
THE SYDNEY SYMPHONY
Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities. Last year the Orchestracelebrated its 75th anniversary and themilestone 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 that ofMusic Director at Rome Opera. MaestroGelmetti’s particularly strong rapportwith French and German repertoire iscomplemented by his innovativeprogramming in the Shock of the Newconcerts.
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 to2006.
In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.
JOH
N M
AR
MA
RA
S
PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
19 | Sydney Symphony
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 Musician
Ann PeckOboe
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
20 | Sydney Symphony
08Cellos
09 10 11 01 02 03
01Violas
02 03 04 05 06 07
04 05 06 07 08 09
01Double Basses
02 03 04 05 06 07
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
21 | 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
22 | Sydney Symphony
23 | 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 contact Alan Watt on (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
24 | Sydney Symphony
25 | Sydney Symphony
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
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 °Mrs Catherine Gaskin Cornberg§
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 callAlan Watt on (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.
26 | 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 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
CORPORATE RELATIONS MANAGER
Leann MeiersCORPORATE RELATIONS EXECUTIVE
Julia OwensCORPORATE RELATIONS EXECUTIVE
Seleena SemosPHILANTHROPY MANAGER
Alan WattDEVELOPMENT EXECUTIVE
Kylie Anania
Publications
PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER
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.
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]
