2011 SEASON

FRI 21 OCTOBER 11AM

TEA & SYMPHONY PRESENTED BY

BEETHOVEN’S EGMONT

THE PERFECT HERO

WELCOME TO TEA & SYMPHONY

It is my great pleasure to welcome you to this fi nal concert in the 2011 Tea & Symphony series.

This morning the Sydney Symphony performs two contrasting works in a program which spans a century. Charles Ives – an innovator who dealt in insurance by day and imaginative scores by night – was always striving for greater meaning in his life and work. We are invited to ponder the mystery of existence when he asks The Unanswered Question. Some hundred years earlier Beethoven was doing much the same: his incidental music for Goethe’s heroic tale of Count Egmont and his oppressors reminds us of the power of personal integrity.

Each composer stayed true to his ideals as a revolutionary, pushing the artistic boundaries the day – one the father of romanticism, the other the harbinger of modernism.

Kambly has epitomised the Swiss tradition of the fi nest biscuits for three generations. Each masterpiece from the Emmental Valley is a small thank you for life; a declaration of love for the very best; the peak of fi ne, elegant taste.

Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fi tting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people’s love of live symphonic music.

Kambly is proud to be in its fourth year as sponsor of the Tea & Symphony series. We hope you enjoy this morning’s program and look forward to welcoming you to future concerts in the series throughout 2011.

Oscar A. KamblyChairmanKambly of Switzerland

The music on this program, together with Nigel Westlake’s Missa Solis, can be enjoyed again via the BigPond webcast, available On Demand. Visit bigpondmusic.com/sydneysymphonyAudio for our webcasts is provided courtesy of ABC Classic FM.

Estimated durations: 6 minutes, 40 minutes

The concert will conclude at approximately 11.55am.

2011 SEASON TEA & SYMPHONYPRESENTED BY KAMBLY

Friday 21 October | 11am

Sydney Opera House Concert Hall

BEETHOVEN’S EGMONT: THE PERFECT HERO Richard Gill conductor Eddie Perfect narratorKiandra Howarth soprano

CHARLES IVES (1874–1954)The Unanswered Question

Ludwig van Beethoven (1770–1827)Egmont – Incidental music, Op.84Text by Gordon Kalton Williams after Goethe and Grillparzer

Overture (Sostenuto, ma non troppo – Allegro)Song – ‘Die Trommel gerühret’ (Beat the drum)Zwischenakt I (Andante – Allegro con brio)Zwischenakt II (Larghetto)Song – ‘Freudvoll und leidvoll’ (Joyful and sorrowful)Zwischenakt III (Allegro) – March (Vivace)Zwischenakt IV (Poco sostenuto e risoluto – Andante agitato)Death of ClaraMelodrama Victory Symphony (Allegro con brio)

Kiandra Howarth ClaraEddie Perfect Narrator and Egmont

Biscuits at Tea & Symphony concertskindly provided by Kambly

PRESENTING PARTNER

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ABOUT THE MUSIC

IVES The Unanswered Question

Frequently Asked Questions

Q. Who was Charles Ives?

A. Ives came from a well-off New England family with its fair share of eccentricity (‘…odd, but in a nice way,’ said his wife). He studied music at Yale then became a successful life insurance salesman who composed for the love of it. This freed him to be completely original without needing to court publishers and concert presenters. He didn’t belong to a particular stylistic school but he was hugely infl uential as the father of modern American music. When his Third Symphony won the Pulitzer prize he said ‘Prizes are for boys – I’m grown up!’ (He was 72.)

Q. What were his musical infl uences?

A. When Charles was a boy his father, a leading bandmaster, made him sing songs in one key while he accompanied him on the piano in a diff erent key, which seems to have given him a healthy disdain for conventional harmony. Similarly, he was fascinated by things that we would call ‘wrong’: a mis-harmonised hymn tune, or the competing sounds of town bands marching in diff erent directions, each playing their own music.

Q. What kind of music did he write?

A. Ives wrote in nearly every genre, including symphonies, string quartets, piano sonatas, organ music and songs. He often quotes hymns and popular tunes, and the infl uence of folk music is strong. But the risk of sentimentality is countered by playful experiments with harmony and rhythm.

Q. How did he come to write The Unanswered Question?

A. The Unanswered Question was one of a pair of pieces, fi rst performed as interludes in a New York theatre (the other was Central Park in the Dark) and together known as Two Contemplations. The fl exibility of the theatre-orchestra tradition is refl ected in the instrumentation: trumpet (which can be replaced by English horn, oboe or clarinet), fl ute quartet (third and fourth fl utes replaceable

CHARLES IVES American composer (1874–1954)

5 | Sydney Symphony

by oboe and clarinet) and string orchestra or string quartet. Another theatrical aspect of the piece emerges in the staging instructions, which include placing instruments off stage.

Around this time, 1906, Ives was busy experimenting with new musical ideas. He revised The Unanswered Question in the 1930s and composer Elliott Carter arranged for its formal premiere in 1946.

Q. What does the title mean?

A. The original title was ‘A Contemplation of a Serious Matter’ or ‘The Unanswered Perennial Question’. (Central Park in the Dark was ‘A Contemplation of Nothing Serious’.) Ives’ own comments suggest metaphysical themes behind the music:

The quiet strings…represent the conventional life. We get up, and go to the offi ce, and come home again, have dinner with the family, sit around in the evening…But sometimes there comes a Question: Is this all my life is good for? Shouldn’t I be doing something courageous for the good of humanity? This question crosses the conventional life, doesn’t fi t with it. The fl utes and other people try to answer, more and more intensely, but can’t seem to get through. Meanwhile the conventional life goes on, and when the Question is asked for the last time, it is still not answered.

Q. What will it sound like?

YVONNE FRINDLE ©2008

This performance of Ives’ Unanswered Question uses a scoring of four fl utes, one trumpet and, positioned off stage, a string quartet.

The Sydney Symphony fi rst performed the work in a 1968 Town Hall Proms Concert, conducted by John Hopkins, and most recently in 2001, conducted by Bruno Weil.

…a healthy disdain for conventional harmony.

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LUDWIG VAN BEETHOVEN German composer (1770–1827)

BEETHOVENEgmont – Incidental music, Op.84

Beethoven is associated in the popular mind with the ideals of the French Revolution – liberty, equality and fraternity. Details of his public career support this: the sentiments of the opera Fidelio, and the incident in which he tore up the original dedication to Napoleon on the front page of the Eroica Symphony upon hearing the news of Napoleon’s self-coronation (‘Now he also will trample on all human rights and indulge his ambition. He will place himself above everybody else and become a tyrant.’).

But Beethoven probably identifi ed less with equality than with the idea of a meritocracy. He wrote in 1820, admittedly some years after the Eroica and Fidelio, that ‘the common citizen should be excluded from higher men’. And it was probably the Wise Ruler, personifi ed notably by Don Fernando, the Minister of State in Fidelio, who most faithfully refl ected his political ideal.

Goethe’s Egmont likewise is no Spartacus. He does not die for the overthrow of the aristocracy. However he does oppose the unnecessarily harsh reinforcement of the status quo. And it is easy to see how Goethe’s story, with its politicised heroine (Clara, or Klärchen), its depiction in the early scenes of a contented, benignly-ruled live-and-let-live society, and the stand of a brave individual against that society’s cruel suppression, appealed to Beethoven’s particular political orientation.

Lamoral, Count Egmont, was the 16th-century hero of the Low Countries. A war hero who had driven back the invading French, he led the people in resisting Spanish domination but was eventually executed by the Spanish in Brussels in 1565. His death was regarded as the harbinger of the eventual revolt and liberation of the northern provinces. Goethe’s fi ve-act tragic drama was fi rst produced in 1789; Beethoven was commissioned in 1809 by the Burgtheater in Vienna to write incidental music for the long-awaited Viennese premiere in 1810. Beethoven so admired the work that he refused a fee from the theatre.

Besides the overture, which is so justly famous, Beethoven wrote nine other numbers for Egmont. These are rarely

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The Historical Egmont

Goethe’s play is set in the Spanish Netherlands – territories annexed some time before by the Burgundian court. In the 16th century they were under the suzerainty of the Holy Roman Emperor Charles V. Lamoral, count of Egmont, was a loyal Flemish servant of the Emperor, a Catholic and a brilliant general in various campaigns against the French, who, in the words of Goethe’s character Machiavelli, ‘advances with a bold step, as if the world were all his own’. When Charles abdicated in 1556, his heir Philip II of Spain passed over Egmont as regent in favour of his own half-sister Margaret, Duchess of Parma. Like Charles, Philip was a motive force in the Counter-Reformation, and under Margaret’s regency, Protestantism was suppressed in a society that had prided itself on tolerance. In 1565, Egmont travelled to Madrid to plead for a measure of religious freedom, but instead Philip sent the Duke of Alva to the Netherlands to implement even more draconian measures.

played in concerts, which is remarkable. Hearing the complete Egmont incidental music allows us to grasp the grandness of the theatrical conception in a way that isolated performances of the overture cannot do.

Composers appreciated Goethe’s poetry for its concrete imagery, clear narrative exposition, and vibrant rhythms. Beethoven’s admiration was refl ected in a number of settings of the poet’s work. ‘The Song of the Flea’ (from Faust) and the cantata Calm Sea and Prosperous Voyage are two examples that spring to mind. However, the meeting between the two men at the Bohemian spa of Teplitz in 1812 was rather a tense occasion. Goethe’s polished urbanity clashed with the manners of Beethoven, a self-made man who, when he sensed he was being patronised by an aristocrat, had a habit of exaggerating his rough edges.

A story, perhaps apocryphal, tells of Goethe’s annoyance as people bowed to him along a path and of Beethoven’s response: ‘Don’t give it a thought, your Excellency, the compliments are perhaps meant for me.’

Goethe had not heard Beethoven’s Egmont music by the time of this meeting (his respect for Beethoven’s musicianship was limited to his piano playing), but when he heard the Egmont music in a concert performance in 1821 he remarked of the last scene, Egmont’s melodrama: ‘Beethoven has followed my intentions with admirable genius.’

That concert performance in 1821 presented Beethoven’s numbers with linking text supplied by Friedrich Mosengeil. In 1834 Franz Grillparzer, the leading Austrian poet of his day, revised this text in unrhymed verse. It is this text which serves as the basis of this morning’s presentation. Elements of Goethe’s original play that were retained by Grillparzer remain in our version. These are the two song texts and the melodrama (the orchestrally accompanied spoken monologue) that ends the play.

While providing an eff ective narrative for the incidental music, Grillparzer’s text removes detail from the political aspect of Goethe’s play and leans more heavily towards the romantic relationship between Egmont and Clara. Characters such as Margaret of Parma the Spanish Regent, Machiavelli her advisor, and the Duke of Alva’s two henchman (Gomez and Silva) are omitted. Though today’s version does

8 | Sydney Symphony

not restore those characters, the text has been adapted to give some sense of the political dangers at stake in the early part of the story. There is, therefore, increased opportunity to appreciate the original underscoring eff ect of Beethoven’s music and of the juxtaposing eff ect of the Zwischenakte (literally ‘between acts’ music, or entr’actes) which originally commented on the action just past and foreshadowed the action to come. The re-balancing of the plot lines also injects deeper motivation into Clara’s eventual adoption of a political stance.

The striking thing is that a sense of the original text for which this music was written enhances the genius of the music, and actually increases our appreciation of what Grillparzer described as ‘the mighty sounds which a great mind conjured up…when he allied himself to one [whom Grillparzer considered] even greater’.

GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©1993

Synopsis and Vocal Texts

After the familiar overture, the narrator describes the setting of the story, extols Egmont’s virtues and introduces Clara (Song – Die Trommel gerühret).

Die Trommel gerühret!Das Pfeifchen gespielt!Mein Liebster gewaff netDem Haufen befi ehlt,Die Lanze hoch führetDie Leute regieret

Wie klopft mir das Herze!Wie wallt mir das Blut!O hatt ich ein Wamslein,Und Hosen und Hut!Ich folgt ihm zum Tor nausMit mutigem Schritt,Ging durch die Provinzen,Ging überall mit.

Die Feinde schon weichen,Wir schiessen dareinWelch Gluck sondergleichen,Ein Mannsbild zu sein!

Beat the drum! Sound the fi fe!My beloved, in armour,commands his troops,holds high his lance,rules his men.

How my heart beats!How my blood races!Oh, if only I had doubletbreeches and helmet!I would follow him through the gatewith valiant tread,and march through the provinces,march all over with him.

The enemy waversas we fi re into them.What joy unequalledto be a man!

9 | Sydney Symphony

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The narrator foreshadows ominous events (Zwischenakt I Andante – Allegro con brio). Then expresses the anxiety caused by Egmont’s heedlessness. But Egmont is able to forget political dangers in Clara’s company (Zwischenakt II Larghetto) The threat to Egmont’s and Clara’s happiness looms closer (Song – Freudvoll und Leidvoll).

Egmont and Clara spend one last night together (Zwishenakt III Allegro) before the Spanish enter the city (March). Egmont is trapped (Zwischenakt IV Poco sostenuto e risoluto) and Clara, though weak with grief, tries to rouse her countrymen (Zwischenakt IVAndante agitato). Clara dies (Death of Clara). Egmont is condemned and passes his last night in prison. In his dreams, Egmont sees a vision which portends the eventual liberation of the northern provinces (Melodrama), and before his death makes a speech exhorting his countrymen to rise up against the tyrants (Victory Symphony)

FreudvollUnd leidvollGedankenvoll sein,LangenUnd bangenIn schwebender Pein,Himmelhoch jauchzend,Zum Tode betrubt,Glucklich allein,Ist der Seele, die liebt.

To be joyfuland sorrowful,to be pensive,to longand dreadin lingering pain,to exult to heaven,cast down unto death happy aloneis the soul that loves.

Beethoven’s Egmont music calls for two fl utes (one doubling piccolo), two oboes, two clarinets and two bassoons; four horns, two trumpets; timpani and strings.

The Sydney Symphony fi rst performed the incidental music in 1969 with soprano Netania Davrath and conductor Peter Robinson, and most recently in 1993 with conductor Franz-Paul Decker, soprano Malvina Major, and actor Hugo Weaving using the script by G.K. Williams.

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ABOUT THE CONDUCTOR

Richard Gill conductor

Richard Gill is internationally respected as a music educator, specialising in opera, musical theatre and vocal and choral training. In addition to his role as Artistic Director of the Sydney Symphony’s Education Program, he is Music Director of Victorian Opera. He has also been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra and the Adviser for the Musica Viva in Schools program.

In recent seasons he has conducted Sydney Symphony Meet the Music concerts and Discovery concerts with the Sydney Sinfonia, as well as directing the Sinfonietta Project for young composers. He has also conducted the Melbourne, Queensland, Tasmanian and Canberra symphony orchestras, Orchestra Victoria, Sydney Philharmonia Choirs, and the Australian, Western Australian and Sydney youth orchestras. In addition to OzOpera and Victorian Opera, he has conducted for Opera Australia and Opera Queensland. He also conducted The World’s Biggest Singing Lesson at the UWA Perth International Arts Festival and Sing Your Own Opera at the Melbourne International Festival of the Arts, and was Chairman of the Jury for the ABC/OA Operatunity OZ project (2005–06).

His diverse operatic repertoire encompasses baroque opera, core works such as The Marriage of Figaro and Rigoletto, operetta and 20th-century classics. His productions for Victorian Opera have included a Stravinsky double bill (Les Noces and Oedipus Rex), Così fan tutte, The Coronation of Poppea, Noyes Fludde, The Snow Queen, Don Giovanni, Duke Bluebeard’s Castle and Ariadne auf Naxos.

An advocate for new music, he has conducted premiere performances of Rembrandt’s Wife (Andrew Ford), The Love of the Nightingale (Richard Mills, Brisbane and Melbourne premiere seasons), Lindy (Moya Henderson), The Eighth Wonder and Through the Looking Glass (Alan John). His music theatre repertoire includes Jonathan Mills’ Ghost Wife and Eternity Man. Most recently in Sydney, he was the music director for the Sydney Theatre Company production of The Threepenny Opera.

Richard Gill’s numerous accolades include an Order of Australia Medal, the Bernard Heinze Award, an Honorary Doctorate from the Edith Cowan University of Western Australia, the Australian Music Centre’s award for Most Distinguished Contribution to the Presentation of Australian Composition by an individual, and the Australia Council’s prestigious Don Banks Award.

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ARTISTIC DIRECTOR, EDUCATION SANDRA & PAUL SALTERI CHAIR

11 | Sydney Symphony

ABOUT THE ARTISTS

Eddie Perfect actor

Eddie Perfect studied at the Western Australian Academy of Performing Arts, graduating in 2001. Since then he has become known for his versatility – as an actor, comedian and musician.

His television credits include Off spring, the 2011 Logie Awards, and Spicks and Specks, as well as performing his own comedy. His theatre and comedy appearances in Sydney include Keating! The Musical (Company B Belvoir), Shane Warne The Musical, Misanthropology (Sydney Festival) and The Threepenny Opera (Sydney Theatre Company, with Richard Gill).

He has written and toured several shows, including Angry Eddie as well as Shane Warne The Musical, Misanthropology, and most recently Songs From The Middle, a collaboration with the Brodsky Quartet and the Australian National Academy of Music. He has also composed music for several Malthouse Theatre productions, for the Helpmann, Awgie and Inside Film Awards and for Off spring.

Eddie Perfect’s accolades include several Green Room Awards, mostly recently for Best New Australian Musical (Shane Warne The Musical), the 2009 Victorian Premier’s Literary Award for Best Music Theatre Script, and Helpmann Awards for Best New Australian Work (2009) and Best Cabaret Performer (2011). This is his debut appearance with the Sydney Symphony.

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Kiandra Howarth soprano

Kiandra Howarth made her professional debut with Opera Queensland in 2009, creating the role of Josie in the youth opera Dirty Apple. She is currently a Young Artist with Opera Queensland, recently understudying the role of Despina in Così fan tutte, and next year she will join the Opera Australia Young Artist Program, singing Papagena (The Magic Flute) and Zerlina (Don Giovanni).

Kiandra Howarth graduated from the Queensland Conservatorium in 2010, while also a member of the Opera Queensland Developing Artist Program. For the Conservatorium she appeared in the title role in Massenet’s Cendrillon. That same year, in the Australian Singing Competition, she won the Guildhall School of Music and Drama Award, the Mozart Opera Institute Award, the Symphony Australia Young Vocalist Award, and the Dr Handa Prize. She also won the Southeast Queensland Aria and Concerto Competition and received an Acclaim Italian Fellowship Award for study in Italy. In 2013 she will undertake a year’s study at the Mozart Operatic Institute in Salzburg.

12 | Sydney Symphony

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates ©

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Dene OldingConcertmaster ©

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse

MUSICIANS

To see photographs of the full roster of permanent musicians and fi nd out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians fl yer.

PERFORMING IN THESE CONCERTS…

FIRST VIOLINS

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Alexandra MitchellLéone Ziegler Emily Qin#

SECOND VIOLINS

Kirsty Hilton Alexander Read*Emma West Assistant Principal

Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Shuti Huang Stan W Kornel Benjamin Li Emily Long Maja Verunica Alexandra D’Elia#

VIOLAS

Anne-Louise Comerford Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Rosemary Curtin#

David Wicks#

CELLOS

Leah Lynn Assistant Principal

Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Eleanor Betts*Mee Na Lojewski*Mathisha Panagoda*

DOUBLE BASSES

Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson David Murray Hugh Kluger†

FLUTES

Janet Webb Carolyn HarrisRosamund Plummer Principal Piccolo

Katie Zagorski†

OBOES

Diana Doherty Alexandre Oguey Principal Cor Anglais

CLARINETS

Francesco Celata Craig Wernicke Principal Bass Clarinet

BASSOONS

Roger Brooke Fiona McNamara

HORNS

Ben JacksGeoffrey O’Reilly Principal 3rd

Euan HarveyMarnie Sebire Sebastian Dunn*Katy Grisdale†

TRUMPETS

Paul Goodchild John FosterAnthony Heinrichs

TROMBONES

Scott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

TUBA

Steve Rossé

TIMPANI

Richard Miller

PERCUSSION

Rebecca Lagos Colin Piper Mark Robinson John Douglas*Brian Nixon*Philip South*

HARP

Louise Johnson Genevieve Lang*

KEYBOARDS

Josephine Allan#

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

13 | Sydney Symphony

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the Sydney Opera House, the Sydney Symphony also performs in venues throughout Sydney and NSW. International tours have earned the orchestra worldwide recognition for artistic excellence, most recently in a European tour that included the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart

Challender, Edo de Waart and Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of symphonic music, and the orchestra promotes the work of Australian composers through performances, recordings and commissions.

The Sydney Symphony Live label has captured performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The orchestra has also released recordings with Ashkenazy on the Exton/Triton labels, and numerous recordings for ABC Classics.

THE SYDNEY SYMPHONYPRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR Vladimir Ashkenazy PATRON Her Excellency Professor Marie Bashir AC CVO

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Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AM Jennifer Hoy Irene Lee Goetz RichterEwen Crouch Rory Jeffes David Livingston David Smithers AM

Ross Grant Andrew Kaldor

14 | Sydney Symphony

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

PREMIER PARTNER

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Emanate BTA Vantage

2MBS 102.5 Sydney’s Fine Music Station

BRONZE PARTNER MARKETING PARTNER

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15 | Sydney Symphony

PLAYING YOUR PART

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Janette Hamilton Barbara & John Hirst Dorothy Hoddinott AO Paul & Susan Hotz Bill & Pam Hughes The Hon. David Hunt AO QC & Mrs Margaret Hunt Dr & Mrs Michael Hunter Mr Peter Hutchison Dr Michael Joel AM & Mrs Anna Joel The Hon. Paul Keating In Memory of Bernard M H Khaw Jeannette King Anna-Lisa Klettenberg Justin Lam Wendy Lapointe Macquarie Group Foundation Mr Robert & Mrs Renee Markovic Kevin & Deidre McCann Robert McDougall Ian & Pam McGaw Matthew McInnes Mrs Barbara McNulty OBE Harry M. Miller, Lauren Miller Cilento & Josh Cilento Miss An Nhan Mrs Rachel O’Conor Mr R A Oppen Mr Robert Orrell Mr & Mrs Ortis Maria Page Piatti Holdings Pty Ltd Adrian & Dairneen Pilton Mr & Ms Stephen Proud Miss Rosemary Pryor Dr Raffi Qasabian Ernest & Judith Rapee Kenneth R. Reed Patricia H Reid Endowment Pty Ltd Mr M D Salamon John Saunders Juliana Schaeffer Mr & Mrs Jean-Marie Simart Catherine Stephen John & Alix Sullivan The Hon. Brian Sully QC Mildred Teitler Andrew & Isolde Tornya Gerry & Carolyn Travers John E Tuckey Mrs M Turkington In memory of Dr Reg Walker Henry & Ruth Weinberg The Hon. Justice A G Whealy Mr R R Woodward Dr John Yu & Dr George Soutter Anonymous (12)

BRONZE PATRONS $500–$999Mr C R Adamson Mr Peter J Armstrong Ms Baiba B. Berzins & Dr Peter Loveday Dr & Mrs Hannes Boshoff Minnie Briggs Dr Miles Burgess Pat & Jenny Burnett Ita Buttrose AO OBE Stephen Byrne & Susie Gleeson Hon. Justice J C & Mrs Campbell Percy Chissick Mrs Catherine J Clark Mr Charles Curran AC & Mrs Eva Curran Greta Davis Elizabeth Donati Dr & Dr Nita Durham Greg Earl & Debbie Cameron Mr & Mrs Farrell Robert Gelling Dr & Mrs C Goldschmidt

Vivienne Goldschmidt Mr Robert Green Mr Richard Griffin AM Jules & Tanya Hall Mr Hugh Hallard Mrs A Hayward Roger Henning Rev Harry & Mrs Meg Herbert Sue Hewitt Mr Joerg Hofmann Dominique Hogan-Doran Alex Houghton Bill & Pam Hughes Geoff & Susie Israel Iven & Sylvia Klineberg Mr & Mrs Gilles T Kryger Dr & Mrs Leo Leader Margaret Lederman Martine Letts Anita & Chris Levy Erna & Gerry Levy AM Dr Winston Liauw Mrs Helen Little Sydney & Airdrie Lloyd Mrs A Lohan Carolyn & Peter Lowry OAM Dr David Luis Mrs M MacRae OAM Melvyn Madigan Dr Jean Malcolm Alan & Joy Martin Geoff & Jane McClellan Mrs Helen Meddings Mrs Inara Merrick David & Andree Milman Kenneth N Mitchell Helen Morgan Chris Morgan-Hunn Nola Nettheim Mrs Margaret Newton Sandy Nightingale Mr Graham North Dr M C O’Connor AM A Willmers & R Pal Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont Robin Potter Lois & Ken Rae Pamela Rogers Agnes Ross In memory of H.St.P Scarlett Dr Mark & Mrs Gillian Selikowitz Caroline Sharpen Mrs Diane Shteinman AM Robyn Smiles Doug & Judy Sotheren Mrs Elsie Stafford Mr D M Swan Mr Norman Taylor Dr Heng & Mrs Cilla Tey Ms Wendy Thompson Kevin Troy Judge Robyn Tupman Gillian Turner & Rob Bishop Mr Robert & Mrs Rosemary Walsh Ronald Walledge David & Katrina Williams Audrey & Michael Wilson Dr Richard Wing Mr Robert Woods Mr & Mrs Glenn Wyss Anonymous (17)

To find out more about becoming a Sydney Symphony Patron please contact the Philanthropy Office on (02) 8215 4625 or email philanthropy@sydneysymphony.com

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