2011 SEASON Bo… · thousand people can listen to the same music and form two thousand diﬀ erent pictures in their minds. ... to inspire a fascinating and original piano concerto,

2011 SEASON

WED 29 JUNE 8PM FRI 1 JULY 8PM SAT 2 JULY 8PM

AUSGRID MASTER SERIES

An artist’s imagination

WELCOME TO THE AUSGRID MASTER SERIES

Welcome to this Ausgrid Master Series concert at the Sydney Opera House. Tonight we experience music’s power to paint pictures, stir the emotions and take us on a journey. Last year, when he appeared in this very series, Pinchas Steinberg conducted a French program with a touch of the macabre. This year, we’re delighted to welcome him back in another powerful program that begins with poetry-in-music by Liszt and ends with a walk through a musical ‘art gallery’ packed with vivid scenes.

We’re also pleased to welcome pianist Ingrid Fliter, who is making her Sydney Symphony debut playing Schumann’s great piano concerto. Her achievements so far include the prestigious Gilmore Artist Award – an award for which you can’t apply or compete, but which is given on the basis of the pianist’s performance in real concerts and recitals over a period of time. The award aims to recognise pianists ‘deemed worthy of a global career’ and it is indeed exciting to have such a musician performing for us this evening.

The Ausgrid network includes the poles, wires and substations that deliver electricity to more than 1.6 million homes and businesses in New South Wales. Ausgrid is transforming the traditional electricity network into a grid that is smarter, greener, more reliable and more interactive – something we are very proud of.

We’re also extremely proud of our partnership with the Sydney Symphony and our support of the orchestra’s fl agship Master Series.

We trust that you will enjoy tonight’s performance and we look forward to seeing you at the Ausgrid Master Series concerts throughout 2011, in particular the Mahler 2 concerts in November.

George MaltabarowManaging Director

PRESENTING PARTNER

Pre-concert talk by Felicity Glennie-Holmes at 7.15pm in the Northern Foyer. Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 19 minutes, 31 minutes, 20-minute interval, 35 minutes

The concert will conclude at approximately 10pm.

2011 SEASON AUSGRID MASTER SERIESWednesday 29 June | 8pmFriday 1 July | 8pmSaturday 2 July | 8pm

Sydney Opera House Concert Hall

PICTURES AT AN EXHIBITION: AN ARTIST’S IMAGINATIONPinchas Steinberg conductorIngrid Fliter piano

FRANZ LISZT (1811–1886)Tasso, Lament and Triumph

ROBERT SCHUMANN (1810–1856)Piano Concerto in A minor, Op.54

Allegro affettuosoIntermezzo (Andantino grazioso) –Allegro vivace

The second and third movements are played without pause.

INTERVAL

MODEST MUSSORGSKY (1839–1881) orchestrated by Maurice Ravel (1875–1937)Pictures at an Exhibition

Promenade I – Gnomus (Gnome) Promenade II – Il vecchio castello (The Old Castle) Promenade III –Tuileries (Tuileries. Children Quarrelling at Play) Bydlo (Oxen) Promenade IV – Ballet des poussins dans leurs coques (Ballet of the Unhatched Chicks)‘Samuel’ Goldenberg und ‘Schmuÿle’ Promenade V – Limoges (Limoges Market) – Catacombæ. Sepulcrum Romanum (Catacombs. A Roman Sepulchre) –Con mortuis in lingua mortua (With the Dead in a Dead Language) Baba Yaga (The Hut on Hen’s Legs) – Kiev (The Great Gate of Kiev)

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Viktor Hartman n’s design for the Kiev gate

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INTRODUCTION

Pictures at an Exhibition: An Artist’s Imagination

The power of music lies in the power of the human imagination: the imagination that inspires it and the eff ect it has on the imaginations of its listeners. A hall of two thousand people can listen to the same music and form two thousand diff erent pictures in their minds. Composers can come up with vastly diff erent creations in response to the same inspiration. Writers are the same: Franz Liszt’s symphonic poem Tasso was composed as a prelude to the play by Goethe, but he admitted to preferring Byron’s telling of the story of Torquato Tasso. Liszt’s inspiration was further enriched by a Venetian gondolier tune, sung to words by Tasso.

Robert Schumann’s imagination was sparked by an extraordinarily gifted young concert pianist, Clara Wieck, whom he had recently married. Love and talent combined to inspire a fascinating and original piano concerto, music which combines poetry and tenderness of emotion with the thrilling brilliance expected of a concerto.

Love, literature – these are common inspirations, another is narrative. And pictures, real or imagined, also play a role in music. Think of Respighi’s Botticelli Triptych or Rachmaninoff ’s evocation of the inexorable gloominess of Böcklin’s Isle of the Dead.

In the case of Pictures at an Exhibition, the visual inspiration is placed in a narrative frame. Mussorgsky didn’t simply take Victor Hartman’s sketches and designs as inspiration for a set of miniatures, he responded to the experience of attending the exhibition as well. The result is a simple narrative that forms the basic structure for the whole work: as the viewers move from painting to painting, so they are accompanied by a musical Promenade.

We can’t know what kind of orchestral sound world Mussorgsky might have wrought for his Pictures at an Exhibition (conceived and written for piano solo), but in this concert a fourth composer makes his presence felt: Maurice Ravel. In his orchestration of Pictures he gives Mussorgsky’s music the colour and brilliance of a French imagination, and it is to him that we owe the popularity of this great music in the concert hall.

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ABOUT THE MUSIC

Franz LisztTasso, Lament and Triumph

In 1848 the Hungarian pianist Franz Liszt settled down to a full-time position as ‘Kapellmeister in Extraordinary’ in Weimar. Having spent the past 25 years as a travelling virtuoso, he could now concentrate on composition.

In Weimar, Liszt was kept busy. He was conductor of the orchestra and opera house where he premiered Wagner’s Lohengrin, for example. There also, with a dozen or so orchestral works, he established the symphonic poem, his unique contribution to musical form.

By ‘symphonic poem’, Liszt meant music inspired by something (be it painting, poem, real event) outside the realm of pure exposition of sound. Liszt’s use of the term, however, meant not a literal telling in music of subject matter that might have been better expressed in another medium, but ‘a preface added to a piece of instrumental music, by means of which the composer intends to guard the listener against a wrong poetical interpretation, and to direct his attention to the poetical idea of the whole or to a particular part of it’.

In following the ‘poetical idea’, Liszt succeeded in liberalising classical form. He eff ectively created a hybrid in which a single-movement sonata form contained within itself the structural demarcations of a whole symphony. Single-movement unity was created by recycling a small pool of themes; symphonic development by the imaginativeness with which Liszt varied those limited themes (what came to be called ‘thematic transformation’).

The ‘poetical idea’ behind Liszt’s symphonic poems often related to a hero waging a struggle, like Hamlet (another of his subjects) against a sea of troubles. Torquato Tasso (1544–1595), author of La Gerusalemme liberata (Jerusalem Liberated), seems to have suff ered some sort of mental illness which placed him, for a time, in St Anne’s lunatic asylum. Upon release he was befriended by Pope Clement VIII and his nephew, Cardinal Aldobrandini, but died before the pope could crown him ‘king of poets’.

The initial impulse behind Liszt’s symphonic poem was to provide an overture to the play Torquato Tasso by one of Weimar’s favourite sons, Goethe, during the centenary celebrations of Goethe’s birth in 1849. Liszt preferred Byron’s version of the story, but, in a preface to his score, said: ‘Byron has not been able to join to the remembrance

Keynotes

LISZT

Born Raiding, Hungary, 1811Died Bayreuth, Germany, 1886

A child prodigy, Liszt studied piano in Vienna before touring Europe in his early teens. Tiring of concert life, he spent his 20s in Paris teaching and studying. There an encounter with the violin virtuoso Paganini was crucial for developing his own phenomenal pianism. He resumed performing in 1839 until deciding, at the instigation of his lover, princess Carolyne Sayn-Wittgenstein, to concentrate on composing and conducting. From 1848 he was a courtier at Weimar, living with Carolyne, and serving as Grand Ducal Director of Music Extraordinary, a post Bach had held 130 years earlier.

TASSO

At Weimar in 1849, Liszt composed this work celebrating the Italian Renaissance epic poet Torquato Tasso (1544–1595). This symphonic poem is based on a tune to which Venetian gondoliers sang some of Tasso’s most famous verses.

Liszt charts the poet’s torments and triumphs, as indicated in his introduction to the score: ‘We fi rst conjured up the shade as he wanders the lagoons of Venice…then, lofty and melancholy, as he gazes at the festivities at Ferrara, where he created his masterworks; and fi nally we followed him to Rome, the Eternal City, which crowned him with fame.’

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By ‘symphonic poem’, Liszt meant music inspired by something (be it painting, poem, real event) outside the realm of pure exposition of sound.

of the bitter sorrows so nobly and eloquently expressed in his Lamentation that of the Triumph, which a tardy but brilliant justice was reserving for the chivalrous author of Jerusalem Liberated.’

Liszt’s fi rst sketch for this work is dated 1 August 1849, but the principal theme is one he heard in Venice several years earlier and which he claimed gondoliers sang to Jerusalem Liberated’s fi rst two lines:

I sing the sacred armies, and their leader,That the great sepulchre of Christ did free…

Though an audience can most immediately experience the work as a seamlessly single entity, a listing of tempo divisions reveals the work’s alternate reality in four movements. The opening theme of the Lento – Allegro strepitoso – Lento sounds like the sort of ruminating theme that would appeal to an improvising pianist. More fully extended melody follows in the Adagio mesto. The Allegretto mosso con grazia with its triple-time fi gures is the equivalent of a third movement, while a percussive tattoo and shift to Allegro con molto brio signal the victory march of triumph.

Liszt prided himself on the fact that in Weimar he was contributing to the ‘music of the future’. Much of his immense piano innovation behind him, he now had a new genre, the symphonic poem, to oppose to the prestige of the standard symphony whose banner Brahms and his acolytes in Vienna continued to carry.

GORDON KALTON WILLIAMS ©2011

This work calls for piccolo, two fl utes, two oboes, two clarinets, bass clarinet, and two bassoons; four horns, four trumpets, two trombones, bass trombone, and tuba; triangle, snare drum, cymbals, and bass drum; harp and strings.

Tasso was fi rst performed in Sydney, in the composer’s own version for two pianos, in 1883, by Paolo Giorza and one of his students. The orchestral original was introduced by an early manifestation of the ‘Sydney Symphony Orchestra’ in 1916, conducted by Gustav Slapoffski. Tasso has been played twice previously by the current Sydney Symphony, in 1957 conducted by Tibor Paul, and during the 1973 Prom series under John Hopkins.

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Keynotes

SCHUMANN

Born Zwickau, Germany, 1810Died Bonn, 1856

From 1830, Robert Schumann lived in the household of his piano teacher Friedrich Wieck. The daughter of the house was Clara Wieck, a young pianist of prodigious talent. Her concert career had taken her to Vienna and Paris, and won the admiration of Paganini, Chopin and Mendelssohn. Schumann asked for her hand in marriage on her 18th birthday. Clara’s father attempted to sabotage the union, among his objections that the marriage might bring her carefully nurtured performing career t o an end. The lovers won through and married in September 1840.

PIANO CONCERTO

Schumann had long envisaged a ‘newer and more brilliant’ type of piano concerto, in which ‘the soloist, presiding at the keyboard, may unfold the treasures of the instrument and its art, while the orchestra, no longer merely a spectator, interweaves its many facets’. In 1841, his fi rst attempt at realising this ambition was a single-movement Fantasy (Phantasie) for piano and orchestra, which he described as ‘something between a symphony, a concerto, and a grand sonata’. With the addition of two more movements in 1845, this became his one and only complete piano concerto. Clara was soloist in the fi rst public performance on 1 January 1846.

Robert SchumannPiano Concerto in A minor, Op.54

Allegro affettuosoIntermezzo (Andantino grazioso) –Allegro vivace

Ingrid Fliter piano

Following their wedding in September 1840, composer Robert Schumann and Clara Wieck, a prominent piano virtuoso, set up house in Leipzig. The couple soon had children, and fi nding money to support a growing family was a constant worry. Clara had no intention of abandoning her successful musical life. She took pride in earning money from her performances; she also helped popularise Robert’s piano works by including them in her concert programs. Robert revered his wife’s extraordinary musicianship, but his pride struggled with the greater fame accorded Clara, especially when they travelled on concert tours together. Though a respected music journalist and an acclaimed composer of piano works, songs and chamber music, he had yet to write the symphonies and large-scale works that would later enhance his artistic reputation.

A piano concerto by Robert that Clara could perform would thus serve several purposes. Before marrying, Robert had experimented with various ideas for piano concertos, none of which evolved beyond sketches. But during the newlyweds’ fi rst year, he completed a Phantasie for Piano and Orchestra, conceived and orchestrated during 16 days in May 1841. A private performance led to the fi rst of several revisions, but Robert could not fi nd a publisher for his single-movement work.

He set it aside for four years, during which time he wrote more chamber music (including his popular Piano Quintet and Piano Quartet) as well as the Spring Symphony, and moved his family to Dresden. From there he undertook a tour to Russia with Clara that left him exhausted and ill, triggering a severe nervous breakdown. He sought therapy by studying the works of Bach and writing fugues. Taking a break from counterpoint exercises, he added two movements – a fi nal rondo and a connecting Intermezzo – to the reworked Phantasie, and thus created his Concerto for Piano and Orchestra.

Ferdinand Hiller, a conductor to whom Robert dedicated the concerto (hoping to heal a rift in their friendship), led


Robert revered his wife’s extraordinary musicianship, but his pride struggled with the greater fame accorded Clara…

the premiere in his Dresden subscription concert of 4 December 1845 with Clara as soloist. But the true dedicatee is Clara, for whom Robert characterised his devotion in the opening movement’s tempo indication of Allegro aff ettuoso, the Phantasie’s original title. Clara took pleasure in the results; she had long wanted a more brilliant vehicle for display of her virtuosity than the Phantasie. Felix Mendelssohn, the Schumanns’ great friend, who expressed highest regard for Clara’s playing and supported (with occasional private misgivings) Schumann’s work as a composer, organised and conducted the Leipzig premiere on New Year’s Day 1846. Thereafter, the concerto was performed in important cities, often with Robert conducting; it remained a central work in Clara’s repertoire, and is a lasting testament to the couple’s remarkable personal and artistic partnership, cut short by Robert’s death at age 46 in the Endenich asylum, where he recalled, in a letter to Clara, the concerto ‘that you played so splendidly’.

With an abrupt, chromatic cascade of chords, the soloist’s opening entrance commands immediate

Clara and Robert Schumann, 1850


attention, heralding the oboe’s statement of the primary theme, echoed by the piano. The theme’s three-note descending motif dominates deliberations between the orchestra and soloist. The opening key of A minor yields, via the second theme, to triumphant C major, then to an expressive reverie in A fl at major, showcasing the piano accompanied by radiant strings and plaintive woodwind. A return to earlier debates interrupts this dream, restores the opening theme and launches the soloist into an extended cadenza, capped by a quick coda that ends emphatically.

The second-movement Intermezzo (Andantino grazioso), hosts a more congenial but equally passionate dialogue. Short musical ideas are exchanged politely between soloist and orchestra, but as they warm to their topic, an eloquent contrasting theme sings out richly from the cellos, ornamented expansively by the piano. As the conversation fades, clarinets and bassoons recall the opening movement’s three-note motif, fi rst in A minor, then in A major. Without pause, the piano seizes the major motif and launches into a robust, triple-metre rondo marked Allegro vivace, driven by the soloist’s extensive bravura passagework. The third-movement theme (itself a transformation of the primary fi rst-movement theme, subtly strengthening the concerto’s structural unity) surfaces buoyantly through harmonic sequences that build to an exhilarating conclusion.

SAMUEL C. DIXON © 2003

The concerto calls for an orchestra of two fl utes, two oboes, two clarinets, and two bassoons; two horns, and two trumpets; timpani; and strings.

The Australian premiere of the fi rst movement only was given in Sydney in 1885 by Alice Charbonnet-Kellermann and an orchestra conducted by Leon Caron. The Sydney Symphony fi rst performed the Concerto on 3 August 1940 with Eunice Gardiner as soloist and Thomas Beecham as conductor, and most recently in 2005 with soloist Louis Lortie and Gianluigi Gelmetti, conductor.

…a lasting testament to the couple’s remarkable personal and artistic partnership, cut short by Robert’s death at age 46 in the Endenich asylum, where he recalled, in a letter to Clara, the concerto ‘that you played so splendidly’.

EVGENY KISSIN

One of the greatest pianists of our time in his Australian debut performance

*Selected performances. Booking fees of $7-$8.95 may apply. Free programs and pre-concert talks 45 mins before selected concerts.Listen to audio clips and read programs at sydneysymphony.com Sydney symphony concerts on demand at bigpond/sydneysymphony

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SYDNEYOPERAHOUSE.COM9250 7777 | MON-SAT 9AM-8.30PM SUN 10AM-6PM

Vladimir Ashkenazy describes Evgeny Kissin as “a born musician and a born great pianist.” Find out why when Kissin plays Chopin, Grieg and Liszt.

THREE PERFORMANCES ONLY AT THE SYDNEY OPERA HOUSE

15 SEP 8PM – KISSIN IN RECITAL All-Liszt program featuring the Sonata in B minor

22 SEP 8PM – KISSIN PLAYS GRIEG BRAHMS Symphony No.1 GRIEG Piano Concerto in A minor Vladimir Ashkenazy Conductor

24 SEP 8PM – KISSIN PLAYS CHOPIN CHOPIN Piano Concerto No.1 RACHMANINOFF Symphony No.2 Vladimir Ashkenazy Conductor


Keynotes

MUSSORGSKY

Born Karevo, Russia, 1839Died St Petersburg, 1881

With a background in the army and the civil service rather than a conservatorium education, Mussorgsky developed an idiosyncratic and ‘unschooled’ musical style. He belonged to the group of fi ve Russian nationalist composers known as ‘The Mighty Handful’. He is at his fi nest in songs and opera, such as his masterpiece Boris Godunov.

Mussorgsky is one of the most ‘rearranged’ composers in the orchestral repertoire. Shostakovich, Rimsky-Korsakov, Ravel, the conductor Stokowski and others reworked pieces such as Night on Bald Mountain (heard in the movie Fantasia), and the opera Khovantchina was completed by Rimsky-Korsakov. But the music that has attracted the most attention has been Pictures at an Exhibition, with more than a dozen different versions for orchestra.

PICTURES AT AN EXHIBITION

Pictures at an Exhibition was conceived as a piano piece in 1874. Mussorgsky took his inspiration from an exhibition in memory of the Russian artist and designer Viktor Hartmann, which included images ranging from portraits and pictorial scenes to costume designs and architectural sketches. The music literally recreates the experience of wandering through the art gallery, with ‘promenades’ linking the vividly characterised and very Russian pictures. The music is played without pause.

Modest Mussorgskyorchestrated by Maurice RavelPictures at an Exhibition

The original Pictures at an Exhibition (or ‘Pictures from an Exhibition’ as it’s more properly translated) was not performed in Mussorgsky’s lifetime. And even after its publication in 1886 it ‘crept’ into the repertoire – its unconventional form and character making it a mere pianistic curiosity until it found mid-20th-century champions in Vladimir Horowitz and Sviatoslav Richter. It was Ravel’s phenomenal orchestration, commissioned by Koussevitsky in 1920, that brought this remarkable work to the public eye.

Mussorgsky revealed no plan to orchestrate Pictures… and yet many have felt that the music called out for orchestral colours and large-scale performance. These have included Sir Henry Wood, Leopold Stokowski, and Vladimir Ashkenazy, as well as Koussevitsky, whose instructions

Ilya Repin’s famous portrait of Mussorgsky was painted just days before the composer’s death. As Richard Taruskin and others have pointed out, this image of a man in decline has long reinforced the misleading view of Mussorgsky as some kind of ‘idiot savant’, undermining what is known of his technique and the extreme care he took with his manuscripts as well as his refi ned and aristocratic personal appearance.


to Ravel were that the orchestration be in the manner of Rimsky-Korsakov, the one composer who didn’t attempt the task. Yet for all the attention this music has been given, the essential idiomatic character of Mussorgsky’s style remains. Its integrity and vigour, when married to Ravel’s brilliance, has given us an orchestral work full of strength and colour.

An Exhibition

The exhibition in question was a memorial in honour of Mussorgsky’s friend, the architect and artist Viktor Hartmann. Hartmann had died the year before, in 1873, at the age of 39. As an architect he was notoriously bad at constructing ‘ordinary, everyday things’ but, given palaces or ‘fantastic’ structures, his artist’s imagination was capable of astonishing creativity. The St Petersburg exhibition included hundreds of Hartmann’s delicate drawings, watercolours and designs. Of these Mussorgsky, in his own tribute, selected ten. Four of these are now lost, but they survive, as does Hartmann’s memory and reputation, in music.

Mussorgsky’s musical structure is driven by the narrative of a program that combines baroque pictorialism with Romantic expression of feeling. Pictures… places the listener at the exhibition itself, ‘promenading’ from picture to picture in ‘modo russico’ and an alternating fi ve- and six-beat metre. (In these interludes Mussorgsky said his own ‘physiognomy’ was evident.) Then, at each selected artwork, the composer uses music to take us into its world.

A Catalogue

Pictures at an Exhibition was dedicated to Vladimir Stasov, who also provided descriptions and explanations for the 1886 edition. These are included in italics.

Promenade 1

Gnomus (Gnome)

A drawing representing a small gnome walking awkwardly on deformed legs – a design for a nutcracker.

In his orchestration for Pictures Ravel exploits nearly every imaginable orchestral eff ect. The Gnome is a caricature – at once grotesque and tragic, menacing and pitiful – and among its colours is the eerie sound of glissandos to harmonics in the strings.


Promenade 2

Il vecchio castello (The Old Castle)

A mediæval castle before which stands a singing troubadour.

The minstrel sings in an Italian lilting siciliano rhythm, but his melody has a mournful Russian character and his voice is given to the saxophone – a stroke of genius from the French Ravel.

Promenade 3

Tuileries. Dispute d’enfants après jeux (Tuileries – Children quarrelling at play)

A walk in the gardens of the Tuileries with a group of children and their nurse.

Michael Russ speculates that the children in Hartmann’s Tuileries watercolour were most likely a detail, from which Mussorgsky’s inspiration grew. The composer liked children (as did Ravel) and he captures perfectly their childish shrieking and the shapes of their speech. Ravel represents them with woodwinds.

Bydlo (Oxen)

A Polish wagon on enormous wheels drawn by oxen.

Bydlo simply means cattle or oxen in Polish, but Stasov’s description gives Mussorgsky’s ‘secret’ away. Ravel introduces the melancholy, lumbering music with a solo for the tuba, and the thick, bass-heavy chords are preserved to suggest the massive, rumbling wheels of the cart and the ponderous tread of oxen hooves.

Promenade 4

Ballet of the Unhatched Chicks

A little picture by Hartmann for the setting of a picturesque scene in the ballet Trilby.

Mussorgsky’s imaginary ballet, a fl eeting scherzino, takes the music from the bass register of Bydlo to the treble; here again Ravel uses the woodwinds for fl uttering trills and the tapping of the chicks at their shells.

Ballet of the Unhatched Chicks

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‘Samuel’ Goldenberg and ‘Schmuÿle’

Two Polish Jews, rich and poor.

In 1868 Hartmann had given Mussorgsky two life sketches, those of the rich and the poor Jew from Sandomir. Probably Mussorgsky named them himself, with the Germanicised ‘Samuel’ for the wealthy Goldenberg and its Yiddish equivalent ‘Schmuÿle’. The two sketches are united in a timeless narrative – the poor man begging from a rich one – and again Mussorgsky’s fascination with the representation of speech emerges. Goldenberg appears fi rst – assertive, powerful and measured – with (in Ravel’s version) full strings. Then, in a stroke of genius to match the earlier use of the saxophone, Ravel casts a muted, stuttering trumpet as Schmuÿle. The coda makes no attempt to reconcile the two and the poor man is sent away with nothing.

Limoges. Le marché (Limoges Market) –

French women furiously disputing in the market place.

Stasov says the women are arguing, but Mussorgsky’s sketched scenario suggests they are gossiping – about a lost cow, one neighbour’s dentures and another’s obtrusive red nose. This miniature is racing and excited, and brilliantly scored – as everyone knows, the big news cannot wait!

Catacombæ Sepulcrum romanum (Catacombs. A Roman Sepulchre) –

Con mortuis in lingua mortua (With the Dead in a Dead Language)

Hartmann’s picture represented the artist himself looking at the catacombs in Paris by the light of a lantern.

These two movements were both inspired by a single image. The catacombs are fi rst represented in literal terms (with stark brass scoring in Ravel’s version). Then, says Mussorgsky alongside his dodgy Latin, ‘The creative spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly.’ The mood of sombre introspection is sustained with a vaporous evocation of the Promenade theme in a minor key, which Ravel scores with oboes and cor anglais against high string tremolos.

The rich Jew

The poor Jew©

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Catacombs


The Hut on Hen’s Legs (Baba Yaga) –

Hartmann’s drawing represented a clock in the form of Baba Yaga’s Hut on Hen’s Legs. Mussorgsky has added the ride of Baba Yaga in her mortar.

Russian children grow up with the tale of Baba Yaga, the witch who lives in a hut mounted on hen’s legs and devours children. Unlike Western witches, Baba Yaga travels in a mortar propelled by a pestle – her broomstick is strictly for sweeping over her tracks.

As Stasov says, Mussorgsky portrays Baba Yaga’s ride as much as her dwelling place with this terrifying and inexorable music (and, marked at one bar of music per second, clocklike as well!).

The Great Gate of Kiev

Hartmann’s drawing represented his project for a gate in the city of Kiev in the massive old Russian style, with a cupola in the form of a Slavonic helmet.

Hartmann’s gate – a competition entry from 1869 – was never built but he considered it his masterpiece. Mussorgsky’s music conveys the grandeur of Hartmann’s concept and its suggestion of ‘old heroic Russia’. It includes a quotation of a Russian Orthodox chant (‘As you are baptised in Christ’, introduced by a choir of clarinets and bassoons in imitation of the Russian reed organs) and a characteristically Russian peal of bells. Through this the Promenade theme rings out. Here, if nowhere else, Pictures… calls on an orchestral sound to give it the mighty and sonorous climax it demands.

YVONNE FRINDLE ©2008

Ravel’s orchestration calls for three fl utes (two doubling piccolo), three oboes (one doubling cor anglais), two clarinets, one bass clarinet, alto saxophone, two bassoons, and double bassoon; 4 horns, three trumpets, three trombones, and tuba; timpani and percussion; two harps and celesta; and strings.

The Sydney Symphony fi rst performed Pictures at an Exhibition (in Ravel’s orchestration) on 21 June 1941, conducted by Percy Code, and most recently in 2009, when Vladimir Ashkenazy conducted his own arrangement.

Design for the Baba Yaga clock


GLOSSARY

AFFETTUOSO – it is not surprising that Schumann directed that the fi rst movement of his Piano Concerto, composed for his beloved Clara, be played aff ettuoso, ‘with tender aff ection’. How one is expected to play Allegro aff ettuoso (‘aff ectionately fast’), as Schumann directs, is one of the many quandaries confronting performers!

INTERMEZZO – ‘in the middle’; in the 18th century an intermezzo was a short comic opera inserted between the acts of a serious opera, later it came to refer to an instrumental work, without stage action, performed during an opera, and in the 19th-century an independent instrumental work of lyrical character.

MODO RUSSICO – ‘nel modo russico’ is musical Italian for ‘in the Russian manner’. Mussorgsky used the term very specifi cally, apparently to indicate a certain ponderous heaviness.

NATIONALIST MUSIC – with the rise of nationalist political movements in the mid-19th century, art music composers often quoted or made reference to musical traits of folk idioms as a statement of national and musical identity.

ORCHESTRATION – the way in which an orchestral work employs the diff erent instruments and sections of the ensemble. The orchestration, or reworking, of music originally written for piano or some smaller ensemble of instruments is a special art in itself. Some of the greatest orchestrators in this vein have included Rimsky-Korsakov and Ravel.

RONDO – a musical form in which a main idea (refrain) alternates with a series of musical episodes.

SCHERZINO – a little ‘scherzo’, an impish piece or movement, the texture usually light, skittering sketchy strings and winds suggesting some magical or fairytale intervention.

SONATA FORM – this term was conceived in the 19th century to describe the harmonically based structure most classical composers

had adopted for the fi rst movements of their sonatas and symphonies. It involves the EXPOSITION, or presentation of themes and subjects: the fi rst in the tonic or home key, the second in a contrasting key. The tension between the two keys is intensifi ed in the DEVELOPMENT, where the themes are manipulated and varied as the music moves further and further away from the ultimate goal of the home key. Tension is resolved in the RECAPITULATION, where both subjects are restated in the tonic. Sometimes a CODA (‘tail’) is added to enhance the sense of fi nality.

SYMPHONIC POEM – (also ‘tone poem’) a genre of orchestral music that is symphonic in scope but adopts a freer structure in service of an extra-musical ‘program’ that provides the narrative or scene. Liszt was the fi rst to use the term.

THEMATIC UNITY – 19th-century composers often sought to ‘unify’ the various movements or sections of a work by sharing between them a small pool of linked themes; the process by which a theme was developed and changed throughout the course of the work came to be called ‘thematic transformation’.

In much of the classical repertoire, movement titles are taken from the Italian words that indicate the tempo and mood. A selection of terms from this program is included here.

Adagio mesto – slow and sadAllegretto mosso con grazia – very lively, with graceAllegro aff ettuoso – see aff ettuoso in main glossaryAllegro con molto brio – fast, with much energyAllegro strepitoso – fast and boisterousAllegro vivace – fast and livelyAndante grazioso – a walking pace, gracefullyLento – very slow

This glossary is intended only as a quick and easy guide, not as a set of comprehensive and absolute defi nitions. Most of these terms have many subtle shades of meaning which cannot be included for reasons of space.


MORE MUSIC

LISZT TASSOInterested in a recording of Liszt’s Tasso? Try Rafael Frühbeck de Burgos’s highly acclaimed 2001 recording with the Berlin Radio Symphony Orchestra.

BIS CD 1117

SCHUMANN PIANO CONCERTOThinking outside the square, we wondered whether any other Claras besides Clara Schumann has played this great work. Indeed, at least one has! Try pianist Clara Haskil’s recording with Ernest Ansermet and the Suisse Romande.

CLAVES CD 2408

PICTURES AT AN EXHIBITIONDo you want Mussorgsky’s Pictures in its original piano version, or orchestrated? Why not try both. This coupling appears on a single budget-price disc: Vladimir Ashkenazy playing the piano original, and Zubin Mehta conducting Ravel’s orchestration with the Los Angeles Philharmonic.

DECCA ELOQUENCE CD 467 127-2

INGRID FLITERIngrid Fliter’s third recording for EMI Classics, released this year, is a selection of Beethoven sonatas, including the ‘Pathétique’ and ‘Appassionata’. She said recently: ‘Through working on Beethoven’s music I discovered the man, the humanity he expressed in his music… He was not afraid of showing himself as he was and as such made many enemies as well as friends, lovers and admirers. I am among the latter.’

EMI CD 94573

PINCHAS STEINBERGPinchas Steinberg’s acclaimed opera recordings include Wagner’s Flying Dutchman (NAXOS 2CDs 8660025-26), and Catalani’s La Wally (SONY 2CDs 75892). His recording of Massenet’s Chérubin (RCA Victor Red Seal 2CDs 60593) was awarded the Grand Prix du Disque, the Diapason d’Or, the German Critics Prize and the Caecilia Prize Bruxelles.His latest recording is Mozart’s La Clemenza di Tito (RCA Victor Red Seal 2CDs 82876 83990-2) for RCA, recorded live with the Munich Radio Orchestra. His recordings of concert repertoire include Berlioz’s Symphonie fantastique (NAXOS CD 8.550093).

Selected Discography

Selected Sydney Symphony concerts are webcast live on BigPond and made available for viewing On Demand. Visit: bigpondmusic.com/sydneysymphony

Webcasts

2MBS-FM 102.5SYDNEY SYMPHONY 2011

Tuesday 12 July, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Broadcast Diary

JULY

Tuesday 5 July, 1.05pmJEAN-EFFLAM BAVOUZET IN RECITAL

Beethoven, Debussy, Wagner, Liszt

Friday 15 July, 8pmPROKOFIEV’S ROMEO & JULIET

James Gaffi gan conductorSergey Khachatryan violin

Beethoven, Sibelius, Prokofi ev

Saturday 23 July, 1pmTWO GREAT SYMPHONISTS

Hans Graf conductorMatthew Wilkie bassoon

Mozart, Ledger, Stravinsky, Tchaikovsky

Saturday 23 July, 9.15pmMOZART REVISITED

Dene Olding violin-directorAndrea Lam piano

Mozart, Britten

Wednesday 27 July, 8pmROMANTIC RHAPSODY

Thomas Dausgaard conductorFreddy Kempf piano

Tchaikovsky, Rachmaninoff, Brahms

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ABOUT THE ARTISTS

Pinchas Steinberg conductor

Born in Israel, Pinchas Steinberg studied violin under Joseph Gingold and Jascha Heifetz in the United States, and composition under Boris Blacher in Berlin. In 1974 he made his conducting debut with the RIAS Symphony Orchestra, Berlin. A series of prestigious engagements followed with orchestras including the Berlin Philharmonic, London Symphony Orchestra, Israel Philharmonic, Leipzig Gewandhaus, Philharmonia Orchestra, Orchestre National de France, Czech Philharmonic, Santa Cecilia Roma, London Philharmonic Orchestra, Munich Philharmonic, Royal Stockholm Philharmonic, Boston Symphony, and Orchestre de Paris among many others. He appears regularly with the Budapest Festival Orchestra, and has conducted at other festivals including Salzburg, Berlin, Prague, Tanglewood, and the Richard Strauss Festival in Garmisch.

From 1988 to 1993 he was Permanent Guest Conductor at the Vienna State Opera. He has conducted opera at leading houses around the world, including London’s Covent Garden, Paris, Munich, San Francisco, Berlin, Rome, and Madrid. He was Chief Conductor of the Radio Symphony, Vienna (1989–1996) and Music Director of the Orchestre de la Suisse Romande (2002–2005).

Recent opera engagements include new productions of Puccini’s Turandot and Wagner’s Tristan und Isolde at the Deutsche Oper Berlin. In 2009–10 he conducted Korngold’s Die tote Stadt at the Opéra Bastille in Paris and at Teatro Real in Madrid. He opened the 2010–11 season at the Opera Bastille with Strauss’s Salome. In February 2010 he made his concert debut at La Scala Milan conducting the Orchestra Filarmonica della Scala in Schumann’s Faust Szenen.

In April this year he conducted Wagner’s Parsifal at the Finnish National Opera and in a concert performance with the Orchestra Teatro Comunale di Bologna. In May he conducted a new production of Verdi’s La Battaglia di Legnano at the Teatro dell’Opera in Rome. This was followed in June by concerts with the Czech Philharmonic Orchestra at the Prague Spring Festival and the Moscow International Festival. Pinchas Steinberg’s most recent appearance with the Sydney Symphony was in 2010, when he conducted Berlioz’s Symphonie fantastique.


Ingrid Fliter piano

Born in Buenos Aires, Argentina, Ingrid Fliter began her piano studies with Elizabeth Westerkamp. In 1992 she moved to Europe where she continued her studies at the Freiburg Musikhochschule with Vitaly Margulis, then in Italy with Carlo Bruno and with Franco Scala and Boris Petrushansky. She was a laureate of the Ferruccio Busoni Competition and silver medalist at the 2000 Frederic Chopin Competition in Warsaw, and was a BBC Radio 3 New Generation Artist from 2007 to 2009. In 2006 she received the valuable Gilmore Artist Award, which is presented to a pianist deemed worthy of a global career as determined by evaluations of performances over a period of time rather than through public competition.

Ingrid Fliter now divides her time between Europe and the United States. In America she has appeared with the Cincinnati Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, National Symphony Orchestra, San Francisco Symphony, Seattle Symphony, St Louis Symphony, and in Canada with the Toronto Symphony.

Her recent and forthcoming orchestral engagements in Europe include the Philharmonia Orchestra, Royal Stockholm Philharmonic, Rotterdam Philharmonic, Bergen Philharmonic, Royal Liverpool Philharmonic, Hungarian National Philharmonic and Royal Flemish Philharmonic.

In recital, she has performed at the Amsterdam Concertgebouw, Museé d’Orsay, Tokyo’s Suntory Hall, Cologne Philharmonie, Salzburg Festspielhaus, Conservatorio Giuseppe Verdi in Milan, and at London’s Wigmore Hall and Usher Hall, Edinburgh. Recital highlights in North America have included Carnegie Hall, the Metropolitan Museum, in Fort Worth for the Van Cliburn Foundation and in Chicago, San Francisco, Detroit, Vancouver and Montreal. Festival highlights include La Roque D’Anthéron, Prague Autumn, Valdemossa Chopin Festival, Cheltenham Festival, City of London Festival and the World Pianist Series in Tokyo. She has also appeared in the Mostly Mozart, Grant Park, Aspen and Blossom festivals.

Ingrid Fliter has released two all-Chopin discs, including a recording of the complete Chopin Waltzes, as well as Beethoven sonatas and a live recital disc. This is her Australian debut.

Read an interview with Ingrid Fliter in the International Pianists in Recital program book, downloadable from http://bit.ly/PianoRecitals2011 and available through her recital event page on the Sydney Symphony mobile app.

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Hear Ingrid Fliter perform Beethoven and Chopin at City Recital Hall Angel Place on Monday 4 July at 7pm.


MUSICIANS

Performing in this concert…

FIRST VIOLINS Michael Dauth Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Katherine LukeyAssistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootAmber Davis Georges LentzNicola Lewis Alexandra MitchellFreya Franzen†

Claire Herrick*Ji Won Kim†

Alexander Norton*Martin Silverton*

SECOND VIOLINS Kirsty Hilton Marina Marsden Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Sophie Cole Maria Durek Emma Hayes Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D’Elia#

Emily Qin#

VIOLASRoger Benedict Tobias Breider Anne-Louise Comerford Sandro CostantinoRobyn Brookfi eld Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Rosemary Curtin#

Tara Houghton†

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauTimothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

Adam Szabo†

Rachael Tobin#

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOESDiana Doherty Shefali Pryor Alexandre Oguey Principal Cor Anglais

CLARINETSLawrence Dobell Christopher Tingay Craig Wernicke Principal Bass Clarinet

Rowena Watts†

ALTO SAXOPHONEChristina Leonard*

BASSOONSRoger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSBen Jacks Geoffrey O’Reilly Principal 3rd

Lee BracegirdleMarnie Sebire Euan Harvey

TRUMPETSDaniel Mendelow Paul Goodchild Anthony Heinrichs Alexandra Bieri*

TROMBONESRonald Prussing Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Mark Robinson Colin Piper Ian Cleworth*Brian Nixon*

HARP Louise Johnson Genevieve Lang*

PIANOJosephine Allan#

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

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

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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


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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in a tour of European summer festivals, including 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, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

This is the third year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.

THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

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SALUTE

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

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

EmanateBTA Vantage

2MBS 102.5 Sydney’s Fine Music Station

BRONZE PARTNER MARKETING PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNERS


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff Ainsworth AM & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Greg & Kerry Paramor & Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Helen Lynch AM & Helen BauerAlan & Christine BishopThe Estate of Ruth M DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreMr David Greatorex AO & Mrs Deirdre GreatorexMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie ClampettMrs Gretchen M Dechert

Ian Dickson & Reg HollowayJames & Leonie FurberMr James Graham AM & Mrs Helen GrahamStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationEva & Timothy PascoeRodney Rosenblum AM & Sylvia RosenblumDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleKylie GreenJanette HamiltonAnn HobanPaul & Susan HotzIrwin Imhof in memory of Herta ImhofMr Justin LamR & S Maple-BrownMora MaxwellJudith McKernanJustice George Palmer AM QC

James & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsMr Henri W Aram OAM

Terrey Arcus AM & Anne ArcusClaire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesPhil & Elese BennettColin Draper & Mary Jane BrodribbM BulmerPat & Jenny BurnettDebby Cramer & Bill CaukillEwen & Catherine CrouchMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisJohn Favaloro

Mr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergMrs E HerrmanMrs Jennifer HershonBarbara & John HirstBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergWendy LapointeMacquarie Group FoundationMelvyn MadiganMr Robert & Mrs Renee MarkovicKevin & Deidre McCannMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeePatricia H ReidMr M D SalamonJohn SaundersJuliana SchaefferCaroline SharpenMr & Mrs Jean-Marie SimartCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMr Peter J ArmstrongMs Baiba B. Berzins & Dr Peter LovedayMrs Jan BiberDr & Mrs Hannes Boshoff Dr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs Campbell

Mrs Catherine J ClarkJoan Connery OAM & Maxwell Connery OAM

Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie CameronRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n AM

Jules & Tanya HallMr Hugh HallardRoger HenningRev Harry & Mrs Meg HerbertMichelle Hilton-VernonMr Joerg HofmannDominique Hogan-DoranMr Brian Horsfi eldGreta JamesIven & Sylvia KlinebergDr & Mrs Leo LeaderMargaret LedermanMartine LettsErna & Gerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mrs Silvana MantellatoGeoff & Jane McClellanIan & Pam McGawMrs Inara MerrickKenneth N MitchellHelen MorganChris Morgan-HunnMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

Mrs Rachel O’ConorA Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersDr Mark & Mrs Gillian SelikowitzMrs Diane Shteinman AM

Robyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMr D M SwanDr Heng & Mrs Cilla TeyMs Wendy ThompsonProf Gordon E WallRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsMr & Mrs Glenn WyssAnonymous (11)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


MAESTRO’S CIRCLE

Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO Credit Suisse, AustraliaAlan Fang, Chairman, Tianda Group

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

We also gratefully acknowledge the following patrons: Ruth & Bob Magid – supporting the position of Elizabeth Neville, cello Justice Jane Mathews AO – supporting the position of Colin Piper, percussion.

For information about the Directors’ Chairs program, please call (02) 8215 4619.

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg Chair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

10 Lawrence DobellPrincipal ClarinetAnne & Terry Arcus Chair

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BEHIND THE SCENES

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory Jeffes

Andrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

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Please address all correspondence to the Publications Editor: Email [email protected]

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas (Tom) Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

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Documents

2011 SEASON Bo… · thousand people can listen to the same music and form two thousand diﬀ erent pictures in their minds. ... to inspire a fascinating and original piano concerto,