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NEW FEATURES

KEYNOTES

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while the orchestra tunes up;

look for Keynotes in the

margin at the beginning of

each program note.

HISTORICAL SNAPSHOTS

Celebrating our 75th

anniversary season, a series

of illustrated articles by

historian and concert

programmer David Garrett.

EXPANDED CONCERT

INTRODUCTION

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FREE PROGRAMS AT SYDNEY SYMPHONY CONCERTS

SEASON 2007

KALEIDOSCOPE SERIES

ANTARCTIC SYMPHONY

Thursday 22 March | 8pm

Saturday 24 March | 8pm

Sydney Opera House Concert Hall

Richard Mills conductorMichael Kieran Harvey piano and synthesiserJohn Bell speakerPenelope Mills sopranoFemale voices of Cantillation

Antony Walker music director

John Bell appears by arrangement with Bell Shakespeare Company

BARRY CONYNGHAM (born 1944)

Monuments – Concerto for piano, synthesiser

and orchestra

Uluru, The Rock / Sydney Opera House The Barrier Reef / The Snowy SchemeThe Apostles / Cityscape

INTERVAL

RALPH VAUGHAN WILLIAMS (1872–1958)

Sinfonia antartica (Symphony No.7)

Prelude (Andante maestoso)Scherzo (Moderato – poco animando)Landscape (Lento)Intermezzo (Andante sostenuto)Epilogue (Alla marcia moderato ma non troppo –

Andante maestoso)

With Herbert Ponting’s photographs from the Scott Expedition and excerpts from Scott’s journals

Pre-concert talk by Raff Wilsonat 7.15pm in the Northern Foyer.

Estimated timings:26 minutes, 20 minute interval,52 minutesThe performance will concludeat approximately 9.45pm.

Cover images: see page 30 forcaptions

Program notes begin on page 5

Artist biographies begin on page 18

5 | Sydney Symphony

INTRODUCTION

Antarctic Symphony

This is a concert of monuments. Barry Conyngham’s musicresponds to six enduring landmarks of Australia: naturalsites and manmade structures that exert a power over theimagination. Ralph Vaughan Williams’ Sinfonia antarticaevokes an outstanding example of courage and loyalty inthe face of an implacable natural environment.

Monuments – a piano concerto in all but name – wascompleted in 1989 and receives its Australian premiere this week. Each of its movements pairs a natural and amanmade monument. This is music that captures thegrandeur and the subtlety of the Australian landscape, andthe end is achieved with distinctive orchestral colouration.Even the soloist is given an extended palette, with parts to play on a DX7 or synthesiser. And the layout of theorchestra builds on the idea of pairings and contrasts witha ‘stereo’ arrangement of what are effectively two stringorchestras.

Colour also plays an elemental role in Sinfonia antartica.Vaughan Williams adds a wordless chorus with sopranosolo, organ and a wind machine to invoke the spirit ofthe Antarctic – desolate, beautiful and cruel. There is adarkness to the symphony, which was drawn from musicthat Vaughan Williams had written for the 1947 film Scott ofthe Antarctic, but – as in the film – there is also a celebrationof the nobility and courage in Scott’s ill-fated expedition to the South Pole.

Sinfonia antartica is far more than a suite of music from afilm – Vaughan Williams did not name it his ‘Symphony No.7’without good reason. But in presenting it with projectedphotographs from the expedition and readings from Scott’sjournals we pay tribute to its cinematic conception andbring to the foreground a tragic and powerful story thatcontinues to attract the modern imagination.

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The Sydney Opera House is one of Barry Conyngham’s ‘Monuments’

Help it become one of the New 7 Wonders of the World!

Support this much-loved Australian icon in its bid to become one of the New 7 Wonders of theWorld, to be announced on 07.07.07*. The Sydney Opera House is the newest of the world wonders and an important piece of modernistarchitecture, so it’s time for anyone who has marvelled at the unforgettable, soaring shells of theSydney Opera House to pick up the phone or go online and vote.To vote visit www.new7wonders.com, text “SOH” to 1977 7717, or dial 1902 977 777**.

Sydney Opera House – it’s our world wonder down under.* Half of the profits generated from this first-ever global vote will be donated to good causes in monument restoration and preservation.** Each text message costs $0.55. Each phone call costs $0.55 per minute. Online voting is free.

ABOUT THE MUSIC

Keynotes

CONYNGHAM

Born Sydney, 1944

As a young composer Barry

Conyngham was influenced

by Peter Sculthorpe, who

in turn encouraged him to

explore the music of Japan.

This brought him in contact

with composer Takemitsu,

who became an important

influence. After Takemitsu’s

death in 1996, Conyngham

composed an orchestral work

for the Sydney Symphony,

Passing, which celebrated

his life. Conyngham’s music

is often inspired by the

‘intimidating grandeur of

Australia’s landforms’ and

‘the subtlety of its changes’.

He says three themes

dominate his music: ‘what

it means to be Australian;

my involvement with Japan;

to explore the emotional.’

MONUMENTS

Monuments is in three

movements, each one

taking a pair of Australian

monuments (one man-made,

the other natural) as

inspiration. The piano soloist

is given an expanded range

of colour with parts of the

concerto played on DX7 (in

this concert a contemporary

synthesiser).

Monuments was

commissioned by the Albany

Symphony Orchestra (New

York State) and premiered by

that orchestra and Australian

conductor Geoffrey Simon

in 1989. Despite its

Australian themes, it has

not been performed in

Australia before.

Barry Conyngham (born 1944)

Monuments – Concerto for piano, synthesiser

and orchestra

Uluru, The Rock / Sydney Opera House The Barrier Reef / The Snowy SchemeThe Apostles / Cityscape

Michael Kieran Harvey, piano and synthesiser

AUSTRALIAN PREMIERE

About the composer

Born in Sydney, Barry Conyngham has been a majorfigure in Australian music for over three decades.Recently premiered works include Veils 2 in Oslo, 2003;Dreams go wandering still at the 2004 Adelaide Festival; the monodrama Fix, performed by Teddy Tahu Rhodesand the Sydney Symphony Orchestra in 2004 and theMelbourne Symphony’s performance of Now that darknessin 2005. Last year saw the premieres of Cathedral inEdinburgh, To the Edge with Melbourne’s Pro Artechamber orchestra and the chamber opera Electric Lenincommissioned by Lyndon Terracini.

In the mid-1960s, Conyngham found a mentor in Peter Sculthorpe, who encouraged his students to explore the music of Australia’s neighbours. In 1970Conyngham travelled to Japan, rather than Europe, on a Churchill Fellowship where he produced the score for Horizon (a film shown in the Australian pavilion atExpo 70) and commenced studies with Toru Takemitsu. Two of Conyngham’s most significant early works datefrom this time: Water…Footsteps…Time…, and theconcerto for amplified violin and four string orchestras,Ice Carving. The latter work, inspired by seeing thetraditional carving of monumental ice sculptures in the Imperial Gardens in Tokyo, demonstrates many ofthe concerns with which Conyngham’s subsequent musichas had an ongoing engagement.

Both Sculthorpe and Takemitsu encouragedConyngham’s ear for vivid colour and texture.Conyngham celebrated the life of the late Japanesecomposer in Passing, composed for the Sydney SymphonyOrchestra in 1998; his recent orchestral work, Dreams go wandering still pays tribute to Sculthorpe through an image from the great Japanese haiku poet, Basho,whose work Conyngham has used in a number of pieces.

7 | Sydney Symphony

Conyngham further enriched his musical palette byassimilating certain techniques of Polish composers suchas Lutoslawski. He learned the effective use of aleatoriccounterpoint – where a complex and active texture can be created by giving performers a degree of rhythmicfreedom – and a harmonic structure built around seriesof strongly profiled chords.

Conyngham’s music frequently contemplates whathe describes as the ‘intimidating grandeur of Australia’slandforms’ and ‘the subtlety of its changes’. The balletscore Vast, composed for the bicentenary of whitesettlement in 1988, depicts the oceans, coasts, deserts and cities of Australia; the concerto for violin and piano,Southern Cross, evokes the sweep of the continent and the huge sky under which it lies; two concertos datingfrom 1990, Waterways for viola and Cloudlines for harp,reflect no specific location, but rather the large-scaleforces and natural processes which create the landscape.

Monuments – a guide

For Conyngham, Australia’s cities are part of thelandscape, as capable of engendering awe, joy or isolationas are the deserts. Thus each of the three movements of the keyboard concerto Monuments pairs one naturaland one built feature of the landscape as its central,generative image. These landmarks are linked by acommon attribute, but beyond any visual similarities areobvious contrasts; these generate the musical contrastswhich dominate the work. Pairing also dictates theorchestral layout: the strings, for instance, are dividedinto equal, antiphonal bands. The first movementcontrasts the two most recognisable images of Australia:the monolith of Uluru and the architectural masterpiecethat is the Sydney Opera House. The movement beginsnot with the stark magnitude of the desert, however,but with a strenuous passage for solo piano: this is aconcerto, after all, and concertos feature in the OperaHouse Concert Hall. Typically for Conyngham, thesoloist’s range of expression is enhanced by the use ofDX7 synthesiser (or equivalent) as well as piano. It maybe that a characteristic series of chords from the brassreflects the central Australian landscape; the chords also act as a reservoir of harmony explored through the piece.

Barry Conyngham

The DX7

The Yamaha DX7 was alandmark in the history of the synthesiser. The firstcommercially successfuldigital synthesiser, it wasmanufactured between 1983and 1986, and enjoyed hugepopularity. The instrumentcan be heard in the work ofartists such as StevieWonder, Vangelis, PhilCollins and Queen. It wasparticularly successful increating bell and chime-likesounds. In this performancewe are using a descendent of the DX7, a Kurzweilsynthesiser, for which BarryConyngham has specially re-worked the requiredsounds.

8 | Sydney Symphony

The unifying feature of the second movement is, ofcourse, water, where the music contrasts the amazing,though fragile, environment of the Great Barrier Reefwith one of Australia’s greatest feats of engineering – theSnowy Mountains scheme. As in Vast, which began underthe sea, Conyngham’s submarine music is intenselyevocative – by turns turbulent or translucent – and thesynthesiser contributes sampled water-sounds toenhance the effect.

The third and final movement, The Apostles / Cityscape,marks a visual analogy between high-rise buildings and a group of weathered sandstone monoliths off theVictorian coast. But where a city teems with humanactivity, a series of oceanic rock formations are bydefinition an inhuman landscape. Conyngham’s musicallows the paradox of similarity and difference to stand,beginning dreamily with a texture of shimmering strings.The piano responds to each chord with its own series of four chords. The music then releases a series ofliquid figures from the piano, followed by a high, limpidpassage of counterpoint for violins. The opening sectionculminates in a characteristic chorale-like passage wherepiano doubles wind and brass. Referring to the opening of the movement, the chorale is built out of phrases offour chords, answered by gentle undulations from mutedviolins. The second half of the movement is given over to frenetic, urban sounds (including some self-consciously ‘electronic’ noises from the synthesiser). The movement’s climax and conclusion brings togetheraspects of both sections. The frenetic, urban paceremains, but underpinning it is the four-note choralewhich represents the grandeur of the Apostles. A musical gesture depicts the visual analogy which was the work’sstarting point.

GORDON KERRY ©2007

The orchestra for Monuments calls for three flutes (each doublingpiccolo and alto flute), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, threetrumpets, two trombones, bass trombone, tuba, harp, celesta,percussion, timpani, two string orchestras (placed ‘in stereo’ on the stage).

Monuments was composed for the Hungarian-born pianist TamásUngár, who premiered it with the Albany Symphony Orchestra and conductor Geoffrey Simon in 1989.

Snowy-Geehi Tunnel

(The Snowy River Scheme)

9 | Sydney Symphony

Ralph Vaughan Williams

Sinfonia antartica (Symphony No.7)

Prelude (Andante maestoso)Scherzo (Moderato – poco animando)Landscape (Lento)Intermezzo (Andante sostenuto)Epilogue (Alla marcia moderato ma non troppo – Andante

maestoso)

John Bell, speakerPenelope Mills, sopranoFemale voices of Cantillation

Arguably England’s greatest symphonist, Ralph VaughanWilliams was producing grand and powerful worksduring his 70s and 80s; works that were both modern and challenging. In this vein, Sinfonia antartica is seen bymany as heralding the beginning of that last great decadeof composition from 1949 until his death in 1958. Its firstperformance in 1953, given by the Hallé Orchestra underthe direction of Sir John Barbirolli, was a great success.Vaughan Williams proved himself time and again with the scope of vision and imagination he brought to theconcept of the modern symphony.

Vaughan Williams had already written this symphonyover the period 1947–48 as the incidental music for theEaling film Scott of the Antarctic. This film, starring JohnMills as Robert Scott and directed by Charles Frend withmeticulous attention to historical detail, was a reverentand serious examination of the tragic and ill-fated questto be the first man to the South Pole. Vaughan Williamswas to create, by musical means, the sense of desolationand hostility, man pitted against pitiless nature. Theimmediate success of his score can be judged on one level by its winning of the first prize at the 1949 PragueFilm Festival.

While there is no doubt as to the pleasure that VaughanWilliams took in the writing of film music (he created 11scores from 1941 to 1956), not all of those scores becamesymphonies. The story of Scott had drawn great andpassionate music from this most idealistic of composers.This music was too good to lose. Following the grimnessof World War II, this symphony embodies the sense ofstriving against odds and, whether winning or losing,retaining a dignity and solemn pride. Indeed, Scott is as much a symbol as a real man – and given Vaughan

Keynotes

VAUGHAN WILLIAMS

Born Gloucestershire, 1872Died London, 1958

The leading composer of his

generation, Ralph Vaughan

Williams played a key role

in the 20th-century revival

of British music. The LarkAscending for violin and

orchestra and his Fantasia

on a Theme by Thomas Tallis

are among his best-loved

concert works. Of his nine

symphonies – several of

which call for chorus and

solo voices – the audience

favourites include A LondonSymphony (No.2) and

Symphony No.5.

His first film score was

composed when he was nearly

68. He went on to write music

for Scott of the Antarctic,

which inspired his Seventh

Symphony.

SINFONIA ANTARTICA

In a nod to his musical source,

Vaughan Williams named his

Seventh Symphony Sinfoniaantartica (Italian, hence

the ‘missing c’ in antartica).

Vaughan Williams uses the

orchestra – together with the

special colours of wordless

voices and wind machine – to

evoke the alien environment

of the Antarctic, the light

comedy of penguins at play,

the poignancy and heroism

of Scott’s expedition, and

‘the triumph of Nature over

adventure’.

The symphony was completed

in 1952 and premiered the

following year. In this

performance selections from

Scott’s journals are read

between each movement.

10 | Sydney Symphony

Williams’ interest in the struggle of Everyman against theworld, this symphony is an allegory. As Wilfrid Mellersputs it in Vaughan Williams and the Vision of Albion, ‘If theend is nirvana, or nothingness, this is a victory not forevil, but for Nature’s neutrality.’

‘To strive, to seek, to find, and not to yield.’ Sinfoniaantartica returns us to a time of simple bravery andhonest endeavour, Vaughan Williams wistfully honouringScott’s ill-fated expedition with a musical mantle.

Listening Guide

The first movement, with its slowly rising chromatictheme, is reminiscent of a grand curtain rising to reveal a whiteness. Vaughan Williams creates a remarkably‘foreign’ aural landscape, using piano, harp, xylophone,vibraphone, glockenspiel and celeste. This constant tonalshimmering is heightened by the addition of a windmachine, female chorus and solo soprano. Her wordlesskeening evokes the alien environment. Even the marchthat occurs here has a false jauntiness.

The second movement is passingly light. VaughanWilliams identifies the great Leviathans (whales) andcomic penguins through the use of grand low brasschords and chattering woodwinds respectively. Even here,there is no escaping the ‘alien’ motif of harp, keyboardand tuned percussion arpeggios.

The third movement is possibly one of VaughanWilliams’ grandest statements on the immutable powerof Nature. The density of the orchestration points to the ‘motionless torrents’, crags and immensity of thefortresses of ice that surmount the path to the Pole.There is also a tonal familiarity in this work – a similaritybetween this movement and Neptune from The Planetsby Vaughan Williams’ good friend Holst. Both areattempting to convey the concept of timeless majesty,beyond the comprehension and control of mere mortals.This is done through a deft use of muted brass in agrindingly measured Lento – and certainly, the powerfulchords from the organ are like blows of a giant’s fist,halting the pilgrims’ progress.

The bulk of the music within the fourth movement

is concerned with the sacrifice of Oates (walking into the whiteness, famously saying to his companions,‘I may be some time…’) – and the thoughts of his wife thousands of miles away in England. The use of solo

Ralph Vaughan Williams (1938)


oboe, with a typical pastoral ‘feel’ to the melody, and soloviolin (with an echo of The Lark Ascending) takes us intoShropshire or Devon – quite at odds with the Antarcticwilderness. However, this idyll is short lived and themenacing theme from the first movement returns, withmore edge to it through the addition oflow bells and a harsher chromaticism. The oboe returns,then all is closed with a low rumble from the doublebasses.

With a crash of percussion, the last movement

shatters any sense of tranquillity. The struggle is notover. Vaughan Williams brings all the themes that havepresented themselves throughout the symphony and we are witness to the triumph of Nature over adventure.The triplet figure that overwhelms the first movementmarch denotes the blizzard that crushes the last hope ofthe Scott expedition. Finally the opening theme returns,with wind machine, female voices and soprano soloist –the bodies of Scott’s party are clothed in white and takeninto the landscape. The symphony dies away with asurprising gentleness – it is impossible to deny themelancholy.

ADAPTED FROM A NOTE BY DAVID VIVIAN RUSSELLSYMPHONY AUSTRALIA ©2000/2007

Sinfonia antartica calls for three flutes (one doubling piccolo), two oboes and cor anglais, two clarinets and bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and percussion (xylophone,vibraphone, side drum, tenor drum, glockenspiel, wind machine,cymbal, gong, bass drum, triangle, suspended cymbal and bells);harp, celeste, piano, organ and strings.

Sinfonia antartica was premiered on 14 January 1953, the HalléOrchestra conducted by Barbirolli. The first Australian performance was given by the Sydney Symphony, sopranoMargaret Moore and the NSW Conservatorium Girls Choir in 1953in a performance conducted by Eugene Goossens. The SydneySymphony’s only performance since then was in 1969, conductedby Bernard Heinze.

Scott’s diary became a

popular parting gift to

soldiers during World

War I – and Ralph

Vaughan Williams, who

drove army ambulances

from the trenches to

hospitals, would

certainly have seen

these volumes in the

possession of the

wounded.


Vaughan Williams and Film Music

Although Vaughan Williams’ name is virtuallysynonymous with lush English pastoral music – his LarkAscending, Tallis Fantasia, and Pastoral Symphony (thelatter damningly referred to as ‘a cow looking over a gate’by Peter Warlock) being perhaps his best-loved works – his was a musical life always seeking new languages andboundaries. Descended from the august families ofDarwin and Wedgwood, he profited from a modest privateincome to devote himself entirely to music. Editor ofthe first ‘English Hymnal’, director of the Bach Choir, adedicated folksong collector, a student of Ravel and asensitive orchestrator, with nine varied and complexsymphonies to his name, he was a central figure on alllevels of English music-making during his life.

He composed 11 film scores, of which Scott of theAntarctic (1947) was the seventh. By all accounts he foundthe demands of the process exciting – Ursula VaughanWilliams wrote that ‘he became fascinated by the split-hair timings: a second of music meant exactly a second ofmusic and this was quite a new frame to musical thought.’By the time of Scott of the Antarctic he was also experiencedenough to demand control of the use of all music andsound effects on the film – and indeed, for the bleaksound world of the Scott film, his choice of wordlessvoices presented difficulties. The studio feared it wouldobscure the dialogue. The composer held firm, howeverand the chorus and soprano solo sections were used inthe film.

Herbert Ponting

Herbert George Ponting was born in 1870, and was one of about a hundred applicants for the position ofphotographer for Scott’s 1910 expedition. Styling himselfas ‘camera artist’, Ponting was by that time already aninternationally established photographer. Captain Scottrealised the importance of photographic coverage ofthe expedition, not only for scientific purposes, but alsofor sale to the press. To secure his services Ponting waspaid a pound more per week than the other ‘scientific’crewmembers. By its nature, Ponting’s activities were setapart from the others’; photographing the heavy work ofunloading the ship meant that he took no active part in it, a fact which the crew was quick to note – when it was

The Ice Cave

In one of these bergs therewas a grotto. This, I decided,should be the object of myfirst excursion. It was about a mile from the ship, andthough a lot of rough andbroken ice surrounded it, I was able to get right up toit. A fringe of long icicleshung at the entrance of thegrotto, and passing underthese I was in the mostwonderful place imaginable.From outside, the interiorappeared quite white andcolourless, but, once inside,it was a lovely symphony of blue and green. I mademany photographs in thisremarkable place – thanwhich I secured none morebeautiful the entire time I was in the South. By almostincredible good luck theentrance to the cavernframed a fine view of theTerra Nova lying at the ice-foot, a mile away.

HG PONTING


Terra Nova pauses in the ice pack

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The ice cave

time to unload Ponting’s equipment, no volunteersstepped forward to assist!

Ponting was totally devoted to his mission, and spentall the available daylight hours taking photographs. When the permanent night of the Antarctic Winter fell,Ponting focused on life in the hut at Cape Evans. With the coming of summer 1911/12, having photographed the polar party heading southwards, Ponting’s work wasdone. Terra Nova arrived to supply the main expeditionparty in January 1912, and Ponting departed for NewZealand. Scott and his colleagues were still marching for the Pole.

After his return to England, Ponting undertook lecturetours, and released the silent film footage he had takenduring the voyage. The disastrous end of the expeditiondrew attention to his work, but interest inevitably fellaway with the outbreak of World War I. Moreover, to hisdismay Ponting found that Scott had signed agreementsregarding his images with various newspapers, severelylimiting the possibilities for him to profit from his work.Later in life he tried to market several inventions(including a puncture-proof inner tube for cars) withoutsuccess. His career as a photographer stalled, and the lastyears of his life were spent unhappy and disillusioned. He died in 1935.

Photography in the Antarctic

That the images projected in tonight’s concert exist atall is a miracle. All had to be painstakingly set up, posedand shot. The equipment required to take them was so bulky that Ponting had to haul it about on a sled;taking a spontaneous picture simply was not feasible.

The ‘Furious Fifties’ – Terra Nova in

a gale

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Cold conditions rendered every part of the process moredifficult – ‘non-freezing’ oil actually did freeze in theseextreme conditions, seizing up camera shutters and othermoving parts.

Simple actions could easily go awry. Ponting wrote, ‘Oftenwhen my fingers touched metal they became frostbitten.Such a frostbite feels exactly like a burn. Once, thoughtlessly,I held a camera screw for a moment in my mouth. It frozeinstantly to my lips, and took the skin off them when I removed it. On another occasion, my tongue came intocontact with a metal part of one of my cameras, whilstmoistening my lips as I was focussing. It froze fastinstantaneously; and to release myself I had to jerk it away,leaving the skin of the end of my tongue sticking to thecamera…’

Condensation proved a major technical problem – simplybreathing on a lens in the open air covered it with a filmof ice, which had to be thawed off. Ponting learned to storehis cameras outdoors; the moment they were broughtin, they would start dripping with moisture. Likewise,photographic plates were brought indoors in stages, takingtwo days. This was the only method to prevent their beinginstantly spoiled by the sudden change of temperature,and it still did not guarantee an undamaged photograph.

There were several accidents – Ponting was nearly caughton pack ice when several killer whales breached aroundhim. On another occasion ice disintegrated beneath him,and only a dash for harder surface saved him and hisequipment. Several crewmembers also were injured posingfor photographs, most notably Thomas Clissold, expeditioncook, who fell from the summit of the ‘Matterhorn’ icebergmoments after his photograph had been taken – knockedunconscious, he was incapacitated for several weeks.

Ponting films the bow breaking

through ice

The ‘Matterhorn’ berg, with Mt Erebus in the background

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The Scott Expedition

By 1909, the South Pole was regarded as the last frontierfor exploration on the surface of the Earth. Robert FalconScott’s second expedition to the Antarctic was intended to plant the Union Jack at the Pole, as well as carry outscientific research. His converted whaling ship, the Terra Nova, departed New Zealand on 29 November 1910.After encountering very heavy weather on the southwardjourney, the ship navigated pack ice for three weeks.Arriving at Cape Evans on 4 January 1911, Scottestablished his base camp, and set about his studyprogram, and the laying of supply depots for the polarparty. This party of five arrived at the Pole on 17 January1912, to find that Roald Amundsen’s rival Norwegian partyhad camped there about a month previously. Scott andhis four companions perished on the return journey. His body, with those of Henry Bowers and EdwardWilson, was found in their tent, six months after theirdeath. Alongside them were their journals, final letters,their small camera, and a sled of geological samples theyhad collected en route.

Scott’s last writings became a template for English self-sacrifice and courage. His eloquent diary was a best-seller; the poignant story of Oates leaving the tentso that his companions might survive entered thepantheon of English heroism. In English eyes, the noble failure of the expedition far eclipsed Amundsen’ssuccess. Scott’s later biographers found plenty to criticise,however. Why did Scott take four companions on thefinal push, when supplies had been laid in for onlythree? Why did he persist in dragging 14 kilograms ofrock samples on the return journey, even as his teamsuccumbed to serious frostbite? Ealing Studio’s lavish1948 film adaptation raised these same questions,depicting Scott’s misguided faith in rudimentary motorsledges, and implying that Amundsen’s expedition was much more professionally organised. The film is a celebration of British team spirit, as well as a criticismof its obvious limitations – Scott’s best friends followtheir flawed leader unquestioningly and pay the ultimateprice. Whatever the conclusions drawn, Scott’s writings,Ponting’s images, and the heroic pathos of this story,remain powerful elements to conjure with.

Twenty, fifty, a hundred,

five hundred years

hence, the story of the

Immortal Five who

perished after

conquering the South

Pole will inspire our

youth just as it does

today.

HG PONTING


MORE MUSIC

MONUMENTS

Tamás Ungár (piano and DX7) with the LondonSymphony Orchestra and conductor Geoffrey Simon(Also includes Southern Cross – Concerto for violinand piano)

CALA CACD 1008

SINFONIA ANTARTICA

Sir Adrian Boult’s recordings of Vaughan Williams are legendary for their insight – the two were closecollaborators. His boxed set of symphonies,conducting the London Philharmonic Orchestra,features a fine Antarctic Symphony with Sir JohnGielgud reading the movement superscriptions.

EMI CLASSICS 73924 (MONO)

The same orchestra with Bernard Haitink presents an engagingly different perspective.

EMI CLASSICS 86026

SYDNEY SYMPHONY: LIVE RECORDINGS

FROM THE SYDNEY OPERA HOUSE

Strauss and Schubert

R. Strauss Four Last Songs; Schubert Symphony No.8(Unfinished); J. Strauss II Blue Danube WaltzGianluigi Gelmetti (cond), Ricarda Merbeth (sop)

SSO1

Glazunov and Shostakovich

Glazunov The Seasons; Shostakovich Symphony No.9Alexander Lazarev (conductor)

SSO2

Herbert Ponting images courtesy of the Scott PolarResearch Institute, University of Cambridge, UK.

The Sydney Symphony gratefully acknowledges theassistance of:Scott Polar Research Institute, Cambridge UKSnowy Hydro LimitedSydney Opera HouseCorbis Australia Pty. Ltd.AV Sound ProductionsTony David CrayJonathan JeffesElizabeth Johnston

ABC CLASSIC FM 92.9

April

Sat 7 April 12.05pmRUSSIAN FIRE AND FURY (2006)

Jaap van Zweden conductorJulian Rachlin violinMussorgsky, Shostakovich, Rimsky-Korsakov

Mon 9 April 1pmBEETHOVEN’S PASTORAL (2001)

Osmo Vänskä conductor

Mon 16 April 1pmAN ALPINE SYMPHONY (2000)

Donald Runnicles conducts R. Strauss

Wed 18 April 8pmASHKENAZY CONDUCTS RACHMANINOV (2006)

Merlyn Quaife soprano, Steve Davislim baritoneAlexey Yemtsov piano, Cantillation

Broadcast Diary

In 2006 selected Sydney Symphony concerts were recorded for webcast by Telstra BigPond. These can be viewed at:http://sydneysymphony.bigpondmusic.com.

sydneysymphony.com

Webcast Diary

Visit the Sydney Symphony online for concertinformation, podcasts, and to read your program book inadvance of the concert.

Selected Discography

BOOKS

RVW: A Biography of Ralph Vaughan Williams by UrsulaVaughan Williams. Oxford University Press, 1964.

The Great White South by Herbert G. Ponting.Duckworth and Company, 1950. (With thanks to Elizabeth Johnston)

Scott of the Antarctic by David Crane. Harper CollinsPublishers, 2005.

The Photographs of HG Ponting by Beau Riffenburghand Liz Cruwys. Discovery Gallery, 1998. (With thanks to Rory Jeffes)

FILM

Scott of the Antarctic. Directed by Charles Frend.

90 Degrees South: With Scott to the Antarctic. Directed by Herbert Ponting. (With thanks to Elizabeth Johnston)

Acknowledgements

Further Exploration


75 YEARS: HISTORICAL SNAPSHOT

The Australian Broadcasting Commission’s first studio

orchestra, dressed formally for an evening broadcast –

the ‘done thing’ in the early days of radio

Some saw in broadcasting a possibilityof raising public taste and awareness ofthe ‘best’, including music. And they longed for Sydney to have a permanent orchestrathat could represent that ‘best’. It was an accident, in many ways, that theseaspirations combined to make publicconcerts, as well as broadcast music, adominant activity of the ABC. So the storyof the Sydney Symphony begins…

David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studyingthe history of the ABC as a musical organisation.This is the first of a series of glimpses of theSydney Symphony’s history to appear in concertprograms through 2007.

Accident or inevitability?

Look at the picture of a forerunner oftoday’s Sydney Symphony, and contrast itwith what you see on the stage in front ofyou. Then use your aural imagination: could that small group of players havesounded anything like what we think ofas an ‘orchestra’? Probably not. But ananniversary stimulates the historicalimagination.

Celebrating 75 years of ‘the SydneySymphony Orchestra’ stresses continuity. It’s arbitrary, in a way. The name goes back further, to the group that rehearsedover a fish shop in George St, between 1908 and 1914. One of its organisers wasGeorge Plummer, and it was not until 1937 that the name ‘Sydney SymphonyOrchestra’ was bought from him, byCharles Moses, General Manager of theAustralian Broadcasting Commission. The ‘real’ history of the Sydney Symphonymight be said to begin when the ABCcommitted itself to providing Sydney witha permanent orchestra of a size adequatefor the symphonic repertoire.

That was later in the 1930s. So ourhistorical photo really belongs to the pre-history of Sydney’s symphony orchestra.Nevertheless, the establishment of theAustralian Broadcasting Commission, in1932, is a milestone. As Phillip Sametz writesin his 1992 history of the orchestra, Play On!,‘There is no story of the Sydney SymphonyOrchestra that is not a story of the ABC.’

When that photo was taken, the newmedium of radio had a voracious appetitefor ‘live’ music. Symphonic music? Some,but not much. In 1932 the new ABCenlarged the studio ensembles it had takenover in Sydney and Melbourne from 15 to24 players. Was this the beginning of acommitment to an ABC Sydney SymphonyOrchestra? Only hindsight gives a sense ofinevitability to the story.


Richard Mills conductor

In recent years Richard Mills has pursued a diverse career as a composer and conductor, which has seen him workingwith a large number of the nation’s music organisations.

Richard Mills studied with Edmund Rubbra (composition)and Gilbert Webster (percussion) at London’s GuildhallSchool of Music, where he won the Saltzman Prize. Sincethen he has also been recipient of the Maggs Award (1982),the Don Banks Music Fellowship (1995), and in 1999 wasawarded the Order of Australia.

He made his debut as an opera conductor at OperaQueensland with The Magic Flute. Now, through his workwith West Australian Opera, he has a large repertoire ofstandard works. He also has a reputation for conductingcontemporary opera and his own works, which include anopera of Ray Lawler’s Summer of the Seventeenth Doll and theaward-winning Batavia.

His own music has found wide acceptance and popularitywith musicians and the concert-going public. His works are regularly performed throughout the world and his CDrecording Richard Mills Orchestral Works with the QueenslandSymphony Orchestra has become a best seller on the ABCClassics label. Compositions range from Concerto for Violinand Viola, a flute concerto commissioned by James Galway,Earth Poem-Sky, music for the ballet Snugglepot and Cuddlepie,and Fantastic Pantomimes written for the MelbourneSymphony’s tour of Japan. Commissions for the SydneySymphony include Tenebrae (1992), Emblems (2000) andTotemic Journeys, celebrating Australia’s Centenary ofFederation.

He has also been commissioned to write music for the1982 Commonwealth Games, the 2000 Olympic Games,and the Australian Bicentenary re-orchestration of CharlesWilliams’ Majestic Fanfare (the ABC news theme).

As an academic, Richard Mills has been Lecturer in Composition and Conducting at the QueenslandConservatorium of Music, and Visiting Fellow at theUniversity of Melbourne School of Music. Currently, he isArtistic Director of the West Australian Opera, a post he hasheld since 1997, and he has recently taken up the post ofArtistic Consultant with Orchestra Victoria.

THE ARTISTS


John Bell is one of Australia’s most influentialtheatre personalities. His credits include workfor the Old Tote Theatre Company, the majorstate theatre companies, and five years withthe Royal Shakespeare Company in GreatBritain. As co-founder of the Nimrod TheatreCompany, he presented many premiere andlandmark productions of Australian plays inthe 1970s and 1980s, and began the evolutionof an Australian Shakespeare style.

In 1990 he founded the Bell ShakespeareCompany, where his roles have includedShylock, Richard III, Macbeth, Malvolio,Coriolanus, Leontes, Prospero, King Lear andUlysses. In 2002 his performance of RichardIII earned him a Helpmann Award for Best Actor.

The Universities of Newcastle (1994),Sydney (1996) and New South Wales (2006)have each awarded him an HonoraryDoctorate of Letters. He has been honouredwith the OBE and the AM, and in 1997 he was named one of Australia’s National LivingTreasures.

Last season John Bell directed Romeo andJuliet, and revived the role of Prospero for Bell Shakespeare Company, and Captain Ahabin Moby Dick for Glen Street. This year hedirects Macbeth and The Government Inspectorby Gogol.

John Bell appears by arrangement with BellShakespeare Company.

Michael Kieran Harvey was born in Sydney andstudied in Canberra, Sydney, and at the LisztAcademy, Budapest. His repertoire is diverse:he has worked with conductors such as Edo deWaart, Reinbert de Leeuw, Diego Masson andKristjan Järvi, and collaborations include JonLord (Deep Purple), Keith Emerson (Emerson,Lake and Palmer), Absolute Ensemble and Paul Grabowsky (Australian Art Orchestra). He regularly performs with the Australiansymphony orchestras, appearing most recentlywith the Sydney Symphony in 2005, performingScriabin’s piano concerto.

He has promoted the works of Australiancomposers, internationally and withinAustralia, premiering new concertos by Vine,Westlake, Grabowsky, Joseph and Conyngham,and recording major Australian works. InAustralia he has premiered important works by international contemporaries, and he hasperformed and recorded most of Messiaen’spiano repertoire to critical acclaim, includingthe entire Catalogue d’oiseaux.

His many awards include the Grand Prix in the Ivo Pogorelich Piano Competition,the Debussy Medal (Paris), four Australian Mo awards for best classical artist, and theAustralian Government’s Centenary Medal for services to Australian music. He is AdjunctProfessor at the Tasmanian Conservatorium,Visiting Artist at the Victorian College of theArts, and Fellow of the Faculty of Music,Melbourne University.

John Bell speaker Michael Kieran Harvey piano


Penelope Mills holds degrees from the RoyalNorthern College of Music (Manchester) andthe Sydney Conservatorium. Since returning toAustralia, she has performed extensively withSydney Philharmonia Choirs, Sydney ConcertOrchestra, SBS Youth Orchestra, WilloughbySymphony and the Royal MelbournePhilharmonic Society. Her repertoire hasincluded Carmina Burana, Bach’s B Minor Mass,Poulenc’s Gloria, Messiah, Beethoven’s NinthSymphony and Choral Fantasia, Mozart andFauré Requiems, Vaughan Williams’ Pilgrim’sJourney and Dona nobis pacem, Mozart’s Mass in C, CPE Bach’s Magnificat, Pergolesi’s StabatMater and Vivaldi’s Gloria, as well as Norholm’sImpressions of the Little Mermaid (Sydney Festival),works by Saariaho (Seymour Group), and The Earth that Fire Touches by John Peterson.

Equally at home on the operatic stage, herroles include Elettra (Idomeneo), Euridice(Monteverdi’s Orfeo) and Venus (Dardanus) forPinchgut Opera; Fiordiligi, Gretel and First Lady(Pacific Opera); Tatyana (Onegin, Stowe Opera,UK); and Susanna (Le nozze di Figaro), Nedda (IPagliacci) and Zerlina (Don Giovanni) for RNCM.

Recent engagements include her Americandebut recital in Washington DC. This seasonher engagements include Bach’s St John Passionwith the Queensland Orchestra, an Easter concertwith the Tasmanian Symphony Orchestra andMessiah with Sydney Philharmonia. Last yearshe made her Sydney Symphony debut in La Rondine.

Cantillation is a chorus of professionalsingers – an ensemble of fine voices with the speed, agility and flexibility of a chamberorchestra. Formed in 2001 by Antony Walkerand Alison Johnston, it has since been busyin the concert hall, opera theatre andrecording studio.

Performance highlights have includedAdams’ Harmonium and Transmigration of Souls, the Australian premiere ofGubaidulina’s Now Always Snow, Edwards’Star Chant, Haydn’s Nelson Mass and Jonathan Mills’ Sandakan Threnody (all withthe Sydney Symphony); Butterley’s Spell ofCreation, Mahler’s Eighth Symphony, tours for Musica Viva and concerts with EmmaKirkby and the Orchestra of the Antipodes.

Recordings include Allegri Miserere – SacredMusic of the Renaissance, Fauré’s Requiem,Carmina Burana, Prayer for Peace, Messiah,Silent Night, Ye Banks and Braes and Magnificatwith Emma Kirkby. Last year Cantillationrecorded Mozart’s Requiem and Bachchoruses.

As well as opera appearances (mostrecently Idomeneo with Pinchgut Opera),Cantillation has sung for the Dalai Lama,appeared with Andrea Bocelli, recorded andperformed for the Rugby World Cup, andrecorded soundtracks for several movies.

Recent collaborations with the SydneySymphony have included the Shock of the

Penelope Mills soprano Cantillation


SOPRANOS

Catherine BryantKate DowmanAnna FraserDanielle GrantTina HarrisSarah JonesAlison MorganAnna Sandstrom

MEZZO-SOPRANOS

Anne FarrellKaren FinchAmanda HamiltonAmanda HarrisNatalie SheaHelen ShermanNicole ThomsonEmma Zampieri

ALTOS

Georgina AndrewsJo BurtonLaila EngleKerith FowlesSue HarrisJudy HerskovitsDesiree van LoonRose Saunders

Paul Stanhope has worked with Cantillationon numerous occasions since 2004, both as chorusmaster and conductor in liveperformances and recordings. In 2005 he was guest conductor with Cantillation in aMusica Viva CountryWide tour of NorthernNSW and also in the Sydney Symphony’sShock of the New concerts in the same year.Last year he was appointed musical directorof the Sydney Chamber Choir, taking overfrom its founding director Nicholas Routley.In addition to this role, his conductingactivities in 2006 included a program ofcontemporary works with the Sonic ArtEnsemble and a guest appearance with theSydney Children’s Choir.

Paul Stanhope is, perhaps, better known to Sydney audiences as a composer. HisFantasia on a Theme by Vaughan Williams wonthe 2004 Toru Takemitsu Composition Prizeand was performed by the Sydney Symphonyin 2005 to great acclaim. He is currentlyworking on new pieces for Musica Viva andthe Tasmanian Symphony Orchestra.

Paul Stanhope chorusmaster

New concerts and Ravel’s Daphnis et Chloéwith Gianluigi Gelmetti, and The Bells byRachmaninov with Vladimir Ashkenazy. InFebruary Cantillation appeared in Symphonyat the Movies with Michael Parkinson, andsang Brahms’ German Requiem in theOrchestra’s opening gala concert.

Antony Walker music directorAlison Johnston managerPaul Stanhope chorusmasterCathy Davis repetiteur

THE SYDNEY SYMPHONY


Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Resident at theiconic Sydney Opera House where theSydney Symphony gives more than 100performances each year, the Orchestra alsoperforms concerts in a variety of venuesaround Sydney and regional New SouthWales. International tours to Europe, Asiaand the USA have earned the Orchestraworld-wide recognition for artisticexcellence.

Critical to the success of the SydneySymphony has been the leadership given by its former Chief Conductors including:Sir Eugene Goossens, Nikolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, Stuart

Challender 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 fourth year asChief Conductor and Artistic Director ofthe Sydney Symphony, a position he holdsin tandem with that of Music Director at the prestigious Rome Opera.

The Sydney Symphony is reaping therewards of Maestro Gelmetti’s directorshipthrough the quality of sound, intensityof playing and flexibility between styles. His particularly strong rapport withFrench and German repertoire iscomplemented by his innovativeprogramming in the Shock of the New concerts and performances ofcontemporary Australian music.

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 Symphonymaintains an active commissioningprogram promoting the work of Australiancomposers and in 2005 Liza Lim wasappointed Composer-in-Residence forthree years.

In 2007, the Orchestra celebrates its 75th anniversary and the milestoneachievements during its distinguishedhistory.

JOH

N M

AR

MA

RA

S

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


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Kirsten WilliamsAssociate Concertmaster

02 Fiona ZieglerIan & Jennifer Burton Chair of Assistant Concertmaster

03 Julie Batty04 Gu Chen05 Amber Davis06 Rosalind Horton07 Jennifer Hoy08 Jennifer Johnson09 Georges Lentz10 Nicola Lewis11 Alexandra Mitchell

Moon Design Chair of Violin

12 Léone ZieglerSophie Cole

Second Violins

01 Marina MarsdenPrincipal

02 Susan DobbieAssociate Principal

03 Emma WestAssistant Principal

04 Pieter Bersée05 Maria Durek06 Emma Hayes07 Shuti Huang08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Emily QinFirst Violin#

Alexander NortonFirst Violin#

Martin SilvertonFirst Violin

Leigh MiddenwayFirst Violin

Thomas Dundas Second Violin

Belinda Jezek Second Violin

Alexandra D’Elia Second Violin#

Narine Melconian Second Violin

Anya Muston Second Violin

Jennifer Curl Viola#

Rosemary Curtin Viola

Nicole Forsyth Viola

Andrew Wilson Cello

Janine Ryan Cello

Nick Metcalfe Cello

JosephineCostantino Cello

Sally Maer Cello

Jennifer Druery Double Bass#

Lauren Brandon Double Bass

Lamorna Nightingale Flute

Celia Craig Oboe

Casey Rippon Horn

Alexander Love Horn

Joshua Clarke Trumpet

Brian Nixon Percussion

Philip South Percussion

Catherine Davis Celeste

Amy Johansen Organ

# Contract musician† Fellowship holder

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


07Cellos

08 09 10 11 01 07

01Violas

02 03 04 05 06

03 04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

08Harp

01Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictPrincipal

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 Principal

02 Nathan Waks Principal

03 Kristy Conrau04 Fenella Gill05 Leah Lynn06 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 Andrew RacitiAssociate Principal

04 Neil BrawleyPrincipal Emeritus

05 David Campbell06 Steven Larson07 Richard Lynn08 David Murray

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

01 Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild Associate Principal

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 Brian NixonAssistant Principal Timpani (contract)

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02

01Oboes

02 01 02 03

03 04 05 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


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 PostBeyond Technology ConsultingBimbadgen Estate WinesGoldman Sachs JBWereJ. Boag & SonQ-Med (Sweden) Australia Pty Ltd.Vittoria Coffee

Avant CardBlue Arc GroupDigital EskimoLindsay Yates and Partners2MBS 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 contactCorporate Relations on (02) 8215 4614.


01 02 03 04 05 06

07 08 09 10 11

DIRECTORS’ CHAIRS

01Alan Jones, Managing Director Mulpha Australia withMulpha Australia Chair ofPrincipal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul Salteri Chair ofArtistic Director Education,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 Double Bass,Kees Boersma

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

08Gerald Tapper, Managing Director Rogen International withRogen International Chair of Trombone, Nick Byrne

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

10Ian and Jennifer Burton Chair of Assistant Concertmaster,Fiona Ziegler

11Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

Ms Michelle Hilton-VernonMr and Mrs Paul HoltMr Eric C Howie °Mr & Mrs P Huthnance °Ms Judy JoyeMrs Jeannette King ° *Mrs J Lam-Po-Tang °Dr Barry LandaMrs Joan Langley °Ms Jan Lee Martin & Mr PeterLazar §

Mr David & Mrs Skye LeckieMargaret Lederman °Mr & Mrs Ezzelino Leonardi §Mr Bernard & Mrs Barbara LeserErna & Gerry Levy AM *Mr and Mrs S C Lloyd °Mr Andrew & Mrs Amanda Love

Mr Matthew McInnes §Mr Tony & Mrs Fran MeagherMr Andrew NobbsMoon DesignMrs R H O’ConorMs Patricia Payn §Mr Adrian & Mrs Dairneen Pilton

Mr & Mrs Michael PottsMrs B Raghavan °Mrs Caroline RalphsmithDr K D Reeve AM *Mr & Mrs A Rogers °Dr Jane & Mr Neville Rowden §Mrs Margaret SammutIn memory of H. St.P Scarlett ° *Blue Mountain Concert Society Inc °

Mr Ezekiel SolomonMr Andrew & Mrs Isolde TornyaMiss Amelia TrottMrs Merle Turkington °The Hon M. Turnbull MP & Mrs L. Hughes Turnbull

Mr & Mrs Franc VaccherRonald Walledge °Louise Walsh & David JordonMr Geoff Wood and Ms Melissa Waites

Miss Jenny WuMr Michael Skinner & Ms Sandra Yates AO

Anonymous (12)

PLAYING YOUR PART


Maestri

Brian Abel & the late BenGannon AO °

Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop ° §Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °The Clitheroe Foundation *Patricia M. Dixson *Penny Edwards ° *Mr J O Fairfax AO *Dr Bruno & Mrs Rhonda Giuffre *

Mr Harcourt Gough §Mr David Greatorex AO & Mrs Deirdre Greatorex §

Mr Andrew Kaldor & Mrs Renata Kaldor AO §

H. Kallinikos Pty Ltd §Mr David Maloney §Mr B G O’Conor §The Paramor Family * Mr Paul & Mrs Sandra SalteriMr Brian & Mrs Rosemary WhiteAnonymous (1) *

Virtuosi

Mrs Antoinette Albert §Mr Robert & Mrs L Alison Carr §Mr John C Conde AO §Mr John Curtis §Irwin Imhof in Memory of Herta Imhof °‡

Mr Stephen Johns §Mr & Mrs Gilles T Kryger ° §Helen Lynch AM °Mr E J Merewether & Mrs T Merewether OAM *

Miss Rosemary Pryor *Bruce & Joy Reid Foundation *John Roarty in memory of June Roarty

Rodney Rosenblum AM & SylviaRosenblum §

Mrs Helen Selle §Dr James Smith §David Smithers AM & family §Michael & Mary Whelan Trust §Anonymous (2) §

Soli

Ms Jan Bowen *Mr Chum Darvall §Ian Dickson & Reg Holloway *Hilmer Family Trust §Mr Paul Hotz ° §Mr Rory JeffesPaul Lancaster & RaemaProwse ° §

Mrs Joan MacKenzie §Mr James & Mrs Elsie Moore °Ms Kathleen ParerMs Gabrielle TrainorMr R Wingate §Anonymous (2) §

Tutti

Mr C R Adamson ° §Mr Henry W Aram §Mr David Barnes °Mrs F M Buckle °Debby Cramer & Bill Caukill °Mr Bob & Mrs Julie Clampett §Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof Neville Wills §

Mrs Dorit & Mr WilliamFranken ° §

Mr & Mrs J R W Furber §Mr Arshak & Ms SophieGalstaun §

In Memory of Hetty Gordon §Mrs Akiko Gregory §Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski °Dr Paul Hutchins & Ms Margaret Moore °

Mrs Margaret JackMr John W Kaldor AM §Mr & Mrs E Katz §Mr Andrew Korda & Ms Susan Pearson §

Mr Justin Lam §Mr Gary Linnane §Ms Karen Loblay §Mr & Mrs R. Maple-Brown §Mrs Alexandra Martin & the late Mr Lloyd Martin AM §

Justice Jane Mathews §Mrs Mora Maxwell ° §Judith McKernan °Mrs Barbara McNulty OBE °Mr & Mrs John MorschelMr R A Oppen §

Mr Robert Orrell §Dr Timothy Pascoe §Ms Robin Potter §Mr Nigel Price §Mr & Mrs Ernest Rapee §Mrs Patricia H Reid °Mr Brian Russell & Ms IrinaSingleman

Gordon & JacquelineSamuels ° §

Ms Juliana Schaeffer §Robyn Smiles §Derek & Patricia Smith §Catherine Stephen °Mr Fred & Mrs Dorothy Street §Mr Georges & Mrs MarlieseTeitler §

Mr Stephen ThatcherMr Ken Tribe AC & Mrs JoanTribe °

Mr John E Tuckey °Mrs Kathleen Tutton °Ms Mary Vallentine AO §Henry & Ruth Weinberg §Mr & Mrs Bruce WestJill Wran §Mrs R Yabsley °Anonymous (10) §

Supporters over $500

Mr Roger Allen & Ms MaggieGray

Mr Lachlan AstleJohn Augustus °Mr Warwick Bailey §Mr Marco Belgiorno-Zegna AM

Mr G D Bolton °Pat & Jenny Burnett °Hon. Justice J.C. & MrsCampbell *

Mr & Mrs Michel-Henri Carriol °Mrs B E Cary §Mr Leo Christie & Ms MarionBorgelt

Mr Peter CoatesMr B & Mrs M Coles §Mrs Catherine GaskinCornberg §

Stan & Mary Costigan *Mrs M A Coventry °Ms Rowena Danziger °Mr & Mrs Michael DarlingLisa & Miro Davis *Mrs Patricia Davis §Mrs Ashley Dawson-DamerMr Paul Espie °Mr Russell FarrMr & Mrs David FeethamMr Richard & Mrs Diana FisherRev H & Mrs M Herbert ° *

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 callCaroline Mark on (02) 8215 4619.

° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace is limited we are unable to list donors who give between $100 and $499 –please visit sydneysymphony.com for a list of all our patrons.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

David Maloney

Libby Christie John Conde AO

John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

What’s on the cover?During the 2007 season Sydney Symphony program covers willfeature photos that celebrate the Orchestra’s history over thepast 75 years. The photographs on the covers will changeapproximately once a month, and if you subscribe to one of ourconcert series you will be able to collect a set over the course ofthe year. Foyer displays at our concerts will also featurephotographs from our recent and early history.

COVER PHOTOGRAPHS (clockwise from top left): 2006 Sydney Symphony Fellows (Martin Penicka, Alexis Kenny, Lauren Brigden,Alex Norton, Victoria Jacono and Damien Eckersley); Pinchas Zukerman withWillem van Otterloo, 1970s; SSO Children’s concert, 1965; SSO Family Concert – Sandy Scott sings from the stalls of the Sydney Opera House, 1981; paintingfrom the Education Program’s 2005 art competition; Alfred Brendel gives a piano masterclass, 1960s.


Sydney Symphony Staff

MANAGING DIRECTOR

Libby Christie

EXECUTIVE ASSISTANT

Deborah Byers

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON

Ilmar Leetberg

PERSONAL ASSISTANT TO THE

CHIEF CONDUCTOR

Lisa Davies-Galli

Education Programs

EDUCATION MANAGER

Margaret Moore

EDUCATION CO-ORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Rory Jeffes

CORPORATE RELATIONS MANAGER

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Alan Watt

CORPORATE RELATIONS EXECUTIVE

Julia Owens

PHILANTHROPHY MANAGER

Caroline Mark

PATRONS & EVENTS MANAGER

Georgina Andrews

MARKETING AND

CUSTOMER RELATIONS

DIRECTOR OF MARKETING AND

CUSTOMER RELATIONS

Julian Boram

Publicity

PUBLIC RELATIONS MANAGER

Imogen Corlette

PUBLICIST

Yvonne Zammit

Customer Relationship

Management

MARKETING MANAGER – CRM

Aaron Curran

ONLINE & PUBLICATIONS MANAGER

Robert Murray

DATABASE ANALYST

Martin Keen

Marketing Communications

MARKETING COMMUNICATIONS

MANAGER

Georgia Rivers

MULTICULTURAL MARKETING

MANAGER

Xing Jin

ASSISTANT MARKETING MANAGER

Simon Crossley-Meates

CONCERT PROGRAM EDITOR

Yvonne Frindle

Corporate & Tourism

CORPORATE & TOURISM SALES

MANAGER

Georgina Gonczi

Box Office

BOX OFFICE MANAGER

Lynn McLaughlin

BOX OFFICE COORDINATOR

Anna Fraser

CUSTOMER SERVICE

REPRESENTATIVES

Wendy AugustineMatthew D’SilvaMichael Dowling

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA

MANAGEMENT

Aernout Kerbert

ACTING DEPUTY ORCHESTRA

MANAGER

Greg Low

ORCHESTRAL ASSISTANT

Angela Chilcott

OPERATIONS MANAGER

John Glenn

TECHNICAL MANAGER

Derek Coutts

PRODUCTION CO-ORDINATOR

Tim Dayman

PRODUCTION ASSISTANT

Ian Spence

STAGE MANAGER

Marrianne Carter

COMMERCIAL PROGRAMS

DIRECTOR OF COMMERCIAL

PROGRAMMING

Baz Archer

BUSINESS SERVICES

DIRECTOR OF FINANCE

Teresa Cahill

FINANCE MANAGER

Anthony Rosenthal

OFFICE ADMINISTRATOR

Shelley Salmon

INFORMATION TECHNOLOGY

MANAGER

Tim Graham

PAYROLL AND ACCOUNTS

PAYABLE OFFICER

Caroline Hall

HUMAN RESOURCES

Fran Cracknell

This publication is sold subject to the condition that itshall not, by way of trade or otherwise, be lent, resold,hired out or otherwise circulated without the publisher’sconsent in writing. It is a further condition that thispublication shall not be circulated in any form of bindingor cover other than that in which it was published.

This is a / SHOWBILL publication.

Publisher

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

1017 Pacific Highway, Pymble, NSW 2073 Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected]: www.playbill.com.au

EXECUTIVE CHAIRMAN AND ADVERTISEMENT DIRECTOR Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR Michael Nebenzahl

EDITORIAL DIRECTOR Jocelyn Nebenzahl

DIRECTOR–PRODUCTION Chris Breeze

NEW ZEALAND MANAGER Ngaire Stent

Melbourne Office:

C/- Moore Stephens HF, 14th Floor, 607 Bourke Street,Melbourne VIC 3000; (61 3) 9614 4444, Fax (61 3) 9629 5716.

Canberra Office:

C/- Minter Ellison, 25 National Circuit, Forrest, CanberraACT 2603; (61 2) 6225 3000, Fax (61 2) 6225 1000.

Brisbane Office:

C/- HBM Heiser Bayly Mortensen Lawyers, Level 4Toowong Tower, 9 Sherwood Road, Toowong QLD 4066; (61 7) 3371 1066, Fax (61 7) 3371 7803.

Adelaide Office:

Playbill Pty Limited, Adelaide Convention Centre, GPO Box 2669, North Terrace SA 5001; Mobile (61) 419 244 425, Fax (61 8) 8231 3681.

Perth Office:

C/- Ernst & Young, 11 Mounts Bay Road, Perth WA 6000; GPO Box M939 Perth WA 6843; (61 8) 9429 2222, Fax (61 8) 9429 2436.

Hobart Office:

C/- Page Seager, 162 Macquarie Street, Hobart TAS 7000;(61 3) 6235 5155, Fax (61 3) 6231 0352.

Darwin Office:

C/- Ernst & Young, 9-11 Cavanagh Street, Darwin NT 0800;(61 8) 8943 4200, Fax (61 8) 8943 4290.

OVERSEAS OPERATIONS

New Zealand Registered Office:

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 Office:

Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]

London Office:

Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ;(44) 207 628 0857, Fax (44) 207 628 7253.

Hong Kong Office:

Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618.

Malaysia Office:

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 Office:

Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building,Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690.

South Africa:

Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc.,Bradford House, 12 Bradford Road, Bedfordview, SA 2007;(27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publicationshould be directed to the above company and address. Entire concept copyright. Reproduction withoutpermission in whole or in part of any material containedherein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is theregistered title of Showbill Proprietary Limited. Additional copies of this publication are available by postfrom the publisher; please write for details.

14725 – 1/220307 – 06 S14/15

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO

Ms Jacqueline Kott Mr Robert Leece AM

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVENorman Gillespie

DIRECTOR, FACILITIESPaul Akhurst

DIRECTOR, FINANCE & SYSTEMSDavid Antaw

DIRECTOR, MARKETING & DEVELOPMENTNaomi Grabel

DIRECTOR, PERFORMING ARTSRachel Healy

DIRECTOR, PEOPLE & CULTUREJoe Horacek

DIRECTOR, INFORMATION SYSTEMSClaire Swaffield

DIRECTOR, TOURISM & VISITOR OPERATIONSMaria Sykes

SYDNEY OPERA HOUSE

Bennelong PointGPO Box 4274Sydney NSW 2001

Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com

SYMPHONY SERVICES

AUSTRALIA LIMITED

Suite 3, Level 2, 561 Harris StreetUltimo NSW 2007GPO Box 9994, Sydney NSW 2001

Telephone (02) 8333 1651Facsimile (02) 8333 1678

www.symphony.net.au

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

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

www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted 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 this publication 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 accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Concert Program Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]

SYDNEYOPERA HOUSE

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