HH SHEIKH AHMED BIN SAEED AL-MAKTOUM · Saltarello (Presto) This concert will be broadcast live across Australia on ABC Classic FM 92.9. Pre-concert talk by Yvonne Frindle at 6.15pm

Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and allowing people from avariety of cultures and communities to come together. It is forthese reasons that the Sydney Symphony – a first class orchestrain one of the world’s most diverse and beautiful cities – is an idealpartner for Emirates Airline.

Emirates has developed an international reputation for providing a standard of service and an inflight experience to which otherairlines aspire, with more than 300 major international awards forexcellence.

We are one of the world’s fastest growing airlines, flying to around90 destinations in Europe, North America, the Middle East, Africa, the Indian subcontinent and the Asia-Pacific. Emirates also operates 28 flights every week into New Zealand.

Emirates continues to take great pleasure in supporting theSydney Symphony and fostering the growth of arts in thecommunity.

We look forward to an exciting and memorable 2007.

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP

SEASON 2007

EMIRATES METRO SERIES

ITALIAN SYMPHONY

Friday 30 March | 8pm

Sydney Opera House Concert Hall

Hubert Soudant conductorViviane Hagner violin

JOSEPH HAYDN (1732–1809)

Symphony No.2 in C

Allegro con brioAndanteFinale (Presto)

SERGEI PROKOFIEV (1891–1953)

Violin Concerto No.2 in G minor, Op.63

Allegro moderatoAndante assai – Allegretto – Andante assaiAllegro, ben marcato

INTERVAL

ALAN HOLLEY (born 1954)

A Line of Stars

WORLD PREMIERE

FELIX MENDELSSOHN (1809–1847)

Symphony No.4 in A, Op.90, Italian

Allegro vivaceAndante con motoCon moto moderatoSaltarello (Presto)

This concert will be broadcastlive across Australia on ABC Classic FM 92.9.

Pre-concert talk by YvonneFrindle at 7.15pm in the Northern Foyer.

Estimated timings:9 minutes, 26 minutes, 20 minute interval, 10 minutes,30 minutes.The performance will concludeat approximately 9.45pm.

Cover images: see page 30 for captions

Program notes begin on page 4

Artist biographies begin on page 20

Understanding leads to successTo be assured of success an orchestra needs to have a deepunderstanding of the composer and the particular work they areperforming.

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We also provide financial support for arts, health and other organisationsthat are important contributors to the quality of life in Australia.

The sponsorship of the Sydney Symphony is part of Australian PensionersInsurance Agency’s Community Understanding program.

We are sure you will enjoy this performance by one of the world’s leadingorchestras because they have taken the time to understand the needs of their audience.

Kevin PattisonGeneral ManagerAustralian Pensioners Insurance Agency

PRESENTING PARTNER

SEASON 2007

GREAT CLASSICS

PRESENTED BY AUSTRALIAN PENSIONERS INSURANCE AGENCY

ITALIAN SYMPHONY

Saturday 31 March | 2pm




Symphony No.2 in C





INTERVAL


A Line of Stars

WORLD PREMIERE




This concert will be broadcastlive across Australia on ABC Classic FM 92.9.






e have great pleasure in welcoming you to an outstanding evening of the 2007 Veuve ClicquotSeries.

Since 1999, Veuve Clicquot Ponsardin has proudly partnered the Sydney Symphony to bringtogether a series of concerts for lovers of great music, to add a little sparkle to Monday nights.

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We believe that creating truly great champagne is the collaboration of many individuals, along withthe finest selection of great vintage wines (over 50 wines comprise our Yellow Label Brut), whichtogether produce a singular sensation for the senses – much like the incredible talents anddedication of the members of the Sydney Symphony.

The aim of our involvement is to enhance your pleasure from these superb musical experiences,through providing our flagship champagne, Yellow Label Brut, in all of the bars at the SydneyOpera House Concert Hall for the Sydney Symphony performances.

We hope that you enjoy the artistic talents of the Sydney Symphony this evening, and take pleasurein a glass of the passion of our labours at interval.

A votre santé!

Allia RizviBrand Manager – Veuve Clicquot Ponsardin

W

PRESENTING PARTNER

SEASON 2007

THE VEUVE CLICQUOT SERIES

ITALIAN SYMPHONY

Monday 2 April | 7pm




Symphony No.2 in C





INTERVAL


A Line of Stars

WORLD PREMIERE




This concert will be broadcast live across Australia on ABC Classic FM 92.9.






4 | Sydney Symphony

INTRODUCTION

Mendelssohn’s

sketch of the

Spanish Steps

in Rome (1831)

Italian Symphony

Robert Schumann called Mendelssohn ‘the 19th-centuryMozart’. That was a compliment. Almost a century laterProkofiev found himself accused of ‘Mendelssohnism’ – the critical response to his first violin concerto in 1923.

Although their styles are worlds apart, Mendelssohnand Prokofiev share a love of classical forms, musical wit and a gift for lyricism. (Mendelssohn’s tunes areeminently singable; Prokofiev’s seem equally so.) Andthose qualities apply equally to Haydn, master of theclassical symphony. Mendelssohn’s symphony is a modelof the genre as it emerged in Haydn’s hands. But theearliest symphonies – such as Haydn’s No.2 – had theirorigins in the sinfonia of the Italian theatre, giving thisconcert not one but two ‘Italian’ symphonies.

The orchestra grew in the 19th century and by the early20th century could be quite large (think of Stravinsky’s Rite of Spring). But Prokofiev in his Second Violin Concerto(1935) and Mendelssohn in his Italian Symphony (1833)show us the brilliance and flexibility of a classicallyproportioned orchestra: winds and brass in neat pairs,no trombones or tuba, and just a single timpanist orpercussionist (admittedly with many colours at herdisposal). Haydn’s orchestra for an early symphony fromthe middle of the 18th century is even slimmer andincludes the baroque device of a keyboard continuo.

It takes a world premiere from Australian composer Alan Holley to remind us of the possibilities of a modernorchestra. Indeed, his brief from Maestro Gelmetti was tocreate a work that would highlight the individual colours of the orchestra, including some of the lower voices (bassclarinet, tuba contrabassoon) who are seldom featured,allowing all to have their moment in a line of ‘star’musicians.

5 | Sydney Symphony

Keynotes

HAYDN

Born Rohrau (lower Austria),1732Died Vienna, 1809

Joseph Haydn, the greatest

composer of his age, is

regarded as the father of

the string quartet and the

symphony. Symphonies

were not completely new

in 1758 when Haydn –

suddenly having an

orchestra at his disposal –

began composing them.

But over the next 40 years

or so Haydn developed

the symphony as a genre,

taking it from the tiny

three-movement form that

we hear in this concert to

the grand four-movement

form that Mendelssohn

inherited.

SYMPHONY NO.2

We can’t be sure exactly

when Haydn wrote his

Symphony No.2, but it was

certainly very early and it

was one of the first of his

symphonies to be published

(in 1764 when he was still

a relatively unknown

composer). With its three

short movements (fast –

slow – fast) it reveals its

origins in the Italian sinfonia– giving this concert two

‘Italian symphonies’.

Joseph Haydn

Symphony No.2 in C

AllegroAndanteFinale (Presto)

In about 1757, the young Joseph Haydn became musicdirector to Count Morzin, who boasted a fine wind band and a small but brilliant orchestra in his establishments in Vienna and at Lukavec, near Pilsen in Bohemia. TheMorzin orchestra gave Haydn, now in his late 20s, theopportunity to compose his first dozen or so symphonies.

This was the wheelwright’s son from the village ofRohrau by the Hungarian border, already the composer oftwo youthful masses, whose broken voice at age 17 (‘He crows,’said the Empress) had forced him out to fend for himselfon the bleak streets of the Imperial capital, supplanted inthe choir of St Stephen’s Cathedral by his angelic youngerbrother. This was the determined survivor who, as he laterrecalled, ‘had to eke out a wretched existence for eightwhole years, by teaching young pupils…and would neverhave learnt what little I did had I not, in my zeal forcomposition, composed well into the night…’ Haydnsurvived by playing the organ and leading the orchestra in church, by busking in nocturnal serenade parties,accompanying singing lessons, and furnishing music ondemand for the politically risky pantomime-musicals ofthe contemporary Viennese theatre; until the invitation towrite something for Baron Fürnberg and three of his friendsto play together gave him the break that led to his firststring quartets and eventual engagement by Count Morzin.

Besides the symphonies numbered 1, 2, 4 and 5 in thecatalogue of Eusebius Mandyczewski and adopted byHoboken in his comprehensive Haydn catalogue, the earlysymphonies Haydn composed for Count Morzin betweenabout 1758 and 1760 include a few numbered in the teens as well as the misplaced nos 27, 32 and 37.

Listening Guide

On the evidence of Symphony No.2 (wherever it mayactually belong in the uncertain chronology of the Morzinsymphonies), Haydn embarked on his symphonic career as he intended to proceed—as an original thinker andinnovator. Although in No.2 he adopts the conventionalfast–slow–fast format of the established three-movementItalian sinfonia, originally devised as an opera overture but increasingly coming into its own as an independent

ABOUT THE MUSIC

7 | Sydney Symphony

composition, he spurns the routine practice of markingmovements to be simply repeated in A-A, B-B, C-C fashion.Uniquely among Haydn’s symphonies, all three movementsof No.2 are ‘through-composed’ without a single repeatmark. Any repetitions are fully written out or new and varied sections are written in their place.

Thus, while a recognisable sonata structure underlies the first movement, things are not always what they seem or what we expect. A dotted rhythm gives a jaunty air to themain theme, a rising motif which, in the subsequent gentlercounterstatement suddenly finds itself subjected tocontrapuntal treatment of an earlier age. A limpid, minor-key second subject gives rise in the development section totwo hushed pianissimo passages (the longer, second passagemarked, uncommonly for Haydn, dolce, or tenderly); whilebetween them the composer almost laconically demonstrateshis skill in treating the rising main subject in four-partcounterpoint—this apparent reprise actually something of a false dawn, for the true recapitulation is yet to come.

The second movement exerts a snake-like fascinationthroughout its sinuous course, relentless and inexorable, anunbroken succession of semiquavers above a walking bass byall the violins in unison. Only the first and last notes are quavers.Only trills on the first beat of most bars break the pattern.The effect is of an extraordinary perpetuum mobile in slowmotion. Wind instruments are omitted, as in most of Haydn’searly symphonic slow movements, but the insistent semiquavermotion offers scope for a harpsichord continuo to providetasteful, perhaps contrapuntal, variation in the bass line.

The bouncy finale is a relatively straightforward five-partrondo, A-B-A-C-A, though the initial A section also has its owntripartite structure, a-b-a, as do the B and C sections. The latter,marked pianissimo, demonstrates as did the first movement theMorzin orchestra’s ability to handle strong dynamic contrasts.

Haydn’s Symphony No.2 soon circulated among theAustrian monasteries and even the Biblioteca Marciana in Venice. It was one of his first works to appear in print,published in 1764 (in Paris!) in a series promoted as‘Unknown names, good to know’ – a ‘debut’ status whichwould become history within a decade as public demandsent Haydn’s music into the charts.

ANTHONY CANE ©2007

Haydn’s Symphony No.2 calls for two oboes, bassoon, two horns,harpsichord continuo, and strings.

This is the Sydney Symphony’s first performance of Haydn’sSymphony No.2.

The first printed portrait of Joseph

Haydn

8 | Sydney Symphony

Sergei Prokofiev



Prokofiev had left the Soviet Union in 1918 after severalvisits to Western Europe in the pre-revolutionary years.Musicologist Stanley Krebs points out the danger ofassuming that Prokofiev’s expatriation was political: ‘All Russian musicians of accomplishment went abroad,’he notes, and suggests that Prokofiev had probablydecided to leave even before the October revolution, atleast for a time. Based in Paris, with determined foraysinto the musical scene of the United States, Prokofievseems to have hoped to become a more major figure onthe world stage than ultimately proved to be the case. Inthe US, Rachmaninov was established as the pre-eminentresident Russian; in Europe, Stravinsky occupied thatposition. With his failure to secure performances ofhis favourite opera, The Fiery Angel, Prokofiev began toconsider returning to the Soviet Union. From 1927, hebegan a series of return visits. By mid-1936, with his only serious Soviet rival, Shostakovich, under a cloud,Prokofiev moved permanently to Moscow.

In an article published in Izvestia in November 1934,Prokofiev wrote:

I would describe the music needed here as ‘light serious’ or‘serious light’ music; it is by no means easy to find the termwhich suits it. Above all, it must be tuneful, simply andcomprehensively tuneful, and must not be repetitious or stamped with triviality.

This reads like an official definition of socialistrealism in music – indeed, in 1943 Gerald Abrahamaccused Prokofiev of pandering to the Soviet state by‘emphasising the lyrical side of his nature at the expenseof the witty and grotesque and brilliant sides’. Morerecently, and in complete contrast, Ian McDonald hasargued that the work contains encoded anti-Sovietmessages:

Keynotes

PROKOFIEV

Born Sontsovka (Ukraine),1891Died Moscow, 1953

Early in his career Prokofiev

developed a compositional

style that balanced four

distinct characteristics:

classical, lyrical, modern

or ‘grotesque’, and lyrical.

Thus armed, he pushed the

boundaries of the Russian

Romantic tradition to its

limits. He was one of many

Russian artists who left after

the October Revolution of

1917, but the only composer

to eventually return, shortly

after he composed the

Second Violin Concerto.

VIOLIN CONCERTO NO.2

Prokofiev wanted to make

his second violin concerto

quite different from the first.

Even so, both works share a

translucency of colour and

an emphasis of lyricism

over empty virtuosity.

The second concerto is in

three movements, each

demonstrating Prokofiev’s

classical and tuneful

tendencies as well

as his quirky wit. The

concerto was composed

during the course of a

concert tour with the

violinist Robert Soetens,

for whom it was

commissioned, and

premiered in Madrid in 1935.

Perhaps the prospect of a

Spanish premiere prompted

the distinctive use of

plucked strings and the

appearance of castanets in

the finale.

9 | Sydney Symphony

Sergei Prokofiev (early 30s)

Surely the childishly pedantic arpeggio accompaniment to the aria-like theme of the work’s slow movement (‘clumsily’scored for flute) is tongue in cheek? In which case, what can itbe but an ironic response to simple-minded demands for a lyric-heroic ‘symphonism of the People’? If this is so, the shadowybass drum which drives the soloist to jump through hoops in the finale requires no explanation.

Prokofiev’s stated view does, however, reflect the factthat in Soviet Russia there was a huge audience coming to ‘classical’ music for the first time. Prokofiev nominatedthe Lieutenant Kijé Suite as one example of the ‘seriouslight’ music he meant, and other works composed at thistime reflect the same aesthetic. We should be wary ofimputing cynical motives to him; after all, it required no radical change in style for him to produce works ofimmediately engaging character. Nevertheless, it doesseem that in works like Lieutenant Kijé, the ballet music for Romeo and Juliet and the Violin Concerto No.2,Prokofiev was making a special effort to write music offormal clarity and emotional directness, as if to preparethe ground for his homecoming.

In 1935, Prokofiev was approached by a group ofadmirers of the French violinist Robert Soetans to write a concerto. Prokofiev had had it in mind to write a workfor violin, and toyed with the idea of a ‘concert sonata for violin and orchestra’. Gerald Abraham complains that‘there is no naughtiness, there is no steely glitter andthere is almost no virtuosity in the solo part’, but it wasProkofiev’s intention to make this concerto ‘altogetherdifferent from No.1 in both music and style’. It wascomposed during an extensive concert tour whichProkofiev and Soetans made. As Prokofiev notes in hisautobiography:

…the principal theme of the first movement was written in Paris, the first theme of the second movement in Voronezh,the orchestration I completed in Baku, while the firstperformance was given in Madrid [with the Madrid SymphonyOrchestra under Eugene Arbos], in December 1935.

10 | Sydney Symphony

Listening Guide

The piece stakes an immediate claim to simple,comprehensive tunefulness. The soloist, alone, establishesthe key of G minor unequivocally with a disarminglysimple melody. Some busy passage-work leads to a newlyrical theme in B flat, reminiscent both of La Vie en roseand the Gavotte from Prokofiev’s Classical Symphony.Both themes are developed in a varied central sectioncharacterised by Prokofiev’s lively rhythmic manipulationand deft touches of orchestration. The movement endscuriously, with rapid virtuosic writing brought to a haltby peremptory plucked chords from the soloist.

The pizzicato writing is carried over into the rockingtriplet accompaniment of the second movement, whichsupports a long-breathed, yearning melody for the soloistwho travels through a number of musical landscapes. The plucking of strings may suggest the guitars of Spain,where the work was to be premiered; in the final

movement the Iberian flavour becomes explicit with theuse of castanets. This grotesque waltz reminds us ofProkofiev’s brilliance as a ballet composer, and he drawsyet more arresting colours from the solo part, notablyin the use of melodies played high on the violin’s loweststring. For all Prokofiev’s nomadism during the work’scomposition, and whatever its political subtext, theoverwhelming impression is of Russianness in its balance of wild energy, humour and melancholy.

GORDON KERRYSYMPHONY AUSTRALIA © 2001

The orchestra for Prokofiev’s Second Violin Concerto comprisespairs of flutes, oboes, clarinets, bassoons, horns and trumpets;percussion (cymbal, triangle, castanets, bass drum, side drum); and strings.

The Sydney Symphony first performed Prokofiev’s Second ViolinConcerto in 1962 with Jascha Horenstein and conductor ThomasMatthews, and most recently in 2003 with Julian Rachlin andconductor Emmanuel Krivine.

‘…the shadowy bass

drum which drives

the soloist to jump

through hoops in the

finale requires no

explanation.’

IAN McDONALD


Alan HolleyA Line of StarsWORLD PREMIERE

About the Composer

Alan Holley began his career in 1974 when several of his workswere premiered in the Recording Hall (now the Studio) of theSydney Opera House. By 1976 he had formed MUSED, a musictheatre group which for several years promoted contemporaryconcerts with many prominent young musicians.

In 1977, after being awarded an Australia-Japan Foundationtravel grant, Holley met Japan’s leading composers ToruTakemitsu and Yuji Takahashi. The following year a GulbenkianFoundation grant enabled him to study in England, and since then his work has been supported by the AustraliaCouncil through composer fellowships and commissions.

An unhurried process of evolution over 30 years hasresulted in a style characterised by intense textures, simplestructures and melodic fragments. In his lyrical vocal worksthe textures tend to be less dense and the fragments moreextended. Holley’s interest in orchestration was fosteredthrough his role of conductor with the Northern ChamberOrchestra, Sydney Bach Orchestra and The Gallery Players.Regularly performed and broadcast in Australia since themid-1970s, and now grounded in Western tonality andimpressionism, much of Holley’s music is influenced bythe Australian landscape and soundscape, especially by hislove of birds and their songs.

Holley’s compositions include the opera Dorothea (1988)about the life of Dorothea Mackellar, and four song cycles,all written in conjunction with the librettist Jyoti Brunsdon,and numerous works for chamber orchestra, small groupsand solo instruments. Recent compositions include hisChamber Symphony (2003) and The Winged Viola for solo violaand ensemble (2004). Alan Holley also teaches trumpet andcomposition. His flute and trumpet works are included inthe Australian Music Examinations Board syllabus, and havebeen published in two collections: Summer Bird and otherpieces for trumpet and Birds of Opal and other pieces for flute.Recordings of his chamber and vocal music include Opheliaand Masquerade. His trumpet concerto Doppler’s Web waspremiered in 2005 with the Sydney Symphony conducted by Simone Young and soloist Paul Goodchild, and laterperformed by the Queensland Orchestra, again with PaulGoodchild as soloist. Opal Tide, composed at the request ofthe Sydney Symphony Brass Section, was premiered during their 2006 Regional Tour of New South Wales.

Keynotes

HOLLEY

Born Sydney, 1954

Alan Holley studied

composition with Ross

Edwards in 1973 before

embarking on a career as

a performer (trumpet),

composer and conductor.

His firmly tonal style is

influenced by impressionism

as well as the Australian

landscape and his love of

birdsong. In 2005 his trumpet

concerto Doppler’s Webbwas premiered by Paul

Goodchild and the Sydney

Symphony in the Meet the

Music series.

A LINE OF STARS

A Line of Stars is a single-

movement work featuring

the sounds and colours of

the orchestra. It is in three

sections, the middle one of

which is brief and intimate

with a chamber-music

character. The title was

inspired by the name of an

African football team and

suggests both the idea of

stars in the night sky and

a line of ‘star’ musicians.


A Line of Stars

Alan Holley says, ‘In early 2005 Maestro Gianluigi Gelmettiheard a recording of my concerto The Winged Viola. He thenasked me to write a brief work for the entire orchestra forperformance during its 75th birthday season of 2007. In theearly days of thinking about what I might do, I happened to hear that there was an African football team namedsomething like ‘a line of stars’. Instantly I decided on thename of the new piece. I liked the play on words: on onehand, a line of ‘star’ musicians, on the other, an imaginedconnection between several brilliant stars in a seeminglyendless night sky. I decided that I would focus on thewonderful palette of colours of a symphony orchestra,rather than trying to be too virtuosic. In particular, I wanted to bring to the audience’s attention three wonderfulinstruments not often heard as soloists – the bass clarinet,the tuba and the contrabassoon.’

Listening Guide

The single-movement A Line of Stars comprises threesections separated by short silences. In the first, and longest,section, a series of melodic fragments overlay a two-notepattern (A sharp and B) which moves, with varying dynamics,around the orchestra. The fragments are grouped accordingto different orchestral colours: three piccolos with two solo violins, for example; two clarinets; trumpet and oboe;contrabassoon; and so on. These culminate with a littlesection for four violas before the brass players reiterate the two-note pattern. The brief and more intimate centralsection of the work, with its isolated lines and solo stringwriting, is suggestive of chamber music, and reflects a beliefthat every member of a fine orchestra, while possessing the highest ensemble skills, enjoys being a soloist. Theflugelhorn, a member of the trumpet family with anidiosyncratically sweet sound, introduces the final section,where a four-note pattern is, this time, overlaid by motifssuggestive of the song of the butcherbird.

JYOTI BRUNSDON ©2007

The orchestra for A Line of Stars comprises piccolo, two flutes (doublingpiccolos), two oboes, two clarinets (one doubling E flat clarinet), bassclarinet, two bassoons and contrabassoon; four horns, three trumpets(one doubling flugelhorn), three trombones and tuba; timpani andpercussion (tom-toms, triangle, bass drum, gong, tam-tam, vibraphone,glockenspiel); and strings.

A Line of Stars was commissioned by the Sydney Symphony with thegenerous support of James Smith, Leonie Burridge and Richard Wingate.It is dedicated to Gianluigi Gelmetti and the Sydney Symphony.

Alan Holley


Felix Mendelssohn



For once a subtitle seems apt: Mendelssohn’s ItalianSymphony expresses a northern European’s love of thesun-drenched south. ‘Blue sky in A major’ it has beencalled. The ideas for it came to Mendelssohn as he spentthe winter of 1830–31 in Italy, and he wrote to his parentsabout the symphony that Naples ‘must play a part in it’.Indeed it did, in the leaping dance of the Saltarello finale.Mendelssohn was in his early twenties, and in thissymphony ‘there stands the eager youth who looks outwith bright eyes upon the world, and, behold, all is verygood’ (Ernest Walker).

Fresh and youthful, this symphony is at the same time one of Mendelssohn’s supreme achievements. Hehimself considered it ‘the most mature thing I have ever done’. For some reason, he was dissatisfied with this symphony, and always intended to revise it. Henever got around to doing so, and it was published onlyafter his death, edited by his friend Ignaz Moscheles.Meanwhile, Mendelssohn had submitted this symphonyin response to a request from the London PhilharmonicSociety for ‘a symphony, an overture, and a vocal piece’(along with the concert aria Infelice, the overture TheHebrides and perhaps the Trumpet Overture). The ItalianSymphony was performed in a concert of the Society inLondon, in which Mendelssohn also played Mozart’s D minor Piano Concerto K466, on 13 May 1833.

Mendelssohn’s anxiety about his symphonies had a lot to do with his sense of responsibility imposed bywhat Beethoven had done. An energetic symphony in A major was bound to put listeners in mind ofBeethoven’s Seventh, and the processional character of Mendelssohn’s second movement inevitably recalls the same movement in Beethoven’s symphony. Perhapsalso Mendelssohn was bothered by the challenge whichfaces interpreters of his Italian Symphony: how to avoidmaking each of the four movements sound like a motoperpetuo. The great English musicologist Sir DonaldTovey thought that if he wanted to change anything,

Keynotes

MENDELSSOHN

Born Hamburg, 1809Died Leipzig, 1847

Felix Mendelssohn was

called the 19th-century

Mozart: he had a youthful

genius, composing

masterpieces such the Octet

and the Midsummer Night’sDream Overture while a

teenager; his music has a

classical sensibility; and

he died in his 30s, his

tremendous activity as

composer, pianist, conductor

and administrator having

taken its toll on a fragile

constitution. Son of a banker

and grandson of one of

Europe’s most famous

philosophers, Mendelssohn

enjoyed both financial and

cultural privileges, and as a

young man took a three-year

Grand Tour of Britain and

Europe. His travels inspired

his two most popular

symphonies: the Scottish(No.3) and the Italian (No.4).

ITALIAN SYMPHONY

The Italian Symphony was

begun around 1830 in Italy,

and completed in 1833 in

Berlin, the ‘blue skies’ of

the music banishing the

grey ones of Germany.

The symphony is like a

picture postcard, evoking

the atmosphere of the

Roman carnival, the sombre

religious processions, tourist

nostalgia and the vitality

of peasant dancers. The

Italian Symphony received

its premiere in London on

13 May 1833.


Mendelssohn could have wished to broaden the designof the last movement towards the end. That is what hedid in the symphony he was working on concurrently,the Scottish Symphony (No.3). Posterity considers thatMendelssohn should have remained satisfied with amasterpiece in which, far from being a pale reflection of Beethoven, he was entirely himself in the lightness of touch, the polished elegance of scoring, and thesureness of form which mark every movement of theItalian Symphony. Mendelssohn sometimes spokeconvincingly of weightier things, but it is no accidentthat along with the Violin Concerto, the MidsummerNight’s Dream music, several overtures and the Octetfor Strings, the Italian Symphony is among those worksof his which have never gone out of fashion. Here, it hasalways been agreed, is a large-scale work which in everybar brings Mendelssohn’s distinctive contribution tomusic.

Listening Guide

The opening of the symphony, like much of whatfollows, is notable for its brilliant and imaginativescoring. Here the bounding theme for the violins ispresented to the accompaniment of repeated chords forthe woodwinds, which at least doubles its effect of almostbreathless energy. The string theme migrates to thewinds in a masterly preparation of the second subject, in which the first subject returns, fortissimo. The secondsubject is a rocking figure for clarinets and bassoons,which, as Tovey says, is obviously in no hurry. Afterfurther development of the opening theme, a quiet closeleads back to the beginning. The important material this contains is present only in the ‘first time bars’, sothe repeat of the exposition should really not be omitted.The development soon presents a fugato on a whollynew theme, then the two main subjects are elaboratelyworked out, and the recapitulation is approachedthrough a long crescendo beginning under a long-heldtonic A for the first oboe – another memorably originalidea.

The second movement may have been suggested bya religious procession Mendelssohn is known to haveseen in Naples (though Moscheles claimed that itwas based on a Czech pilgrims’ song). It begins withplainchant-like intonation, then the ‘marching’ starts

...the Italian Symphony

is among those works

of Mendelssohn’s

which have never gone

out of fashion.

in the cellos and basses, over which the cantus firmus issounded by oboes, bassoons and violas. One particularlydelightful instance of the many felicitous instrumentalcombinations here is the weaving in counterpointbetween flutes and violins. The chromatic subsidiarytheme is a development of the opening intonation.

Although not called a minuet and trio, this is in effectwhat the third movement is. There is little suggestion of the dance in this graceful music, which is more like a song without words, and the trio, with its solemn horns and bassoons (a low note for the second of whichis tricky to balance audibly) sounds a deeply Romantic,poetic note.

Pedants point out that one of the rhythms in themovement Mendelssohn calls Saltarello is that of theeven more furious tarantella – the victims of tarantulabite, Tovey wittily observes, cannot even stop to jump intheir dance! The energy here is even more irresistiblethan in the first movement, so much so that it may passunnoticed that the movement remains in A minor untilthe end. Mendelssohn said this symphony was composedat one of the bitterest moments of his life, when he wasmost troubled by his hypercritical attitude towards hisown music. It is good to be reminded of this artisticstruggle by a ‘driven’ personality, because his art sotranscends the struggle that we can hardly guess thatit ever existed.

DAVID GARRETT © 2003

Mendelssohn’s Italian Symphony calls for pairs of flutes, oboes,clarinets, bassoons, horns and trumpets; timpani and strings.

The Sydney Symphony first performed the Italian Symphony in1945, conducted by Percy Code, and most recently in 1998, in Meet the Music and Tea & Symphony concerts conducted by John Harding.


Mendelssohn by Childe, 1829

Fresh and youthful,

this symphony is at

the same time one

of Mendelssohn’s

supreme achievements.

He himself considered

it ‘the most mature

thing I have ever

done’.


GLOSSARY

BASSO CONTINUO – a Baroque practice ofimprovising a chordal accompanimentfrom a bass line. A typical continuo group –not unlike a rhythm section in jazz – mightcomprise a cello or bassoon with a keyboardor strummed instrument for the chords.

CANTUS FIRMUS – literally ‘fixed song’; a givenmelody used as the basis for counterpoint.

COUNTERPOINT – two or more differentmusical lines or melodies played at thesame time.

FUGATO – in the style of a fugue,characterised by imitation between differentparts or instruments, which enter one afterthe other. The Latin word fuga suggestsboth ‘fleeing’ and ‘chasing’.

MINUET AND TRIO – a French court dancefrom the baroque period, later adapted as a dance-like movement in a moderatelyfast triple time. The trio is a contrastingmiddle section.

MOTO PERPETUO – literally ‘perpetualmotion’, can also be referred to as perpetuummobile.

RONDO – a musical form in which a mainidea (refrain) alternates with a series ofmusical episodes.

SALTARELLO – a lively Italian dance with‘jumping’ figures in the music and thesteps. See tarantella.

SEMIQUAVER – a rhythmic unit that dividesthe crotchet beat into four quick notes(although, in a slow tempo these notes may not be especially fast).

SINFONIA – in 18th-century Italy a sinfonia(‘symphony’) was a short orchestral piece,usually in three movements, performedbefore an opera. Over time, the sinfoniagained a place in the concert hall, acquiredan additional movement, and became theClassical symphony of Haydn and Mozart.

SONATA – this analytical term was conceived in the 19th century to describe

the harmonically based structure mostClassical composers had adopted for thefirst movements of their sonatas andsymphonies. It involves the exposition,or presentation of themes and subjects: the first in the home key, the second in acontrasting key. Traditionally the expositionis repeated, and the tension between thetwo keys is then intensified in thedevelopment, where the themes aremanipulated and varied as the music movesfurther and further away from the ultimategoal of the home key. Tension is resolved in the recapitulation, where both subjects are restated in the home key.

TARANTELLA – a fast Italian dance fromTaranto, similar to the saltarello butsmoother and more relentless. Thetarantella is popularly but misleadinglyassociated with the tarantula, as a kind ofdance-cure for the spider’s bite.

TONIC – in the system of major and minorkeys that underpins Western tonal music,the main note of a key (the note after whichit is named) is the tonic, e.g. the note ‘A’ in A major.

In much of the classical repertoire, movementtitles are taken from the Italian words thatindicate the tempo and mood. Many haveEnglish cognates (e.g. moderato – moderately); a selection of other terms from tonight’s programis included here.

Allegretto – not so fast as AllegroAllegro – fastAllegro, ben marcato – …well markedAllegro vivace – …livelyAndante – at a walking paceAndante assai – …veryCon moto – with motionPresto – as fast as possible

This glossary is intended only as a quick and easyguide, not as a set of comprehensive and absolutedefinitions. Most of these terms have many subtleshades of meaning which cannot be included forreasons of space.


75 YEARS: HISTORICAL SNAPSHOT

Heinze rehearsing for a 1935 concert with Yehudi Menuhin. The private entrepreneur arranged for the 19-year-old Menuhin to be

accompanied by ABC orchestras. (For the story behind this picture visit sydneysymphony.com/history)

of the orchestras include the ABC’s secondGeneral Manager William James Cleary, aSydney man with a love of classical music,and Sir Charles Moses, the GeneralManager who made orchestras a leadingelement in the ABC’s contribution toAustralian life. Moses said of Heinze:

‘It was the inspiration of Sir Bernard’senthusiasm and foresight that persuadedme to recommend in early 1936 the settingup of permanent groups of musicians ineach of the six Australian states to be theprofessional nuclei for the orchestraswhich, later that year, gave music loverstheir first regular annual series of orchestralconcerts.’

It was no coincidence that Heinze’spreference for a six-orchestra policy, ratherthan one ‘national’ orchestra, multiplied his own conducting opportunities. Somewho played under Heinze, and some ofthe audience too, give credence to the adage‘a prophet is not without honour, save inhis own country’. But Heinze deserves to be honoured, not least by the SydneySymphony.

David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studyingthe history of the ABC as a musical organisation.

Bernard Heinze

The emergence in history of a SydneySymphony Orchestra, a recognisableforerunner of the orchestra you see on thestage, owes much to many people. But ifone is to be singled out, it is BernardHeinze. Some will remember Sir Bernardas the avuncular guide to music whoconducted ABC Youth and Children’sconcerts, giving many their first experienceof an orchestra in live performance. Buta much younger Bernard Heinze was theman with the vision that gave Australia itssix ABC orchestras. The story begins inMelbourne, where he used his energy andpersuasive charm to position himself as theconductor who could realise Melbourne’saspirations for a ‘proper’ symphonyorchestra, and by the early 1930s he hadlargely succeeded. But Heinze’s vision was national in scope. He nudged hiscollaborators within the fledgling ABC to make it not just a broadcastingorganisation, but a major concert presenterand founder of orchestras.

Nothing was going to stop Heinze: soon he was exerting national power andinfluence. Within the next 15 years notonly Sydney, but all the Australian capitals,would have symphony orchestras. Othernames worth recording as the founders


MORE MUSIC

HAYDN SYMPHONY NO.2

Adám Fischer and the Austrian-Hungarian HaydnOrchestra.BRILLIANT CLASSICS 99925 (COMPLETE SYMPHONIES)NIMBUS 5426 (NOS 1–20)

Haydn Symphonies Nos 1–5Roy Goodman directing the Hanover BandHELIOS 55111

ALAN HOLLEY

VOLUME 1 OpheliaThe Gallery Players; Christine DraegerMBS 38 CD

VOLUME 2 MasqueradeMBS 39 CD

Possibly out of print. Contact 2MBS-FM for availability.

ITALIAN SYMPHONY

Mendelssohn’s own orchestra, the LeipzigGewandhaus, under Kurt Masur in a collection of thecomplete symphoniesWARNER CLASSICS 62729

Frans Brüggen and the Orchestra of the 18th Centurybring period instrument flair to Mendelssohn PHILIPS 432 123-2

PROKOFIEV VIOLIN CONCERTO NO.2

Jascha Heifetz, with the Boston Symphony Orchestraand Charles MunchRCA VICTOR RED SEAL 61744

Boris Belkin performs both Prokofiev concertos withthe London Symphony Orchestra conducted by KirilKondrashin (No.1) and Rudolf Barshai (No.2)DECCA 4762 744

VIVIANE HAGNER

CiaconnaUnaccompanied works by Bartók, Hartmann and JS BachALTARA 1016

Vivane & Nicole HaglerViolin and piano works by Beethoven, Saint-Saëns and SchubertEMI DEBUT SERIES 5 73161 2

HUBERT SOUDANT

BRUCKNER Symphony No.4Melbourne Symphony OrchestraELOQUENCE 426425

MOZART Haffner Serenade, K250Salzburg Mozarteum OrchestraORFEO D’OR 568011

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

Fri 20 April 1pmGRIEG’S PIANO CONCERTO (2006)David Porcelijn conductorDavid Tong piano

Mon 23 April 1pmMOZART PIANO CONCERTO, K491 (2005)Yannick Nézet-Séguin conductorStephen Kovacevich piano

Mon 30 April 1pmSCHEHERAZADE (2005)Tugan Sokhiev conductorRimsky-Korsakov

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


Dutch conductor Hubert Soudant was born in Maastricht.He has been a prizewinner in the Karajan InternationalCompetition in Berlin, the Cantelli Competition in Milanand the Besançon International Conducting Competition.

In 2004 he was appointed Music Director of the TokyoSymphony Orchestra, after five years as that orchestra’sPrincipal Guest Conductor. Prior to this he was PrincipalConductor of the Salzburg Mozarteum Orchestra(1994–2004), touring with them to Japan, the United States and throughout Europe, and he has heldconducting posts with the Radio-France Nouvel Orchestre Philharmonique, Utrecht Symphony Orchestra,Orchestra Toscanini in Parma and the Orchestra Nationaldes Pays de la Loire. He was Principal Guest Conductor of the Melbourne Symphony Orchestra from 1985 to 1988.

Hubert Soudant has appeared as a guest conductorwith leading European Orchestras, including the BerlinPhilharmonic, London Philharmonic Orchestra, ViennaSymphony Orchestra, Munich Philharmonic, DresdenState Orchestra, and the radio symphony orchestras ofStuttgart, NDR Hamburg, and Frankfurt. He has alsoappeared with the Madrid, Seville and RotterdamOrchestras; the orchestras of La Scala in Milan and SantaCecilia in Rome; and with the KBS Orchestra in Seoul. Hehas also conducted in the major opera houses, includingOpéra Bastille, Festspielhaus Salzburg, and in Venice,Rome, Parma, Palermo, Catania, Bologna, and Trieste.

He is a frequent guest at festivals such as theInternational Spring Festival in Prague, the BrucknerFestival in Linz, the Salzburg Festival, Wiener Festwochen,Mostly Mozart Festival in New York, Spoleto Festival andthe Ravenna Festival. His recordings include TchaikovskySymphonies Nos 4–6 and the Violin Concerto, Ravelcantatas with the Bamberg Symphony Orchestra, Frenchrepertoire with the Orchestre National des Pays de laLoire, Mozart from Salzburg, Bruckner Symphonies Nos 4and 9, and Beethoven piano concertos with the pianistValery Afanassiev and the Salzburg Mozarteum Orchestra.

In 2004 Hubert Soudant was awarded the Ring of theCity of Salzburg and the Golden Cross of Honour for hisoutstanding achievements.

His most recent appearance with the Sydney Symphonywas in 2005.

THE ARTISTS

Hubert Soudant conductor


Munich-born violinist Viviane Hagner has won praise forher intelligent musicality and passionate artistry as well as her serene stage presence. She made her internationaldebut at the age of 12, and the following year she performedin the Joint Concert of the Israel and Berlin Philharmonicorchestras, conducted by Zubin Mehta in Tel Aviv. Sincethen she has appeared with the world’s great orchestras,including the Berlin Philharmonic, the Staatskapelle Berlin,the Czech Philharmonic, the Bavarian State Orchestra andthe Chicago Symphony Orchestra, in partnership withconductors such as Roberto Abbado, Ashkenazy, Barenboimand Eschenbach. Recent concert highlights includeperformances of the Brahms Double Concerto with Yo-YoMa and Canada’s National Arts Centre Orchestra, and the Mozart Sinfonia concertante with Pinchas Zukermanand the Pittsburgh Symphony Orchestra. She has alsoperformed recitals in New York, Washington and Boston.

In addition to her performances of the central concertorepertoire, Viviane Hagner is an ardent advocate of newand neglected music. She is a champion of the work ofKarl Amadeus Hartmann, Karl Goldmark and KrzysztofPenderecki, and in 2002 she gave the world premiere of Unsuk Chin’s Violin Concerto with the GermanSymphony Orchestra Berlin and Kent Nagano, laterperforming the concerto in the United States. Last yearshe premiered Simon Holt’s new violin concerto with the BBC Symphony Orchestra under Jonathan Nott.

A committed chamber musician, Viviane Hagner hasperformed at renowned international festivals includingSalzburg Easter Festival, Schleswig-Holstein, Marlboro,Ravinia and New York’s Mostly Mozart. Her debut recitalalbum features works by Beethoven, Saint-Saëns andSchubert.

This season she will tour the USA with WDR Köln andappear with the Seattle, Dallas, NHK and BBC SymphonyOrchestras, and with the Netherlands PhilharmonicOrchestra. She will be the Artist in Residence for theKonzerthaus Berlin in the 2007/08 season.

Viviane Hagner plays the Sasserno Stradivarius builtin 1717, generously loaned to her by the Nippon MusicFoundation.

Her most recent appearance with the Sydney Symphonywas in 2004, when she performed the Berg concerto withMarkus Stenz.

Viviane Hagner violin


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 Long First Violin #

Thomas Dethlefs First Violin †

Alexandra D’EliaSecond Violin

Leigh MiddenwaySecond Violin

Alexander NortonSecond Violin#

Emily Qin Second Violin #

Jennifer Curl Viola #

Martin Penicka Cello †

Nicholas Metcalfe Cello

Jennifer Druery Double Bass #

Lamorna Nightingale Flute

Jodie Upton Clarinet †

Lisa Wynne-Allen Horn #

Katy Hermann Horn

Andrew Evans Trumpet

Rosalind Halton Harpsichord

# 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

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PHILANTHROPY MANAGER

Caroline Mark

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DIRECTOR OF MARKETING AND

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Wendy AugustineMatthew D’SilvaMichael Dowling

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Fran Cracknell

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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

Documents

HH SHEIKH AHMED BIN SAEED AL-MAKTOUM · Saltarello (Presto) This concert will be broadcast live across Australia on ABC Classic FM 92.9. Pre-concert talk by Yvonne Frindle at 6.15pm