Jonathan Sweeney Managing Director · PDF fileCandide: Overture This concert will be recorded for broadcast across Australia on ABC Classic FM 92.9. Pre-concert talk by Ilmar Leetberg

Trust is proud of its long standing partnership with the SydneySymphony and is delighted to bring you the Thursday AfternoonSymphony series in 2008.

The series offers perfect afternoons with some of the best-lovedcomposers – Ravel, Bernstein, Elgar, Mozart, Stravinsky, and manyothers. These concerts bring together some of the world’s mosttalented conductors and soloists – you’re in for a truly delightfulexperience.

Just like the Sydney Symphony, which has been the sound of thecity for more than 75 years, entertaining hundreds of thousands of people each year, Trust has been supporting Australians for over 120 years.

Whether it be in administering an estate or charity, managingsomeone’s affairs or looking after their interests via estate planning,financial planning or funds management, people come to Trustbecause of our personal service and commitment to ensuring theirinterests are being looked after.

We hope you enjoy a delightful Thursday afternoon with the Sydney Symphony.

Jonathan SweeneyManaging DirectorTrust Company Limited

SEASON 2008

THURSDAY AFTERNOON SYMPHONY

SUPPORTED BY TRUST

WEST SIDE STORY

Thursday 13 March | 1.30pm

Sydney Opera House Concert Hall

Wayne Marshall conductor

KARL GOLDMARK (1830–1915)

Rustic Wedding Symphony, Op.26

Wedding March (Variations)Bridal Song (Intermezzo)Serenade (Scherzo)In the Garden (Andante)Dance (Finale)

INTERVAL

LEONARD BERNSTEIN (1918–1990)

Symphonic Dances from West Side Story

Prelude (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero) Mambo (Presto) Cha-Cha (Andantino con grazia) Cool, Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)

The movements are played without pause.

Candide: Overture

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

Pre-concert talk by Ilmar Leetbergat 12.45pm in the Northern Foyer.Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

Estimated timings:43 minutes, 20-minute interval, 22 minutes, 5 minutes

The concert will conclude atapproximately 3.15pm

SUPPORTING PARTNER

Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and offering a common platform forvaried cultures and communities to come together. It is for these reasonsthat the Sydney Symphony – a first class orchestra in one of the world’smost diverse and beautiful cities – is an ideal partner for Emirates Airline.

With more than 300 major international awards for excellence, Emirateshas developed an international reputation for providing a standard ofservice and an inflight experience to which other airlines aspire.

And like the Sydney Symphony, Emirates reaches out to a truly globalaudience, flying to every continent in the world from its hub in Dubai. We also have a long term growth strategy for Emirates in Australia.Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of 2009. This will include a third daily flight from Sydney, makingconnections to our expanding network across Europe, Middle East,Africa, Asia and the Americas easier for local travellers.

Emirates continues to take great pleasure in supporting the SydneySymphony and fostering the growth of arts in the community.

We look forward to an exciting and memorable 2008.

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

SEASON 2008

EMIRATES METRO SERIES

WEST SIDE STORY

Friday 14 March | 8pm






INTERVAL





Candide: Overture





Welcome to the concert

Apia is pleased to bring you this performance in the GreatClassics series for 2008.

Like you, we’re an enthusiastic supporter of the SydneySymphony. We understand that a world-class performance canonly be assured when people work in a concerted effort.

It’s this understanding that’s at the heart of all our endeavours.It enables us to deliver a range of insurance productsspecifically designed for people over 50 and not working full-time.

If that sounds like you, Apia can offer you an insurance dealthat best reflects your life experience. We have policies toprotect your home, investment property, car, caravan,motorhome or boat. And when you call us on 13 50 50, you’llsoon discover that our focus on looking after our customersnever wavers.

We hope you enjoy the upcoming performance. We’ve certainlyenjoyed bringing it to you.

David AtchisonNSW Regional Manager

Australian Pensioners Insurance Agency Pty Ltd is an authorised representative of Australian Alliance Insurance Company Limited.

SEASON 2008

GREAT CLASSICS

PRESENTED BY APIA

WEST SIDE STORY

Saturday 15 March | 2pm






INTERVAL





Candide: Overture





PRESENTING PARTNER

5 | Sydney Symphony

INTRODUCTION

West Side Story

Leonard Bernstein is the key to this concert. That’sBernstein the composer, of course, but also Bernstein the conductor. He began his conducting career followingthe modernist bent of mentors such as Koussevitsky,conducting, for example, the American premiere ofBritten’s opera Peter Grimes. His appointment as musicdirector of the New York Philharmonic when he was 40resulted in a diversified repertoire that embraced theclassics and provided an opportunity for his Romanticinstincts to emerge. As one writer has put it, Bernsteinwas less interested in sound, or in structure, than in‘revealing the narrative of the music’.

That narrative instinct may have been one of thethings that drew him to Karl Goldmark’s Rustic WeddingSymphony, which is not so much a symphony (in thesense of a ‘battleground’ of musical ideas) as it is anexpansive serenade that paints charming and joyousimages. This is an obscure work, but a delightful one,and Bernstein was one of the few conductors of the 1960swho took it to his heart (Sir Thomas Beecham was anearlier champion). So it seems right to program thesymphony alongside Bernstein’s own compositions.

As Shirley Apthorp observes in her article ‘SeriouslyLenny’ (page 16), Bernstein agonised about being takenseriously as a composer. Although his dramatic worksmade his name (On the Town, Candide, and above all West Side Story), it was with concert works such as hissymphonies that he most wanted to prove himself. But the craft, invention, wit and beauty of his Broadwayshows ultimately provide all the evidence we need ofhis genius as a ‘serious’ composer. This concert is theproof.

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ABOUT THE MUSIC

Karl Goldmark



Not quite a symphony but more than a suite, with lipsticktraces of Brahms, Wagner and the ballet in its pages,Goldmark’s Rustic Wedding Symphony should prove to be a delightful discovery for anyone who believes that charmand style mean as much in music as weight andprofundity.

It’s the work of a man who is something of a footnotein musical history and is remembered, if at all, for onlythree works out of a considerable output: his first violinconcerto, his opera The Queen of Sheba and this symphony,all of which once hovered on the fringes of the repertoire.All three works date from the years of his first successes asa composer. His later music – five more operas, a secondsymphony and much else – fell into early obscurity.

Goldmark was one of 20 children. Born into anorthodox Jewish family in rural Hungary (his father wascantor to the local Jewish congregation), he played violinin theatre orchestras in Vienna in the 1850s, where hewould have learned a great deal about orchestration andtheatrical craft. As his work began to be performed in the early 1860s his career diversified in ways only possiblein a thriving centre for music: he conducted a male-voice choir, taught piano and wrote music reviews forÖsterreichische constitutionelle Zeitung. As a critic, he was achampion of Wagner yet remained a life-long friend ofBrahms. This neutral position in the great musical culturewars of his day is reflected in his music. The Queen ofSheba strives at times for Wagner’s level of heightenedexpression, while the opening of the Rustic Weddingsymphony could have come from a Brahms Serenade.

It’s that word ‘serenade’ that comes to mind whenlistening to this work, despite its title and its length (some40 minutes). It is symphonic in the sense that it calls for amid-19th-century symphony’s orchestral resources and inthat its first movement is an extensive theme and variationsthat displays a symphonist’s technical skill. But if we thinkof a romantic symphony, idiomatically, as an abstractbattleground of ideas, the Rustic Wedding is another creature

Keynotes

GOLDMARK

Born Keszthely, Hungary,1830Died Vienna, 1915

Karl Goldmark grew up near

the Austro-Hungarian border,

studied violin in Vienna, and

played in theatre orchestras

when he was in his 20s.

As a composer he claimed

to be self-taught and his

music reveals an attractive

multiplicity of influences.

When he was 39 he received

a grant from the Hungarian

government that allowed

him to write his first opera,

The Queen of Sheba. The

opera brought him relative

fame in Vienna and

Budapest and remained in

the Hungarian repertoire

until the 1930s – it is still one

of Goldmark’s best-known

works. The others are

tonight’s symphony and the

Violin Concerto in A minor,

both written in 1877.

RUSTIC WEDDING

The Rustic Wedding(Ländliche Hochzeit)

Symphony is closer in spirit

to the orchestral serenade

than to the romantic

symphony. It is in five

rather than four movements,

following the loose narrative

of wedding day events,

and the music sets out to

charm and divert rather than

impress.

8 | Sydney Symphony

entirely: a five-movement charm offensive. It is a pictureof a country wedding (one of some grace, judging by theway Goldmark depicts it) including the happy couple, thewedding ceremony itself and its attendant celebrations.Opening with a march, as it does, it is also reminiscentof the term Serenade in a Mozartean sense. But its open-air atmosphere is wonderfully intrinsic, stemming asmuch from Goldmark’s musical personality as from anyperceived sense of musical homage.

Listening Guide

The opening movement, indeed simply called March, ismuch more than that. The direct, open-hearted theme that sets this movement in motion comes to us at first oncellos and double basses before we hear 12 spectacularlyvaried variations on it. At first the tune may suggest to youthe broad sweep of the melodies that dominate the finalesof Beethoven’s Ninth and Brahms’ First symphonies, butthe first variation steers us closer to Goldmark’s world:bird calls in the form of woodwind chirrups adorn themelody in a manner that anticipates Mahler in his ‘natureawakens’ mode. The upper strings do not appear at all inthe work until Variation 2, the first to suggest the tenderaffections of the young couple. Goldmark expands on thismood in Variation 4, the warmth of which anticipates thecontours of the Symphony’s fourth movement, In the Garden.

Other points of interest include the fleet sixth variation,a chattering allegretto in the spirit of Mendelssohn, whilethe autumnal three-in-a-bar of Variation 7 might havewandered straight out of Brahms’ Third Symphony. After variations in still more varied moods (including abeautiful passage for the winds in Variation 12 suggestingthe singing of a wedding madrigal), the trumpets utter acall to action, after which we hear the march in full-dressregalia before it gradually returns to the simpler tone withwhich it began the movement.

The next two movements act as interludes in Goldmark’sscheme. The first (Bridal Song) is an evocative portraitof the bride on her wedding day, the halting phrases and hairpin crescendos marvellously suggestive of herexcitement. The Serenade that follows finds Goldmark’sconsiderable craft working at full stretch to create apicture of excited happiness.

To the modern temperament, the title In the Garden

suggests merely the long hiatus between the wedding

…if we think of a

romantic symphony

as an abstract

battleground of ideas,

the Rustic Wedding is another creature

entirely: a five-

movement charm

offensive.

9 | Sydney Symphony

ceremony and the reception, during which the guests cool their heels while man and wife have their photostaken. For Goldmark this is the heart of the symphony, aheartfelt song of love in which the clarinet’s long, archingsolo opens a movement suffused with an atmosphere both sweet and fervent. In its fluid alternations between a chaste simplicity and passionate intensity, In the Gardenis the most suggestive of Goldmark’s broad musicalsympathies.

The Dance with which the symphony ends – aHungarian Dance in all but name – is based on the Marchtheme we heard at the Symphony’s outset. The vigour and exuberance of the dance is interrupted only once, nearthe end, by a beautiful reminder of the ‘Garden’ music,shifting the spotlight momentarily from the merry throngto the happy couple.

* * * *The Rustic Wedding Symphony aims for a directpictorialism, but does so aided in large measure byGoldmark’s sophisticated approach to his material. Wemay regret some moments of bluster, but it is impossiblenot to admire the sensitive writing for individualorchestral sections, particularly the lower strings and thewoodwind group: the moments when they get to shine are some of the most distinctive in the symphony.

The work’s proportions look idiosyncratic on paper but in practice are part of the charm, for the symphonymanages to combine a sense of scale with one of almostunalloyed joy and affection. That the piece can still cast aspell may be vouched for by this posting onto an internetforum, in which one young man said of a recentrecording:

What a beautiful Symphony. My fiancée and I are using thisCD for our wedding ceremony instead of the more traditionalmusic. It reminds me of fairies in flight. It’s perfect for our rusticwedding!

You may kiss the bride.

PHILLIP SAMETZ ©2008

Goldmark’s Village Wedding Symphony calls for pairs of flutes, oboes, clarinets and bassoons; four horns, two trumpets and threetrombones; timpani and percussion (bass drum, cymbals, triangle);and strings.

The Sydney Symphony gave the first Australian performance of the Village Wedding Symphony in a 1941 studio concert under Percy Code.

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Leonard Bernstein


Prelude (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero)Mambo (Presto) Cha-Cha (Andantino con grazia) Cool, Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)


In a 1984 documentary about the making of the West SideStory recording with opera singers Kiri Te Kanawa and José Carreras, Leonard Bernstein at one point describeshow he can’t get over how ‘funky’ this music is. Theimage of the composer praising his own music is gallingat first, until one recognises that he is describing a score which came off his desk nearly 30 years before –marvelling at the energy of his younger self – and thathe is right!

Keynotes

BERNSTEIN

Born Lawrence,Massachusetts, 1918Died New York, 1990

Bernstein was an all-round

musician: composer,

conductor and pianist – and

a gifted communicator as

well. He was the first

American to be appointed to

a chief conductor post in a

major orchestra (the New

York Philharmonic) and his

achievements made him the

most famous native-born

musician in the history of

American classical music.

Most significant of all, as a

conductor and a composer

he thrived equally on

Broadway and in the world

of ‘serious’ concert hall

music.

SYMPHONIC DANCES

Symphonic Dances fromWest Side Story is more than

a concert suite of hit tunes

from the musical. Instead

it threads and weaves

together motifs and themes,

transforming them into

a truly symphonic

construction. It was

composed in 1960, three

years after the show opened.

The central music in the Symphonic Dances is drawn from the dance scenes at

the gym – ‘neutral territory’ where the gangs make nice.

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If we think of American music as typically infectious,brash and exciting, and yet conversely accessible, simpleand touching, then West Side Story is surely one ofAmerica’s greatest scores. It has real urban heat, a graspon the rhythmic springboard that is American popularmusic’s beat, and a melodic simplicity which can getright to the heart of a character. On stage and screen itsbrilliantly constructed musical ensembles were matchedin the choreography and setting.

West Side Story is perhaps one of the most successful of orchestral music’s forays into ‘jazz influence’. It comesfrom a classically trained musician famous as thePrincipal Conductor of the New York Philharmonic for many years, but who was also one of music’s greatcommunicators, as his early telecasts, the Young People’sConcerts, attest. West Side Story was Bernstein’s fourthshow, following On The Town (1944), Wonderful Town (1953)and Candide (1956). It opened its New York run of 732performances in September 1957. The film version in1961 garnered ten Academy Awards, including bestpicture.

West Side Story is a 20th-century version of Romeo andJuliet. The idea originated in 1949, when choreographerJerome Robbins approached Bernstein and playwrightArthur Laurents with the idea of doing a ‘Romeo andJuliet story’ set on New York’s lower east side, the storyof a young Jewish boy and a Catholic girl. Busy workschedules prevented the collaborators bringing ‘East SideStory’ to fruition at this point. When they got around toresuming work on the project, the original ethnicconflict seemed old hat.

Instead, West Side Story is about Tony, the Americandescendant of Polish forebears, and Maria, the daughterof recent Puerto Rican immigrants, and their love,played out against the violent background of rival gangson the upper west side of town. Tony and Maria meetand fall in love at a dance at the local gym, but Maria’sbrother Bernardo kills Tony’s friend Riff, and Tony thenkills Bernardo in retaliation. When Maria learns the true circumstances of Bernardo’s murder – that he waskilled by Tony in the heat of the moment – she sends forTony but he is gunned down by another gang member,Chino, at the moment of their reconciliation.

West Side Story has

real urban heat, a

grasp on the rhythmic

springboard that is

American popular

music’s beat…


Listening Guide

Bernstein called this concert work collated from theshow ‘Symphonic Dances’ because of the way the musicalmaterial is built up from a small number of musicalthemes. Indeed those few themes, constituting the basicbuilding blocks of the whole score, are transformed andcombined symphonically to portray a wide variety ofmoods, action, songs and dances. The dances begin withthe Prelude, suggesting the growing rivalry andsmouldering tension between the two gangs: the ‘all-American’ Jets and the Puerto Rican Sharks. Somewhere

portrays an ideal oasis of peace in this turbulent world. In Stephen Sondheim’s lyrics: ‘There’s a place for us,somewhere a place for us. Peace and quiet and open airwait for us somewhere.’

An intriguing metre characterises the charmingScherzo, but the Mambo returns us to the world ofunderlying violence. This segues into the Cha-Cha, a deft variation of the ‘I’ve just met a girl called Maria’melody. Perhaps the most effective musicalrepresentation of barely-suppressed rage is Cool, whichBernstein turns into a particularly sinuous and finallyexplosive fugue.

Metric jolts and thematic interjections announce the Rumble (1950s slang for a fight), which in the stageversion ends Act I with the deaths of Bernardo and Riff. Then the Finale, based on the melody for ‘I Have aLove’, brings the music to a peaceful if sorrowfulconclusion.

GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©1997/2006

Bernstein’s Symphonic Dances from West Side Story calls for three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, E flat clarinet, two bassoons, contrabassoon and alto saxophone; four horns, three trumpets, three trombones andtuba; timpani and a large percussion section (vibraphone, timbales,congas, bass drum, tom tom, drum kit, cymbals, tambourine, woodblock, triangle, tam-tam, xylophone, glockenspiel, chimes, tenordrum, pitched drums, snare drums, finger cymbals, maracas,cowbells, police whistle, bongos, suspended cymbal, guiro); harp,celesta, piano and strings.

The Sydney Symphony first performed the complete SymphonicDances from West Side Story in 1978 in a Family Pops concertconducted by David Measham, and most recently in 2004conducted by Steven Mercurio.

Bernstein in 1956, the year he

composed West Side Story.

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Keynotes

CANDIDE

The overture to Candideis a modern evocation of the

classical opera overture:

beginning with a fanfare

call to attention before

dashing through a brilliant

sequence of inspired

melodies from the show.

It is the perfect overture –

but it also makes a perfect

concert finale.

Bernstein

Candide: Overture

‘The greatest piece of slap-dash ever written,’ said LillianHellman of Candide, the 1759 novel by Voltaire thatformed the basis of her and Leonard Bernstein’s musicalof the same name. And Bernstein’s overture captures that– uproarious, high-spirited, felicitous. A perfect openingto a light-hearted night out at the theatre. Light-hearted?

Candide, the hero, endures wars, famines, shipwrecksand earthquakes, all the while remaining steadfastly loyalto the increasingly ridiculous philosophy of his teacher,Dr Pangloss, an adherent to the Leibniz philosophy that‘all is for the best…in this best of all possible worlds.’

In 1954, Hellman and Bernstein saw in Voltaire’ssatirical attacks on the Catholic Church and blandoptimism of the philosopher Leibniz a way of hittingback at President Dwight Eisenhower’s complacentAmerica. And Candide was to be their response to SenatorJoe McCarthy’s witch hunts (carried on under the gaze of that complacency). Hellman’s husband, novelistDashiell Hammett, was sentenced to six months jail for refusing to name people to the House Un-AmericanActivities Committee. The atmosphere was such thatBernstein had reservations (eventually dispelled) aboutworking on On the Waterfront with film director EliaKazan, one of the most reviled of HUAC turncoats.

Which meant that Candide had to carry a lot of freight.At one stage Bernstein conceived the work as a ‘big three-act opera with chorus and ballet’. By the end of1954 he saw nothing wrong with being a composer ofmusicals. (Next year he would entertain plans for a pieceto be called ‘East Side Story’.)

The original 1956 version – book by Lillian Hellmanwith lyrics by Richard Wilbur, John LaTouche andDorothy Parker – was accounted a failure on Broadway.Some blamed Hellman’s book (‘too intellectual’); othersTyrone Guthrie’s staging (‘too classical’). Over the yearssince its premiere, many writers tried their hand atknocking the piece into some sort of final shape; versionsteetered between opera and musical, until Bernstein’scomprehensively operatic Deutsche Grammophonversion of 1989, his last recording. Some have felt thatthe success of ‘the Original Cast Album’ should have beena clue: the work was a musical.


But one thing was always clear. The show containedsome of Bernstein’s most exhilarating music. Lenny seemsto have torn ahead of all his collaborators, music pouringforth. If ever there was a case of ‘first the music and then the words’, this was it. As Andrew Porter says in the1989 liner notes: ‘Words that now form a memorable,apparently indissoluble match with the tunes to whichthey are sung prove not to have inspired the music butto have been inspired by it. It was as if Candide musicbubbled into Bernstein’s fertile brain and then waited todiscover its just verbal expression.’

‘The Baron…observing this cause and this effect, banished Candide from the

chateau with big kicks in the backside.’

Voltaire is satirising Leibnizian philosophy: The Baron’s daughter Cunégonde,

having witnessed Dr Pangloss’s private demonstration with the serving maid of

a lesson in advanced physics (the relative specific gravity of two bodies,

male and female), is caught experimenting with her bastard cousin Candide.

Engraving for the 1787 edition of Candide

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…uproarious, high-

spirited, felicitous


Objection!

Like a latter-day Rossini,Bernstein gives the overturea brilliant main theme that is not heard again after thecurtain rises. Played bystrings and winds, it conveysthe spirit if not the tunes of Candide. The rest of theoverture, however, does draw on themes from themusical, beginning with the fanfare that punctuatesthe music: an echo of thestrident ‘Objections’ from Dr Pangloss’s students as he sings of ‘The Best of allPossible Worlds’.

Listening Guide

That is something that we could believe from hearingthe tearaway overture, a modern-day Marriage of Figarooverture, complete with a ‘missing’ development section(not such a contradiction as it sounds). Or, a harkingback to a 19th-century pot-pourri overture, since theoverture previews music that will be heard in the showincluding: the battle music for the Hessian invasion of‘Westphalia’; and then, for second subject, the music tothe lines ‘Soon, when we feel we can afford it…’ from the duet, ‘Oh Happy We’. All this is recapitulated andfollowed by the refrain from Cunegonde’s aria ‘Glitterand be Gay.’ But the listener barely has time to stop forrecognition.

Whatever the continuing debate over the merits andfinal form of Candide (the show), Leonard Bernstein’svolcanic musical inspiration has given our concertplatform one of its most effective and effervescentconcert-openers.

GORDON KALTON WILLIAMSSYMPHONY SERVICES AUSTRALIA ©2006

Bernstein’s Candide Overture calls for two flutes, piccolo, twooboes, two clarinets, E flat clarinet, bass clarinet, two bassoonsand contrabassoon; four horns, two trumpets, three trombones and tuba; timpani and percussion (bass drum, cymbal, side drum,tenor drum, triangle, glockenspiel and xylophone); harp andstrings.

The Sydney Symphony first performed the overture in 1966 underJohn Hopkins, and most recently in 2006, conducted by DavidPorcelijn. It was also on the program in 1978, when Aaron Coplandconducted the Orchestra.


INTERLUDE

Seriously Lenny

Shirley Apthorp on Leonard Bernstein

In the middle of the 20th century, Leonard Bernstein(1918–1990) was wearing at least two hats: that of theclassical conductor, the first American to be appointedPrincipal Conductor of the New York Philharmonic; theother, that of the hugely popular composer of Broadwaymusicals. Now, more than a decade after his death, the two roles seem closer than they ever have before.

The last BBC Proms season of the 20th century includeda concert performance of Wonderful Town which exuberantlydemonstrated the point. The ‘serious’ forces of a symphonicorchestra, an all-star cast and conductor Sir Simon Rattlehad most of the audience dancing to the Conga – the eveningwas as much fun for all involved as it was a success inmusical terms.

With the passage of time, the distinction betweenpopular theatre and concert hall repertoire (at least as faras Bernstein’s output is concerned) has become increasinglyblurred. Today, leading conductors and major record labelsare eager to champion his music. He is regarded in somequarters as one of the great symphonists of his century.

Bernstein would have been pleased. It seems paradoxicalthat such an unashamed populist (‘Lenny’ to a nation;television personality; charismatic communicator in concert)should have agonised about being taken seriously as a composer. But he did, as his dealings with his mentor,Serge Koussevitsky, consistently showed.

Bernstein in 1945, determined to ‘get

down to serious business and never,

never write another show’.


There was a time, just after On the Town had launcheditself so spectacularly, when Bernstein earnestly promisedKoussevitsky that he would ‘get down to serious businessand never, never write another show’. Almost immediately,he was approached by young entrepreneur Robert Fryerand offered the unlikely challenge of creating a musical of the play My Sister Eileen in the space of a month. BettyComden and Adolph Green, with whom he had written On the Town in 1944, were to complete the team. Bernsteinbarely hesitated – which is fortunate for us, as the resultwas Wonderful Town (1952).

The gentle nostalgia of Wonderful Town, set in 1930s NewYork, was a contrast to the earlier and more ebullient Onthe Town, a tale of three sailors with one day to spend inNew York on their way to war. One of the showstoppers in On the Town was the upbeat hymn to Manhattan: ‘NewYork, New York, it’s a helluva town!’ For the 1949 screenversion, this was bowdlerised to ‘it’s a wonderful town’,from which the title of Bernstein’s next ‘New York’ musicalwas drawn, replacing the staid ‘Eileen’.

The third of his NY musical trilogy was the one whichreally defined the reputation of Bernstein-as-composer.More than that, West Side Story (1957) marked the dawn ofthe blockbuster musical. However, it also challenged thenotion of what a Broadway musical should be – few otherworks of music theatre teeter so precariously between theworlds of Broadway and opera. In the end, West Side Storyhas made its home in both spheres, and found its place inconcert halls too. It was in many ways Bernstein’s greatestmasterpiece, and he capitalised on its musical strengths by transforming some of the themes into the SymphonicDances, a work which could have stood proudly on its ownas a vibrant example of compositional skill.

It also reflected Bernstein’s consummate ability toreconcile ‘serious’ music with popular styles. Hard thoughhe struggled with more ‘serious’ compositions in order toprove himself a composer of substance, his supposedly less‘serious’ works have done the job for him. The more welisten to his creations for the musical stage, the more werealise the peerless excellence of their construction, thegenius of their invention, the wit and beauty of their content.Now that Bernstein’s music is music of a previous century,we’re likely to see more and more of it on ‘serious’ concertprograms. Serge Koussevitsky, thank goodness, was wrong!

ABRIDGED FROM AN ARTICLE BY SHIRLEY APTHORP ©2000

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Program cover from the first

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GLOSSARY

FUGUE – a musical form in which a shortmelody, the subject, is first sounded byone part or instrument alone, and is thentaken up in imitation by other parts orinstruments one after the other. The Latinfuga is related to the idea of both ‘fleeing’and ‘chasing’.

HAIR PIN CRESCENDO – a crescendo occurswhen the music becomes graduallylouder. Composers have two methods ofinstructing musicians to make a crescendo.The first is to use the word or itsabbreviation (cresc.) at the beginning ofthe passage. The second is to mark it with a symbol – <– that looks a little like abobby pin.

INTERMEZZO – ‘in the middle’; in the 18th century an intermezzo was a shortcomic opera inserted between the acts ofa serious opera, later it came to refer to an instrumental work, without stage action, performed during an opera, and in the 19th-century to an independentinstrumental work of lyrical character. In symphonic music, an intermezzo can bea section or movement within a largerwork, as it is in the Rustic WeddingSymphony.

POT-POURRI OVERTURE – a dramaticoverture in which the composer provides a sampler of the main tunes that will beheard in the opera or musical.

SCHERZO – literally, a joke; generallyreferring to a movement in a fast, lighttriple time, with whimsical, startling orplayful elements and a contrasting centralsection called a ‘trio’.

SERENADE – the serenade of Mozart’s daywas a multi-movement work intended for outdoor performance in the evening or as incidental entertainment for privatefunctions. The tradition of the orchestralserenade was maintained in the 19th century

by composers such as Brahms. A Classicalserenade would often begin (and end) witha MARCH – played by the musicians as theyliterally marched into place.

SYMPHONY – the traditional symphonyhas four movements. The first movementis fast (although it can begin with a slowintroduction) and typically grand incharacter; the second is usually a slowmovement with a lyrical character; the third was at first a dance-like minuet butBeethoven transformed it into the scherzo,still with three beats to the bar but muchfaster and more playful. The finales ofearly symphonies would be light-hearted,exuberant and usually fairly short, butagain Beethoven worked a transformation,making the finale a weighty and importantculmination of the musical ideas that hadbeen developing through the symphony asa whole.

In much of the classical repertoire, movementtitles are taken from the Italian words thatindicate the tempo and mood. A selection ofterms from this program is included here.

Adagio – slowAllegretto – livelyAllegro moderato – moderately fastAndante – at a walking paceAndantino con grazia – a little faster than

Andante, with graceMolto allegro – very fastPresto – as fast as possibleVivace leggiero – lively and light

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.


MUSICIAN SNAPSHOT

Alexandre Oguey – my voice

For French-Swiss cor anglais playerAlexandre Oguey, moving to Australia withhis wife, oboist Diana Doherty, was alwaysan attractive prospect. Born in the smalltown of Neuchâtel in Switzerland,Alexandre always felt that the German partof his country was very foreign. ‘I hadmuch bigger cultural shock going to Zurichthan coming to Sydney. Australia and itseasy-goingness is somehow a bit morecloser to my heart I think.’

Some ten years ago, to stave off Diana’sgrowing homesickness, they decided tolook for jobs in Australia. As luck wouldhave it, at that time there were threevacancies in the Sydney Symphony.Although successful in securing bothSecond Oboe and Principal Cor Anglaispositions, the choice was clear. ‘The coranglais was the instrument I always loved.With the cor, I have my voice. It’s just whatsuits me.’ Alexandre confesses that hisinstrument – with a timbre well-suited toslow, expressive music – often misses outon playing the difficult fast passages. ‘ButI’m not a show-off, so I don’t do “show-off ”music. More often, I join the slow melodieswith the French horns, or violas and ’celli. I love it.’

Occupying a unique role within thewoodwind section, the cor anglais can claim a substantial collection of orchestralsolos. ‘Shostakovich’s Eighth Symphonyhas one of the best cor solos,’ enthusesAlexandre. ‘It’s quite a long solo, and nearlyall of it is very free. You practise what you’dlike to do, but you have to be ready to doexactly the opposite.’ Flexibility is the key.He recalls the challenge on one occasion of phrasing this solo with Estonian NeemeJärvi conducting – ‘He really looked at mein the eyes and didn’t let me go at all. He was taking me where he wanted to go,so I couldn’t be at all personal in any way.’

French music is also a favourite, ofcourse. ‘Debussy and Ravel are scrumptiousfor the woodwinds. They’re always veryhard, but it’s basically the best writing youcan find.’

Alexandre concedes that the focus is notalways on his instrument. ‘Strauss’s AlpineSymphony doesn’t have a great cor anglaispart because you can’t really hear much ofit. But it’s so fantastic to play. For me, it’s my Alps. It’s my mountains. I just absolutelylove it.’ The perfect thing to ward off a boutof homesickness for a Swissie far from hisnative land.

GENEVIEVE LANG ©2008

MORE MUSIC

Selected Discography

GOLDMARK

An ardent advocate for the Rustic Wedding Symphony,Leonard Bernstein recorded it for Columbia in 1968,conducting the New York Philharmonic. Available inSony’s Bernstein Century series.

SONY 61836

Another champion was Thomas Beecham, whorecorded it with the Royal Philharmonic Orchestra. A mono recording that may be out of print.

SONY SMK 87780

Goldmark’s Violin Concerto has always had itsadvocates, including Joshua Bell, who makes anunexpected pairing with Sibelius’ Violin Concerto inhis recording with the Los Angeles Philharmonic andEsa-Pekka Salonen.

SONY 65949

WEST SIDE STORY

Sony’s Bernstein Century series includes Bernsteinand the New York Philharmonic in performances ofthe Symphonic Dances as well as music from On theWaterfront and Fancy Free, and the Candide Overture.

SONY 63085

In 1984 Bernstein went into the studio to record WestSide Story with Kiri Te Kanawa and José Carreras.

DEUTSCHE GRAMMOPHON 457199

CANDIDE

The original cast recording of Candide, starringBarbara Cook, is available in a remastered release that includes Bernstein conducting the overture withthe New York Philharmonic.

SONY SK 86859

Or check out Bernstein’s 1989 recording of his finalversion with the London Symphony Orchestra.

DEUTSCHE GRAMMOPHON 429734

More recently, Bernstein’s protégé Marin Alsopconducted the New York Philharmonic in a delightfulsemi-staged version, available on DVD (Region 1 only).

WAYNE MARSHALL

Wayne Marshall’s award-winning Gershwin Songbookincludes preludes and improvisations on Gershwinsongs.

VIRGIN CLASSICS VC 5 45298-2

Also included in his extensive discography are severalrecordings of Gershwin orchestral repertoire with theAalborg Symphony orchestra, available on the VirginClassics label.

MARCH–APRIL

31 March, 1pmTHE GOLDEN SPINNING WHEEL (2002)Mark Elder conductorDvorák

1 April, 6.30pmEXOTICA

Matthew Coorey conductorScott Kinmont euphoniumRameau, Bracegirdle, Ravel, Bartók

11 April, 1pmWALTON VIOLIN CONCERTO (2007)Hugh Wolff conductorMichael Dauth violin

14 April, 7pmBRAHMS’ “FIFTH SYMPHONY”

Paul Daniel conductorRalph Kirshbaum celloDvorák, Bloch, Brahms orch. Schoenberg

16 April, 1.05pmJASMINKA STANCUL IN RECITAL

D. Scarlatti, Beethoven, Schumann

19 April, 12.05SHOSTAKOVICH 8

Steven Sloane conductorTabea Zimmermann violaLentz, Shostakovich

Broadcast Diary

Selected Sydney Symphony concerts are recorded forwebcast by BigPond. Visit: sydneysymphony.bigpondmusic.comAvailable now:RAVEL’S ROMANCES (OPENING GALA CONCERT)

April webcast:BRAHMS’ “FIFTH SYMPHONY”

Dvorák, Bloch, Brahms orch. SchoenbergLive webcast on Monday 14 April at 7pm.

sydneysymphony.com

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

2MBS-FM 102.5SYDNEY SYMPHONY 2008

Tue 8 April, 6pmWhat’s on in concerts, with interviews and music.

Webcast Diary



ABOUT THE ARTIST


Wayne Marshall was born in the UK and, after musicalstudies there and in Vienna, established an internationalreputation as organist and pianist. More recently he hasestablished a career as a conductor, and his other musicalactivities include improvisation, jazz, radio and televisionpresentation and composition.

He has an affinity with American music of the 20th century, conducting productions of Bernstein’sWonderful Town and West Side Story, and Gershwin’s Porgyand Bess, as well as performing the Gershwin repertoirefor piano and orchestra.

While continuing to appear as an organ and pianosoloist through Europe and the United States, WayneMarshall has conducted the Bournemouth Symphony,BBC Philharmonic, London Philharmonic, Hallé, HongKong Philharmonic, New Sinfonietta Amsterdam,Vienna Symphony Orchestra, Swedish Radio SymphonyOrchestra, National Orchestra of Belgium, Berlin RadioSymphony Orchestra, Bamberg Symphony, North German Radio Orchestra and the Flemish RadioSymphony Orchestra.

A regular visitor to the BBC Proms, he featured in the 1997 Last Night of the Proms as both organ and piano soloist and the following year made his Promsconducting debut with Porgy and Bess (a Gershwincentenary tribute). He made his Vienna conducting debut in 2000 with Wonderful Town (Austrian RadioSymphony). He conducted the same work for hisRotterdam Philharmonic conducting debut in 2002 and is now a regular guest. In 2003 and 2004 he conductedWest Side Story at the Bregenz Festival. In 2005/06 he made debuts with Washington National Opera (Porgyand Bess) as well as the Royal Stockholm Philharmonic,Maggio Musicale and Dresden Philharmonic. Lastseason he conducted several projects with the BochumSymphony Orchestra as their artist-in-residence. Hisfuture plans include Bernstein’s Mass at the GeorgeEnescu Festival, Bucharest, and Porgy and Bess for OpéraComique, Paris, and Dallas Opera.

In Australia he has appeared as a piano and organsoloist with the Australian Chamber Orchestra (1999),and in 2006 he made his Sydney Symphony debutconducting an all-Gershwin program for Symphony in the Domain.


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities. Last year the Orchestracelebrated its 75th anniversary and themilestone achievements during itsdistinguished history.

Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.

Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon,Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, aposition he holds in tandem with that ofMusic Director at Rome Opera. MaestroGelmetti’s particularly strong rapportwith French and German repertoire iscomplemented by his innovativeprogramming in the Shock of the Newconcerts.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonyalso maintains an active commissioningprogram promoting the work of Australiancomposers, and recent premieres haveincluded major works by Ross Edwards and Brett Dean, as well as Liza Lim, whowas composer-in-residence from 2004 to2006.

In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.

JOH

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


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate ConcertmasterKirsty HiltonAssistant Concertmaster

03 Fiona Ziegler04 Julie Batty05 Gu Chen06 Amber Gunther07 Rosalind Horton08 Jennifer Hoy09 Jennifer Johnson10 Georges Lentz11 Nicola Lewis12 Alexandra Mitchell

Moon Design Chair of Violin13 Léone Ziegler

Sophie Cole

Second Violins

01 Marina MarsdenPrincipal

02 Emma WestA/Associate Principal

03 Shuti HuangA/Assistant Principal

04 Susan DobbiePrincipal Emeritus

05 Pieter Bersée06 Maria Durek07 Emma Hayes08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Manu Berkeljon First Violin†

Emily Qin First Violin#

Martin Silverton First Violin

Robin Wilson First Violin

Michele O’Young First Violin

Leigh Middenway First Violin

Emily Long First Violin#

Alexander Norton Second Violin#

Rohana Brown Second Violin†

Alex D’Elia Second Violin#

Thomas Dethlefs Second Violin

Jennifer Curl Viola#

Yilin Zhu Viola†

Jacqueline Cronin Viola#

Patrick Suthers Cello†

Rowena Crouch Cello#

Josephine Costantino Cello

Anna Rex Cello

Gordon Hill Double Bass#

David Papp Oboe†

Robert Llewellyn Bassoon#

Simone Walters Bassoon

Brian Nixon Drum Kit

Philip South Percussion

Josephine Allan Piano

Catherine Davis Piano

James Nightingale Saxophone

# Contract Musician† Sydney Symphony

Fellow

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


08Cellos

09 10 11 01 02 03

01Violas

02 03 04 05 06 07

04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

Harp01 Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe

Cellos

01 Catherine Hewgill Principal

02 Nathan Waks Principal

03 Leah LynnAssistant Principal

04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Neil BrawleyPrincipal Emeritus

04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Gordon Hill(contract, courtesy Auckland Philharmonic)

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

Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee BracegirdleEuan Harvey

05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet

03 John Foster04 Anthony Heinrichs

Trombone

01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipalAdam JeffreyAssistant Principal Timpani/Tutti Percussion

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

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 Post

Austrian National Tourist Office

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contact Alan Watt on (02) 8215 4619.


01 02 03 04 05 06

07 08 09 10 11 12

DIRECTORS’ CHAIRS

01Mulpha Australia Chair 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

10Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

11Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict

12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild

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Beth Harpley *Rev H & Mrs M Herbert °*Dr & Mrs Michael Hunter §Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Professor Faith M Jones §Ms Judy JoyeMr Noel Keen *Mrs Margaret Keogh °*Iven & Sylvia Klineberg *Dr Barry LandaMrs Joan Langley °Dr & Mrs Leo Leader °Mrs Margaret Lederman §Ms A Le Marchant *Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthy *Mr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesKate & Peter Mason °Justice Jane Matthews §Ms J Millard *‡Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A Oppen §Mrs Roslyn Packer AO °Mrs Jill Pain ‡Dr Kevin Pedemont *Mr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol Reid §Mr Brian Russell & Mrs Irina

SinglemanMr M D Salamon §In memory of H St P Scarlett °*Mr John Scott °Ms Ann Sherry AO °Dr Agnes E SinclairDr John Sivewright &

Ms Kerrie Kemp ‡Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mrs Merle Turkington °Ronald Walledge °Louise Walsh & David Jordan °Mrs Christine WenkartDr Richard Wing §Mr Robert Woods *Jill WranMrs Lucille Wrath ‡Mrs R Yabsley °§Anonymous (14)

PLAYING YOUR PART

Maestri

Brian Abel & the late Ben Gannon AO °

Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§Mr John Curtis §Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*Mr Harcourt Gough §Mr David Greatorex AO &

Mrs Deirdre Greatorex §The Hansen Family §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mr E J Merewether &

Mrs T Merewether OAM *Mr B G O’Conor °§The Paramor Family *The Ian Potter Foundation °Dr John Roarty in memory of

Mrs June RoartyMr Paul & Mrs Sandra Salteri °Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (2) *

Virtuosi

Mrs Antoinette Albert §Mr Roger Allen & Mrs Maggie

GrayMr Robert & Mrs L Alison Carr §Mr Greg Daniel Ian Dickson & Reg Holloway°Mr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM

Helen Lynch AM & Helen Bauer °

Mr & Mrs David Milman §Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Rodney Rosenblum AM &

Sylvia Rosenblum *Mrs Helen Selle §David Smithers AM & Family °§Ms Gabrielle Trainor °In memory of Dr William &

Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1)

SoliMr Anthony Berg AMMs Jan Bowen °§Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mrs Mora Maxwell °§Mr James & Mrs Elsie Moore °Mr Geoff Wood & Ms Melissa

Waites Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (4)

Tutti

Mr C R Adamson §Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J Bell *‡Mr Alexander & Mrs Vera

Boyarsky §Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &

Mrs Margaret Cunningham °§Lisa & Miro Davis *Mrs Ashley Dawson-Damer °Mr Peter & Mrs Mary Doyle °*Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof Neville

Wills §Mrs Dorit & Mr William

Franken °§Mr Arshak & Ms Sophie

Galstaun §In memory of Hetty Gordon §Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski°Mr Philip Isaacs OAM °§Mr & Mrs E Katz §Miss Anna-Lisa Klettenberg §Mr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §

Dr Paul A L Lancaster &Dr Raema Prowse

Dr Garth Leslie °*Mrs Belinda Lim & Mr Arti

Ortis §Mr Gary Linnane °§Ms Karen Loblay §Mr Bob Longwell Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM °Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic °§Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Wendy McCarthy AO °Mrs Barbara McNulty OBE §Ms Margaret Moore & Dr Paul

Hutchins *Mr Robert Orrell °Timothy & Eva Pascoe §Ms Patricia Payn °§Mr Adrian & Mrs Dairneen Pilton Ms Robin Potter °§Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Ms Juliana Schaeffer §Derek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Mr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Kathleen Tutton §Ms Mary Vallentine AO §Henry & Ruth Weinberg §Audrey & Michael Wilson °Anonymous (10)

Supporters over $500

Richard Ackland °PTW Architects §Mr Chris & Mrs Mary Barrett °Doug & Alison Battersby °Mr Phil Bennett Gabrielle Blackstock °‡Mr G D Bolton °Dr & Mrs Hannes Boshoff §A I Butchart °*Marty Cameron §Mr B & Mrs M Coles °Mrs Catherine Gaskin

Cornberg§Mr Stan Costigan AO &

Mrs Mary Costigan °*Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Mr Russell Farr Mr and Mrs David Feetham Mr Steve GillettIn memory of Angelica Green §Anthony Gregg & Deanne

Whittleston ‡Dr & Mrs C Goldschmidt §

Patron Annual

Donations Levels

Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999

To discuss givingopportunities, please callAlan Watt on (02) 8215 4619.

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

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

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO

Christine BishopDeeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE

Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC

Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid Malouf

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Matthews AO

Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy PascoeStephen PearseJerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna SchaefferLeo Schofield AMIvan UngarJohn Van OgtropJustus VeeneklaasPeter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM


Sydney Symphony Staff

MANAGING DIRECTOR

Libby ChristieEXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff WilsonARTIST LIAISON

Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR

Lisa Davies-GalliADMINISTRATION ASSISTANT

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret MooreEDUCATION COORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

Recording Enterprises

RECORDING ENTERPRISES MANAGER

Aimee Paret

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Development

CORPORATE RELATIONS MANAGER

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Seleena SemosPHILANTHROPY MANAGER

Alan WattDEVELOPMENT EXECUTIVE

Kylie Anania

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

Public Relations

PUBLIC RELATIONS MANAGER

Yvonne ZammitPUBLICIST

Stuart Fyfe

Public Affairs

PUBLIC AFFAIRS MANAGER

Claire Duffy

SALES AND MARKETING

Customer Relations

MARKETING MANAGER – CRM

Rebecca MacFarlingDATA & ONLINE TECHNOLOGYMANAGER

Marko LångONLINE MANAGER

Kate Taylor

Marketing Communications

MARKETING MANAGER – TRADITIONALMARKETS

Simon Crossley-MeatesMARKETING COORDINATOR

Antonia Farrugia

Groups & Tourism

NETWORK GROUP-SALES MANAGER

Paul Murray

Box Office

BOX OFFICE MANAGER

Lynn McLaughlinBOX OFFICE COORDINATOR

Peter GahanCUSTOMER SERVICEREPRESENTATIVES

Wendy AugustineMichael DowlingErich Gockel

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRAMANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Greg LowOPERATIONS MANAGER

John GlennTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Marrianne Carter

BUSINESS SERVICES

DIRECTOR OF FINANCE & COMPANYSECRETARY

David O’KaneFINANCE MANAGER

Janet LeungACCOUNTS ASSISTANT

Li LiOFFICE ADMINISTRATOR

Rebecca WhittingtonPAYROLL OFFICER

Caroline HallINFORMATION TECHNOLOGY MANAGER

Tim Graham

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

This is a /SHOWBILL publication.

Publisher

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

Head Office:

1017 Pacific Highway, Pymble, NSW 2073

Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected]: www.playbill.com.au

Operating in Sydney, Melbourne, Canberra, Brisbane,

Adelaide, Perth, Hobart and Darwin

EXECUTIVE CHAIRMAN AND ADVERTISEMENT DIRECTOR

Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR

Michael Nebenzahl

EDITORIAL DIRECTOR

Jocelyn Nebenzahl

DIRECTOR – PRODUCTION

Chris Breeze

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SYMPHONY AUSTRALIA LIMITED

Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007GPO Box 9994, Sydney NSW 2001Telephone (02) 8333 1651Facsimile (02) 8333 1678

www.symphony.net.au

Level 9, 35 Pitt Street, Sydney 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 ortransmitted in any form or by any means, electronic or mechanical,including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in thispublication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.

Please address all correspondence to the Publications Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]

SYDNEY OPERA HOUSE TRUST

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

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVE OFFICER . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

Bennelong PointGPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com

Documents

Jonathan Sweeney Managing Director · PDF fileCandide: Overture This concert will be recorded for broadcast across Australia on ABC Classic FM 92.9. Pre-concert talk by Ilmar Leetberg