MAHLER 9

2011 SEASON

AUSGRID MASTER SERIES

WED 18, FRI 20, SAT 21 MAY 8PM

ANOTHER WORLD

WELCOME TO THE AUSGRID MASTER SERIES

Welcome to this Ausgrid Master Series concert at the Sydney Opera House. This week we welcome Vladimir Ashkenazy back to the stage for an important instalment in the Sydney Symphony’s two-year Mahler Odyssey. On Wednesday 18 May it will be the 100th anniversary of Mahler’s death in 1911. To commemorate the occasion, Ashkenazy has chosen the Ninth Symphony, Mahler’s last completed symphony and music that is full of turbulent emotion and a poignant spirit of farewell.

We are also delighted to welcome Scottish pianist Steven Osborne, a musician who is already known to Sydney concertgoers but who tonight makes his Sydney Symphony debut playing Mozart.

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

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

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

George MaltabarowManaging Director

2011 SEASON

AUSGRID MASTER SERIESWednesday 18 May | 8pmFriday 20 May | 8pmSaturday 21 May | 8pm

Sydney Opera House Concert Hall

MAHLER 9: ANOTHER WORLDVladimir Ashkenazy conductorSteven Osborne piano

WOLFGANG AMADEUS MOZART (1756–1791)Piano Concerto No.13 in C, K415

AllegroAndanteAllegro

INTERVAL

GUSTAV MAHLER (1860–1911)Symphony No.9

Andante comodoIm Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb [In the tempo of a leisurely Ländler. Rather clumsy and very coarse]

Rondo-Burleske (Allegro assai). Sehr trotzig [Very defi ant]

Adagio

MAHLER ODYSSEY SUPPORTING PARTNER

Friday’s performance will be broadcast live across Australia by ABC Classic FM.

Friday’s performance will be webcast by BigPond. Visit bigpondmusic.com/sydneysymphony or watch via the Sydney Symphony mobile app.

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

Approximate durations: 26 minutes, 20-minute interval, 80 minutes

The concert will conclude at approximately 10.15pm.

PRESENTING PARTNER

Gustav Mahler’s composing hut in Toblach, South Tyrol, where he worked on the Ninth and Tenth symphonies and The Song of the Earth. ‘I feel marvellous here!’ he wrote. ‘To be able to sit working by the open window,

and breathing the air, the trees and fl owers all the time…’

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INTRODUCTION

Mahler 9: Another World

Late in the evening of 18 May 1911, while a thunderstorm raged outside, Mahler died. In his last words he cried out to his wife – Almschi! – and to Mozart. For this program, commemorating the centenary of Mahler’s death, Vladimir Ashkenazy has chosen Mozart – a piano concerto composed in his fi rst years in Vienna – and Mahler’s Ninth Symphony. This was the last symphonic work Mahler completed, although he never heard it performed: Bruno Walter conducted its premiere in 1912.

The year before Mahler began writing the Ninth, he was diagnosed with a serious heart condition. He had to give up the swimming, rowing and cycling that he loved. Worse, it disrupted his composing routine of long, strenuous walks, from which he would bring home his ‘drafts’. In a letter to Walter he confessed, ‘this is the greatest calamity that has ever befallen me…Where my “work” is concerned, it is rather depressing to have to begin learning one’s job all over again. I cannot work at my desk.’

Despite the struggle, the result was renewed genius. How Mahler’s style might have further developed had he lived past his 51st birthday can only be imagined, but the Ninth and Tenth symphonies give a tantalising hint. This is visionary music and, as Ashkenazy so often says, ‘beyond description’.

As he wrote in a recent article, ‘The Ninth Symphony takes you into another world.’ Is the composer, with his overt references to Beethoven’s Lebewohl (Farewell) piano sonata, trying to say farewell? We’d be wise to adopt Ashkenazy’s approach and not presume to read the mind of a great composer. All the same, the symphony ends with a gesture that isn’t quite beyond description. As the music fragments and dissolves into nothing with a long, sustained note in the violas, ‘It feels like the last strain of matter is disappearing in the universe.’

Music always relates to something intangible, to our spiritual existence, which is why it so often defi es words. And this is especially so in Mahler. ‘His was a very special mind and spirit;’ writes Ashkenazy, ‘his music has the power to bring unfathomable things into existence. Whether or not you subscribe to his mentality and way of expressing himself, you can’t be indiff erent. Listening to his music or conducting it, you’re one hundred per cent in his power.’

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Keynotes

MOZART

Born Salzburg, 1756Died Vienna, 1791

In 1781 Mozart moved from Salzburg, where he felt stifl ed, to Vienna. There he found a fresh audience that was eager to hear him as a composer and as a performer, and in his piano concertos the two opportunities were combined – a sure fi re way to make his name in a new city. Mozart began adding new concertos to the half-dozen he’d already completed in Salzburg, beginning with two concert rondos for piano and orchestra and the set of three concertos to which K415 belongs.

PIANO CONCERTO K415

This concerto was composed in December 1782, offered for publication the following January and premiered by Mozart himself in March. It was shrewdly offered for sale as a concerto that could be performed with just a small group of strings, but the ‘optional’ woodwind instruments, brass and timpani add essential brilliance and colour even if they don’t add essential notes. Each of the three movements is full of rich and varied ideas, and the fi nale shows the 26-year-old Mozart, perhaps buoyed by new success, in a particularly whimsical mood.

ABOUT THE MUSIC

Wolfgang Amadeus MozartPiano Concerto No.13 in C, K415

AllegroAndanteAllegro

Steven Osborne piano

The sequence of Mozart’s piano concertos is so full of marvellous riches that it is diffi cult to imagine why he was not more successful in Vienna, having got Salzburg behind him. The problem seems to have been that Mozart’s invention was simply too much for his audiences – too rich, and too demanding. This was recognised by his colleagues – it was Dittersdorf who commented: ‘He was so astonishingly rich in ideas I could only wish he had not been so extravagant with them. He gives the listener no time to draw breath; for when one wants to ponder one beautiful idea there is another even fi ner one to drive the fi rst away…’

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But Mozart didn’t start out that way in Vienna. Writing to his father in December 1782 about the fi rst three concertos he had composed there, Mozart described them as: ‘a happy medium between what is too easy and too diffi cult; they are brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, though without knowing why.’

Mozart off ered the three concertos for sale in January 1783, and played them in concerts in March. With an eye on the market, he indicated that these three concertos (K413 in F, K414 in A, and K415 in C) could be played a quattro, that is to say with accompaniment for strings only, single or multiplied. Although the parts for winds can be left out, since they provide extra colour and brilliance rather than having essential parts in the musical discourse, to do so would particularly impoverish the third concerto – this one. Here Mozart used the biggest orchestra in his concertos thus far, with trumpets and timpani in addition to pairs of oboes, bassoons and horns.

Listening Guide

The orchestral opening is very grand, and full of ideas, so much so that when the soloist enters, the impression is given, as Philip Radcliff e suggests, ‘of a potential symphony into which a part for piano solo has strayed’. The key of C major and the march rhythm result in what Girdlestone calls an Olympian strain which often comes into Mozart’s music in this key. Imitations and canons, not very fully developed, refl ect the study of the polyphonic masters, which Mozart had begun in the year 1782. This is conspicuous in a passage, after the fi rst tutti, in which violas, fi rst and second violins set up a contrapuntal discourse over a held ‘pedal’ note. But much of this music will not be heard again; once the piano has entered (with a cadenza leading to a trill), Mozart seems to remember the limitations of his audience, and proceeds along more conventional lines. The orchestra retreats into the background, but in one respect this concerto is prophetic, in giving the soloist a theme which will remain its exclusive property. This is the second subject of the movement. The imitative treatment returns in the development section, bringing one particularly attractive passage where the soloist adds a decorative counterpoint to a repetition of the main theme. After another burst of

‘…astonishingly rich in ideas…’DITTERSDORF

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For further information please contact the Vienna Tourist Board:Phone: +43-1-24 555E-Mail: info@vienna.info

Today, you’ll be taken away to Vienna by Gustav Mahler. Have you packed your bags?

11 | Sydney Symphony

solo virtuosity, there is a brief and striking excursion into the minor mode before the fi rst subject returns. Mozart provided a cadenza for this movement which treats the themes with energy.

The second movement has had bad press from Mozart scholars, Alfred Einstein calling it one of Mozart’s least ambitious slow movements, and Girdlestone fi nding it completely insignifi cant. Mozart wrote four-and-a-half bars of a movement in C minor, then crossed them out, no doubt abandoning the idea as too serious in character for this work. (Instead he used C minor in the episodes of the third movement.) Since the main theme is repeated so many times, there is pleasure in how Mozart embellishes it on its returns.

The rondo (Allegro) is the most interesting movement. It is irregular in structure, and unpredictable, described by Einstein as ‘almost a capriccio’, an expression of Mozart’s whimsicality and delight in suddenly changing moods. The main idea is a kind of gigue, followed by a couple of contrasting ideas from the orchestra. Then the piano comes in, in the key of C minor, the tempo slowing to Adagio, two beats to the bar, with a poignant expressiveness. Only a brief interruption, this, to the high spirits, as the rondo themes return. The middle section, after a semi-portentous call to attention, brings great bravura from the soloist, then it plays with the orchestra around the rondo theme. After this, the same idea which introduced the middle section unexpectedly brings back instead an elaborated version of the C minor episode, before a coda in which quivering fi gures from both soloist and orchestra take over completely, as the music waves its farewell, leaving the stage.

DAVID GARRETT ©2007

Mozart’s concerto K415 is scored for strings and timpani with ‘optional’ parts for pairs of oboes, bassoons, horns and trumpets.

The Sydney Symphony fi rst performed this concerto in 1973 with Willem van Otterloo and soloist Malcolm Frager. The most recent performance was in 2008 with Jasminka Stancul, Michael Dauth directing from the violin.

…great bravura from the soloist…

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Gustav MahlerSymphony No.9

Andante comodoIm Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb [In the tempo of a leisurely Ländler.

Rather clumsy and very coarse]

Rondo-Burleske (Allegro assai). Sehr trotzig [Very defi ant]

Adagio

At the end of Mahler’s Sixth Symphony, completed in 1904, three mighty hammer blows thunder down, a symbol of fate so terrifying that Mahler removed one of them from the revised score of 1906. The following year, Mahler himself suff ered three disasters. His beloved four-year-old daughter Maria died from scarlet fever, he was sacked from the Vienna State Opera where he had served with distinction for ten years, and he was diagnosed with a terminal heart condition.

The stress on him and his family became intolerable. As the ailing Mahler sought to rebuild his career in New York, commuting across the Atlantic so that his longstanding routine of summer composition in Europe could continue, his beautiful young wife, Alma, suff ered a nervous breakdown of her own.

Alma Mahler, c.1909

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Keynotes

MAHLER

Born Kalischt, 1860

Died Vienna, 1911

Mahler is now regarded as one of the greatest symphonists of the late 19th century. But during his life his major career was as a conductor – he was effectively a ‘summer composer’. Mahler believed that a symphony must ‘embrace the world’. His own symphonies are large-scale, requiring huge orchestras and often lasting more than an hour; they cover a tremendous emotional range; and they have sometimes been described as ‘Janus-like’ in the way they blend romantic and modern values, self-obsession and universal expression, idealism and irony. Mahler fi nished the Ninth (his last completed symphony) in 1909 but died before he could hear it performed.

NINTH SYMPHONY

Mahler’s Ninth is in four movements. Two substantial slow movements of more than 20 minutes each frame two quicker ‘grotesque, even nightmarish’ movements. The symphony begins with a sighing three-note fi gure, derived from Beethoven, which suggests a spirit of farewell; this is confi rmed when the fi nale sets out with a more explicit quotation of Beethoven’s ‘Lebewohl’ (farewell) theme. The second movement provides contrast through its references to the Ländler – rustic precursor of the Viennese waltz. The frenetic agitation of the third movement (Rondo-Burleske) is softened briefl y by a solemn chorale.

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TS Gustav Mahler – cabinet photograph taken by the Dupont studio in New York in 1909

In 1909, in a curious mixture of despair and elation, Mahler wrote to his conducting disciple Bruno Walter: ‘I have lived through so much in the last year and a half, that I can hardly talk about it. How should I attempt to describe so appalling a crisis! I see everything in a new light – feel so much alive, and the habit of being alive is sweeter than ever. I should not be surprised at times if suddenly I should notice that I had a new body (like Faust in the last scene)!’

The wild mood swings continued, and while Mahler completed his Seventh and then Eighth symphonies, he and Alma began to go their separate ways, she into the arms of other lovers, he into consultations with psychotherapists including, most famously, an encounter with Sigmund Freud in the Dutch city of Leyden in 1910.

Although their love endured until the end, their new mutual directions meant that Alma and Mahler (as she always referred to him) began to spend their summers apart. In 1909, Alma deposited Mahler at his composing hut at Göding near Toblach and continued to Levico, where she sought treatment for her nervous condition.

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As his wife attempted to piece herself back together in the Levico clinic, Mahler’s own state of mind was euphoric to the point of delusion. ‘I feel marvellous here!’ he wrote to her from Toblach. ‘To be able to sit working by the open window, and breathing the air, the trees and fl owers all the time – this is a delight I have never known till now. I see now how perverse my life in summer has always been. I feel myself getting better every minute.’

Less than two years later, Mahler was dead.

* * * * * *

Despite his bravura, Mahler knew all along that the end was near. He could feel his weak heart faltering, its erratic beat leaving him faint and shaky. He saw darkness everywhere and felt uncharacteristically superstitious. In the last summer of his life, while he sat composing in the hut at Toblach, for instance, a giant eagle swooped into the room, fl apping its massive wings in fury, terrifying the composer. As the story is told by Walter, no sooner had the frenzied eagle fl ed than a crow emerged from under Mahler’s sofa, it too fl ying back out the window. Mahler’s sanctuary of composition had been invaded by what he saw as the black harbingers of death. A simple, unnerving act of nature perhaps, but Mahler would never complete another composition, nor hear his Ninth Symphony performed.

Mahler hadn’t wanted to write a Ninth Symphony, or at least he had never wanted to name one as his Ninth: Beethoven, Schubert and Bruckner had died after completing nine symphonies. So Mahler gave the work which was eff ectively his ninth symphony the title Das Lied von der Erde and pointedly referred to it as a ‘song-symphony’.

But 1909, Mahler’s ‘dark night of the soul’ – as Deryck Cooke has described the mood of his fi nal years – meant that his superstitions were no longer suffi cient to prevent him from naming this symphony his Ninth. And as it turned out, Mahler’s Ninth Symphony was indeed his last completed symphony, and the evidence suggests that Mahler knew it would be.

The mood of farewell is everywhere in the Ninth Symphony. By implication it’s there in the painfully elegiac mood of the slow outer movements, and it’s there more explicitly in the self-conscious, deliberate references to Beethoven’s Lebewohl (Farewell) piano sonata, Op.81a. And everywhere throughout the original manuscript score, there

‘…the Ninth is a limit. He who wants to go beyond it must pass away…Those who have written a Ninth stood too near to the hereafter.’ARNOLD SCHOENBERG IN A MEMORIAL SPEECH, 1912

Mahler in 1909

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are the interjections of a dying man: ‘O youth! Lost! O love! Vanished!’ Mahler wrote in one part of the fi rst movement. ‘Farewell! Farewell!’ appears in another.

Even so, the work is not all sentiment and nostalgia. There is anger and defi ance too. In the fi nal published version of the score, for instance, the apocalyptic intention is inscribed in the markings ‘With ire’, ‘With greatest force’ and ‘Like a solemn funeral procession’.

Mahler worked on the symphony in great haste, reporting to his New York friend, the concertmaster Theodore Spiering, in August 1909 that he was ‘completely buried in a major work’. He told Walter, ‘I wrote the score quite rapidly, in maddening haste,’ and noted that by the time he got to the orchestration of the fourth movement he was working with such intensity that he had almost forgotten what he had written in the fi rst: ‘As a result, the score is probably indecipherable for strangers’ eyes.’ He told Walter that he hoped he would live until the winter so that he could prepare a clean copy of the score.

Mahler was spared. In October 1909 he took the chaotic manuscript scrawlings back with him to New York, and by his return to Europe the following April he had completed the ‘proper’ copy of the score. But he would never conduct it himself: the premiere was given by Walter in Vienna in June 1912, more than a year after Mahler’s death.

Many years later, the fi rst three movements of that original ‘indecipherable’ manuscript turned up in the possession of its greatest admirer, the composer Alban Berg. He more than anyone besides Walter (who was still conducting it in 1961) became a champion of the work which he described as: ‘the most glorious that [Mahler] ever wrote. It expresses an extraordinary love of this earth, for Nature; the longing to live on it in peace, to enjoy it completely, to the very heart of one’s being, before death comes, as irresistibly it does.’

Not long after Mahler’s death, Berg bullied his friend Anton Webern into making an eight-hour train journey so that they could honour their idol by attending the posthumous premiere of Das Lied von der Erde.

There are clear spiritual and emotional connections between the Ninth Symphony and Das Lied von der Erde. Walter himself commented that the title of the song-symphony’s fi nal movement, Der Abschied (Farewell), could equally have served as the heading for the symphony. But, like the First, Sixth and Seventh symphonies, the Ninth is a purely instrumental piece.

‘It expresses an extraordinary love of this earth, for Nature…’ALBAN BERG

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Throughout his career, Mahler eff ectively rewrote the rule book of symphonic composition, never more so than here in the Ninth Symphony. Its sequence of movements (none of which really resembles classical sonata form) and disposition of keys are virtually unprecedented. The slow movements form the outer pillars, framing the grotesque, even nightmarish quicker movements in the middle. The opening movement is in D major/minor, the middle two are in C major and A minor respectively, while the massive fi nale avoids all precedent by dropping a half-step from D, the nominal home key of the whole symphony, to D fl at major, eventually dying into utter, desolate silence.

It was not the only time Mahler would end with a slow movement. As early as 1896 he employed this device to devastating emotional eff ect in his Third Symphony. Nor was it the only time that a funereal quality would pervade the outer movements of his symphonies, as the funeral march which opens the Fifth Symphony so eloquently attests.

But for all of its disparate, convention-breaking ingredients, in one way the Ninth remains a remarkably coherent symphony in the classical sense, sustained as it is by its extraordinary unanimity of mood. The overall picture is one of the world caught as if in a dying glimpse – its beauty, its joy, its horror and ugliness, its compassion and cruelty all captured within the one frame and held up to examination as the light fades.

Listening Guide

‘The whole movement is based on a premonition of death, which constantly recurs,’ Alban Berg wrote of the mighty opening Andante comodo, which sets the mood and ambition of the Ninth Symphony. ‘The tenderest passages are followed by tremendous climaxes, like new eruptions of a volcano.’

And yet it all begins so simply, so beautifully, with the sighing three-note fi gure of farewell, deriving from Beethoven but made here unmistakeably Mahler’s own, not least because of its audibly faltering heartbeat.

There are two main themes in this fi rst movement, which suggests sonata form, but they are developed so organically and on such a grand scale that the precepts of sonata form become irrelevant as an analytical tool. Over the course of more than half an hour it develops what one of its fi rst commentators, Paul Bekker, described as a ‘rhapsodically free structure’.

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If there is a mortar which binds this massive edifi ce together, it is the simple harp motif F sharp – A – B – A which, after a brief, refl ective exchange on cellos and horns, sets the movement on its course and recurs at key points.

There are plenty of rests for peace – acceptance even, of a kind unprecedented in Mahler’s earlier work – but the passion continually surges forth in the minor-key infl ections of the second thematic group and the harsh blasts of trumpet chords. It is a symphony in itself, and beyond it there are still three movements to go.

Mahler himself said that of all his symphonies the Ninth was most closely linked to the spirit of his Fourth. This is particularly the case in the second movement, which the great theorist Theodor Adorno described as a Totentanz or ‘Dance of Death’. As in the Fourth Symphony, the violins here become ‘death’s fi ddles’, their tone strained and twisted, their dance-like motives more sinister than engaging.

Mahler didn’t know what to call this unnerving movement which begins with vulgar-sounding little fi gures on the bassoons and scurrying fl utters on the strings. He toyed for a while with ‘Scherzo’ and then replaced it with ‘Menuetto infi nito’ but neither survived the early drafts. Nor did the description of ‘Freund Hein’ (‘Friend Hein’ – a folk name for Death) who is not an ‘evil, terrifying god, but a friendly leader, fi ddling his fl ock into the hereafter’. Such an innocent program would scarcely do justice to the macabre undercurrent in this crucial passage of the symphony as a whole – and by this stage of his career Mahler had largely abandoned the programmatic elements which had caused him so much grief in his earlier works.

What this second movement is, however, is a series of ländler-like dances: Mahler’s own tortured version of the apotheosis of the dance. Simple at fi rst, they develop striking harmonic complexity as they proceed, ending up as typically Mahlerian dances-gone-sour. There is mockery, there is irony, and yet at the same time there is nostalgia and a guilty sentimentality, like a fl ash of life itself.

While he might have had trouble naming his second movement, Mahler had no such problems with the third, which he called a Rondo-Burleske. Strauss and Reicha before Mahler had tried their hands at comic ‘burlesques’, but neither did so with the telling eff ect found here in this musical phantasmagoria. Again in this third movement, which builds to a mighty climax, there is a sense almost of derision as the woes of the world are recalled and re-examined. (This

Mahler’s own tortured version of the apotheosis of the dance.

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19 | Sydney Symphony

movement has often been compared with the Drinking Song of the Earth’s Sorrow from Das Lied von der Erde.)

Agitation becomes manifest as the contrapuntal textures develop with alarming complexity. But this is no academic exercise or mere demonstration of technical skill. The structure falls apart continually – and at one memorable moment is interrupted by a solemn chorale – as the pieces of life which the themes imitate constantly fail to deliver a complete whole. Only a compositional genius who was also a philosophical giant could bring it off . Fortunately Mahler was both, and, as the latter parts of this intense movement amply demonstrate, a self-mocker to boot.

And then there comes the fi nale. Just 16 pages long in a score of more than 180 pages, it is nevertheless huge in duration and emotional power, its tempo so slow (ending Adagissimo) that it takes more than 25 minutes to perform. While Mahler had composed several comparable Adagios (notably in the Third and Fourth symphonies), its sense of fi nality makes it perhaps the fi nest single movement which Mahler ever composed.

In its solemnity, humanity and structural mastery one fi nds the very essence of Mahler’s art – and of his life, which was for him one and the same thing. There is a continual ebb and fl ow of intensity, heightening as the climaxes are reached, dissipating as a momentary digression is made, but always, constantly, with the main matter coming back in a new guise, moving onward, but also moving toward nothingness as it does so. It is a majestic, painful journey, from the glorious reference to Beethoven’s Lebewohl Sonata at the opening, through that fateful series of almost unbearable last-word climaxes, and on through the strings toward the inevitable conclusion in complete silence.

There is death in this, and its apprehension is so urgent, so immediate, as to make Mahler – and his listeners alike – reaffi rm, and perhaps even fall in love with life all over again. For in the end, we all face the same fate.

ABRIDGED FROM A NOTE BY MARTIN BUZACOTT ©2002

The Ninth Symphony calls for a relatively ‘modest’ orchestra (for Mahler) of four fl utes, piccolo, four oboes (one doubling cor anglais), three clarinets, bass clarinet, the high-voiced E fl at clarinet and four bassoons (one doubling contrabassoon); four horns, three trumpets, three trombones and tuba; timpani and a large percussion section; two harps and strings.

Lorin Maazel conducted the Sydney Symphony’s fi rst performance of Mahler’s Ninth Symphony in 1961. The orchestra’s most recent performance of the symphony was in 2005, conducted by Gianluigi Gelmetti.

Words cannot quite describe the ending of the symphony, although Thomas Mann in Doktor Faustus perhaps came close:

‘What remains, the note on which the work dies away…is the fi nal evanescent sound, slowly fading away… Then nothing – silence and night. But the note which continues to oscillate in the silence, a sound which no longer exists and which only the soul can still imagine hearing, that sound is the echo of our grief, while yet portending the end of that grief, transforming its meaning and standing out as a light in the darkness.’

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GLOSSARY

CADENZA – a virtuoso passage, traditionally inserted towards the end of a concerto movement and marking the fi nal ‘cadence’.

CANON – music in which a melody is presented by one ‘voice’ and then repeated by one or more other voices, each entering before the previous voice has fi nished. Childhood singing rounds are the most common form of canon. See contrapuntal and polyphonic.

CHORALE – a hymn tune for congregational singing; or instrumental music with a hymn-like character.

CONTRAPUNTAL – a texture in which two or more musical lines or melodies are played at the same time (COUNTERPOINT).

GIGUE – the French word for ‘jig’; a gigue is a lively dance with characteristic skipping rhythms.

LÄNDLER – a popular Austrian country dance in triple time. A forerunner of the waltz, it is slower and ‘heavier’ than the Viennese waltz.

MAJOR / MINOR – in Western music there are two main categories of scale, major and minor. Aurally, a major scale will sound ‘brighter’ or more cheerful, while a minor scale will sound sombre or mournful (‘Happy Birthday’ is in a major key, funeral marches are in minor keys).

POLYPHONIC – a musical texture in which the parts move independently, with their own melodic shapes and rhythms, and ‘vertical’ harmonies are created through the coming together of the diff erent ‘horizontal’ lines. (Singing rounds and canons are a form of simple polyphony.) This style of composition fl ourished in the Renaissance and Baroque periods.

PROGRAM – ‘program music’ is inspired by and claims to express a non-musical idea, usually with a descriptive title and often a literary narrative, or ‘program’ as well.

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

SCHERZO – literally, a joke; the scherzo genre was a creation of Beethoven. In his hands the Classical minuet acquired a joking and playful mood as well as a faster tempo; later composers such as Mahler often gave the scherzo a cynical, driven, or even diabolical character – less playful and more disturbing.

SONATA FORM – this term was conceived in the 19th century to describe the harmonically based structure most classical composers had adopted for the fi rst movements of their sonatas and symphonies. It involves the exposition, or presentation of themes and subjects, their development and ultimate recapitulation. Sometimes a CODA (‘tail’) is added to enhance the sense of fi nality.

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

Adagio – slow Allegro – fast Allegro assai – very fastAndante – at a walking pace Andante comodo – a comfortable walking pace

The system of a universal ‘musicians’ Italian’ developed during the baroque period, at a time when Italian music was dominant. It is not always linguistically correct or even capable of direct ‘translation’, but as a lingua franca it is profoundly meaningful to musicians throughout the world. There are also traditions of French and German-speaking composers choosing tempo words and movement titles from their own language.

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

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MORE MUSIC

MOZART CONCERTOS ‘A QUATTRO’Daniel Barenboim and the Berlin Philharmonic have recorded the concerto K415 together with the other two in Mozart’s original grouping (K413 and K414).TELDEC 13162

And if you’re interested in hearing these concertos with the alternative ‘a quattro’ chamber accompaniment using single strings, try Susan Tomes and the Gaudier Ensemble.HYPERION CDA 67358

MAHLER 9Naturally, we’d encourage you to build your Mahler symphony collection from our Mahler Odyssey recordings as they are released. But if you simply can’t wait for your Mahler symphonies, the Rafael Kubelik set with the Bavarian Radio Symphony Orchestra is recommended.DEUTSCHE GRAMMOPHON 463 738-2

Or seek out a recording from close to the source, with Mahler’s friend, Bruno Walter, conducting Mahler’s orchestra, the Vienna Philharmonic, in 1938. The recording is currently available through iTunes and on the Naxos Historical label.NAXOS 8.110852

ASHKENAZY WITH THE SYDNEY SYMPHONYVladimir Ashkenazy’s recordings with the Sydney Symphony now include performances of Elgar symphonies and Prokofi ev symphonies and piano concertos, as well as the Mahler symphonies and selected song cycles, which are being recorded during the course of the Mahler Odyssey (2010–2011). These recordings, issued on Exton/Triton or on the Sydney Symphony’s own label, are available from our website, in record shops and in the foyer at interval.

STEVEN OSBORNESteven Osborne records for Hyperion, and his most recent release (March 2011) is a 2CD set of the complete solo piano works of Ravel.HYPERION 67731

Other recent releases include Schubert piano duets, recorded with Paul Lewis.

HYPERION 67665

Selected Discography

Sydney Symphony Online

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

This month: Mahler 9 on Friday 20 May

Webcasts

2MBS-FM 102.5SYDNEY SYMPHONY 2011

Tuesday 14 June, 6pm

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

Broadcast Diary

MAYWednesday 18 May, 8pmMAHLER 3 (2010)Vladimir Ashkenazy conductorLilli Paasikivi mezzo-sopranoSydney Philharmonia ChoirsSydney Children’s ChoirThis broadcast coincides with the 100th anniversary of Mahler’s death.

Friday 20 May, 8pmMAHLER 9See this program for details.

Friday 27 May, 8pm“RACH 2” (2010)Mark Wigglesworth conductorBernd Glemser pianoShostakovich, Rachmaninoff, Rossini

Monday 30 May, 8pmPASCAL & AMI ROGÉ IN RECITALSchumann, Brahms, Poulenc, Dukas, Ravel

Also released in 2010: three of the best-known Beethoven sonatas: Pathétique (Op.13), Moonlight (Op.27 No.2) and Waldstein (Op.53).HYPERION 67662

And his recording of Rachmaninoff’s 24 Preludes from 2009 attracted several awards and accolades.HYPERION 30015 or 67700

22 | Sydney Symphony

ABOUT THE ARTISTS

Vladimir Ashkenazy conductor

In the years since Vladimir Ashkenazy fi rst came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career, not only as one of the most renowned and revered pianists of our times, but as an inspiring artist whose creative life encompasses a vast range of activities.

Conducting has formed the largest part of his music-making for the past 20 years. He has been Chief Conductor of the Czech Philharmonic (1998–2003), and Music Director of the NHK Symphony Orchestra, Tokyo (2004–2007). Since 2009 he has held the position of Principal Conductor and Artistic Advisor of the Sydney Symphony.

Alongside these roles, Vladimir Ashkenazy is also Conductor Laureate of the Philharmonia Orchestra, with whom he has developed landmark projects such as Prokofi ev and Shostakovich Under Stalin (a project which he toured and later developed into a TV documentary) and Rachmaninoff Revisited at the Lincoln Center, New York.

He also holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras, including the Cleveland Orchestra (where he was formerly Principal Guest Conductor), San Francisco Symphony, and Deutsches Symphonie Orchester Berlin (Chief Conductor and Music Director, 1988–96), as well as making guest appearances with orchestras such as the Berlin Philharmonic.

Vladimir Ashkenazy continues to devote himself to the piano, building his comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara’s Piano Concerto No.3 (which he commissioned), Rachmaninoff transcriptions, Bach’s Wohltemperierte Klavier and Beethoven’s Diabelli Variations. His most recent release is a recording of Bach’s six partitas for keyboard.

A regular visitor to Sydney over many years, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with his fi ve-program Rachmaninoff festival forming a highlight of the 75th Anniversary Season in 2007. Vladimir Ashkenazy’s artistic role with the Sydney Symphony includes collaborations on composer festivals, recording projects and international touring.

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Last week we were pleased to announce the extension of Vladimir Ashkenazy’s contract to the end of 2013.

23 | Sydney Symphony

Steven Osborne piano

Steven Osborne is renowned for his idiomatic approach to repertoire ranging from Mozart, Beethoven and Brahms to the rarefi ed worlds of Messiaen, Tippett and Britten. Born in Scotland in 1971, he studied with Richard Beauchamp in Edinburgh and Renna Kellaway at the Royal Northern College of Music in Manchester. After graduating, he won the 1991 Clara Haskil Competition, and he has since won numerous awards and prizes including the 1997 Naumburg International Competition (New York) and the 2009 Gramophone Award for his recording of Britten’s works for piano and orchestra.

He has performed with orchestras throughout Europe as well as the NHK Symphony Orchestra in Tokyo, the Dallas Symphony Orchestra and the Australian Chamber Orchestra (2005), and he works regularly with the major British orchestras, especially the Philharmonia Orchestra, City of Birmingham Symphony Orchestra and BBC Philharmonic. He has made eight appearances at the BBC Proms, last year performing Rachmaninoff ’s Piano Concerto No.1, and his concerts are frequently broadcast by the BBC. Recently, his performance of Beethoven’s Emperor Concerto was adopted for the soundtrack of The King’s Speech.

Steven Osborne has been praised for his carefully crafted solo recitals and his regular chamber music partners include cellist Alban Gerhardt, pianist Paul Lewis, bass-baritone Dietrich Henschel and violinist Lisa Batiashvili. This season, in addition to concertos with the London Philharmonic Orchestra, Yomiuri Nippon Symphony, Stuttgart Philharmonic, Bergen Philharmonic and Hong Kong Philharmonic, he completes a four-part exploration of Schubert’s chamber music, performing trios with Alban Gerhardt and violinist Alina Ibragimova and the last three piano sonatas.

His extensive discography has attracted many accolades, and his 2009 recording of Rachmaninoff ’s 24 Preludes was short-listed for a Gramophone Award, won a Schallplattenpreis (Germany), and was nominated Editor’s Choice in Gramophone, BBC Music, International Record Review and Musical Opinion. His recordings include music by Tippett, Alkan and Kapustin; Liszt’s Harmonies poétiques et religieuses, Messiaen’s Vingt regards sur l’enfant Jésus, Debussy’s complete Préludes and the complete piano music of Ravel.

Steven Osborne’s most recent appearance in Sydney was in 2008, when he performed in concert with the Goldner String Quartet.

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24 | Sydney Symphony

MUSICIANS

Performing in this concert…

FIRST VIOLINS Dene Olding Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Freya Franzen†

SECOND VIOLINS Kirsty Hilton Marina Marsden Jennifer HoyA/Assistant Principal

Susan Dobbie Principal Emeritus

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

Emily Qin#

Ji Won Kim†

VIOLASRoger Benedict Anne-Louise Comerford Sandro CostantinoRobyn Brookfi eld Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Leonid Volovelsky Jacqueline Cronin#

Rosemary Curtin#

Tara Houghton†

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauFenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

Rachael Tobin#

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Janet Webb Emma ShollCarolyn HarrisRosamund Plummer Principal Piccolo

Katie Zagorski†

OBOESDiana Doherty Shefali Pryor David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSLawrence Dobell Francesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

Som Howie*Rowena Watts†

BASSOONSMatthew Wilkie Roger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSRobert Johnson Geoffrey O’Reilly Principal 3rd

Lee BracegirdleEuan HarveyMarnie Sebire

TRUMPETSPaul GoodchildJohn FosterAnthony Heinrichs

TROMBONESScott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANI Mark Robinson Assistant Principal

Brian Nixon*

PERCUSSIONRebecca LagosColin Piper

HARP Louise Johnson Genevieve Lang*

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

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

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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

25 | Sydney Symphony

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

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

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

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

THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

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26 | Sydney Symphony

SALUTE

Emanate 2MBS 102.5 Sydney’s Fine Music Station

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

BRONZE PARTNER MARKETING PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNERS

PrimaryIndustries

27 | Sydney Symphony

PLAYING YOUR PART

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

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

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

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mrs Catherine J ClarkJoan Connery OAM & Maxwell Connery OAM

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

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

Dr Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mrs Silvana MantellatoGeoff & Jane McClellanIan & Pam McGrawMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

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

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

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

28 | Sydney Symphony

MAESTRO’S CIRCLE

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

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

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

in memory of the late James Agapitos OAM

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

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

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

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

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg & Neil LawrenceChair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

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DIRECTORS’ CHAIRS

BEHIND THE SCENES

Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

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

Simon Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

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

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

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

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

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