ViolinFirst Violin

Amelia Mori* – Concertmaster

Grace AwLouise BairdMonique CheungMarie Dreux Viviane DubosqClare FarrellAntony LauBrian ShearmanAruna ShivamDiana WongTamara Young

Second Violin

Melissa Franks*Liz ActonAlexandra Barratt Marguerite BlomfieldJenny DanksAlanna HoradamGraeme HortonMatthew LilleyPeter PurchesVivianne XiaChristine WeiermannJenny YangGenevieve Yates

ViolaSusie Kwon*Lynn DalgarnoCaroline HackworthyLinh LyMark ThiebenAnne Bicknell

CelloJosephine Costantino*Stephanie AndrewFelix ChanDebbie HillArthur TengAnne Selikowitz

Double BassDavid Potts*Samuel KwaMoya Molloy

FluteCathy Fraser*Charmaine LoAdrienne Morey

PiccoloCathy Fraser Adrienne Moreyy

Orchestra

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OboeClare Skinner*George JessupSusan Allman

Cor AnglaisGeorge Jessup

ClarinetAndrew Kennedy*Jacky PollackStephen Rosenman

BassoonTamasin Meller*Patricia Taylor

HornJames Smith* Claire CameronRobyn SmilesVictoria Beyer

TrumpetAndrew Del Riccio*Jeremy PigottTom Campbell

TromboneHannah Gibbons*Adrian SheenIan Wright

TubaNaham Warhaft

PercussionBonnie FraserStefania Kurniawan

HarpMarjorie Maydwell

Today’s players include 16 General Practitioners, 5 Anaesthetists, 2 Biochemists, 2 Ophthalmologists, 2 Paediatricians, 2 Physicians, 2 Psychiatrists, 1 Addiction Physician, 1 Cardiologist, 1 Geriatric Physician,

1 Emergency Physician, 1 ENT surgeon, 1 Gynaecological Oncologist, 1 Neonatologist, 1 Neurologist, 1 Orthopaedic surgeon, 1 Paediatric Sleep Physician, 1 Pathologist, 1 Radiologist, 2 Dentists,

1 Researcher, 2 Hospital Medical Officers, 5 Hospital Interns, and 6 Medical students.

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Our Concert History

OctoberInaugural concert at cIty recItal Hall, angel PlaceIn aid of Andrew Olle Memorial Trust

conducted by Nicolette FraillonSoloist Alexander Gavrylyuk playing Chopin Piano Concerto no.1other works:Beethoven - Egmont OvertureRavel - Mother Goose Suite

JuneSIr JoHn clancy audItorIum In aid of depressioNet

conducted by David BanneySoloist Evgeny Ukhanov playing Rachmaninov Piano Concerto no.2other works: Mozart - Overture The ImpressarioDvořák - Symphony no.8

JuneVerbruggHen Hall, conSerVatorIum oF muSIcFor University of Sydney 150th anniversary

conducted by David BanneySoloist Simon Tedeschi playing Grieg Piano Concertoother works: Grieg - Peer Gynt Suite no.2Borodin - Polovtsian Dances

JulySHore ScHool audItorIumFor Mater Centenary

conducted by David BanneySoloist Simon Tedeschi playing Grieg Piano Concertoother works: Grieg - Peer Gynt Suite no.2 (with The Mater Chorale)Borodin - Polovtsian Dances

MayVerbruggHen HallIn aid of Sydney Cochlear Implant Centre (SCIC)

conducted by David BanneySoloist Jason Xanthoudakis (Saxophonist) playing Ibert Concertino da camera for alto saxophoneother works: Offenbach - Overture to Orpheus in the UnderworldRichard Charlton - The Silent Isle; The Maiden and the UnicornFaure – PavaneBizet - Carmen Suite no.1

04 05 06 07 08MayVerbruggHen HallIn aid of Sydney Cochlear Implant Centre (SCIC)

conducted by David BanneySoloists Henry Choo (Tenor) singing Mozart Portrait Aria; Puccini- Nessun dorma and Marjorie Maydwell playing Handel Harp Concerto in B flatother works: Mascagni - Intermezzo from Cavaleria RusticanaTchaikovsky - Symphony no.5

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Our Concert History

09 10 11 12MayVerbruggHen HallIn aid of Sydney Eisteddfod

conducted by David BanneySoloist Kathryn Selby playing Mozart Piano Concerto no.23other works: Banney - Luminescence (world premiere)Dvořák Symphony no.9 “From the New World”

October tHe great Hall, unIVerSIty oF SydneyIn aid of Microsearch

conducted by David BanneySoloist Kathryn Selby playing Mozart Piano Concerto no.23other works: Banney - Luminescence Dvořák Symphony no.9 “From the New World”

March VerbruggHen HallIn aid of Sydney Cochlear Implant Centre (SCIC)

conducted by David BanneySoloist Susan Collins playing Tchaikovsky Violin Concerto in D majorother works: Elgar - Enigma Variations

November VerbruggHen HallIn aid of Sydney Eisteddfod

conducted by David BanneySoloists Amelia Farrugia (Soprano) singing Puccini and Mozart arias; and French songsand Tamara Anna Cislowska (Pianist) playing Manuel de Falla - “Nights in the Garden of Spain”other works: Litolff - Concerto Symphonique no.4Ravel – Bolero

May VerbruggHen HallIn aid of Sydney Eisteddfod and Muscular Dystrophy NSWconducted by David BanneySoloist Sandy Sin on Marimba playing Saint-Saens Introduction and Rondo Capriccioso and Sarasate Zigeunerweisen other works: Weiner - Plaintive SongTchaikovsky - Symphony no.6 “Sympony Pathetique”

May VerbruggHen HallIn aid of Sydney Eisteddfod and Can Assist

conducted by David BanneySoloist Christopher Hillier (Baritone) singing Mahler Songs of a Wayfarerother works: Strauss - Blue Danube WaltzSchubert - Unfinished Symphony

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nicolette Fraillon: Conductoralexander gavrylyuk: Pianoevgeny ukhanov: PianoSimon tedeschi: PianoJason Xanthoudakis: SaxophoneHenry choo: Tenor

Susan collins: Violinamelia Faruggia: Sopranotamara anna Cislowska: PianoKathryn Selby: PianoSandy Sin: Marimbachristopher Hillier: Baritone

First conductor and SOLOISTS

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Concert MasterAmelia Mori was born and raised in Vernon, BC, Canada and started playing violin at the age of three.

Juggling interests in science and music throughout secondary education, upon completion she delayed interest in medicine to embark upon a bachelor of music in Violin Performance.

Subsequently she spent a year playing violin for various symphony orchestras in Canada including the Winnipeg Symphony Orchestra, Thunder Bay Symphony Orchestra and the Okanagan Symphony Orchestra. Throughout this period her desire to become a doctor persisted so she decreased her practising hours and enrolled in Science at the University of British Columbia followed by the Graduate Medical Program at the University of Sydney. Currently working as an intern at Concord and Canterbury Hospitals, she feels so fortunate that the NSW Doctors Orchestra has provided her with an opportunity to meld her two joys and meet so many inspiring individuals. With varying degrees of distraction, she hopes to continue playing music throughout her life.

Sydney eISteddFod NSW DOCTORS ORCHESTRA

Instrumental Scholarship

WINNERS(16-25 yearS)

Left: roSIe gallagHer Flute - Winner 2010

Centre: emIly Sun Violin - Winner 2011

Right: andrey lebedeV Guitar - Winner 2012

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Schizophrenia Fellowship of New South Wales Inc is a community based not for profit organisation that provides advocacy for and services to people with mental illness, their families and the community.

Our vision is “A society in which people with mental illness are valued and treated as equals”.

Our motto ‘succeeding together’, reflects our philosophy of working in partnership with individuals, organizations and governments to achieve a better life for individuals and families affected by mental illness

The Fellowship advocates for better community understanding of mental illness and better funding and services to assist individuals and families. We also provide public awareness campaigns with our national partners – the Mental Illness Fellowship of Australia.

The Fellowship provides programs predominantly across NSW including:

Information and Outreach Service, which is part of the national MiNetwork program.

Recovery Services for people living with all mental illnesses, including clubhouse, day programs, community integration programs, supported accommodation, individual support programs, employment services and physical health and wellbeing courses

Respite Services including residential respite for consumers and carers, consumer holidays, one on one support and group activities

Carer Assist services supporting and educating families affected by mental illness, plus the OnFire! young carers program

Education services, under the Remind banner, helping workers across business, government and the community sector understand mental illness provide support to their staff and clients

Visit our website at www.sfnsw.org.au to find out more about our programs

Call 9879 2600 or 1800 985 944 to find out how we can help you

The Fellowship’s direct services are funded by government grants and contracts, but with more resources we could do much, much more. We rely on our memberships and donations for our advocacy, research, community development and innovation activities.

Please consider becoming a member of the Fellowship, or making a donation, to support our work. all donations over $2 are tax deductible and further information is on www.sfnsw.org.au

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Please consider becoming a member of the Fellowship, or making a donation, to support our work. all donations over $2 are tax deductible and further information is on www.sfnsw.org.au

Simon Tedeschi‘ Tedeschi draws the listener into his world... a rare gift.’ london evening Standard

acclaimed by respected critics and peers as “true greatness” (Sydney morning Herald), Simon Tedeschi performed his first Mozart piano concerto in the Sydney opera House at the age of nine. a student of neta maughan (Sydney), noretta conci (london) and Peter Serkin (uSa), he has since been awarded numerous prizes, such as the Symphony australia young Performer of the year award (1998), Queen’s trust overseas Study Award, and first prize in the Keyboard division of london’s royal overseas league music competition (2002). He is also the recipient of a centenary of Federation medal from the Prime minister of australia (2001).

Renowned especially for championing non-standard repertoire for piano, Tedeschi has performed solo recitals throughout Europe, the USA and Asia, as well as appearing with the Pennsylvania, Illinois, Waterbury and Colorado Symphony Orchestras, Fort Worth Chamber Orchestra (USA), the Christchurch Symphony Orchestra (NZ) and most major Australian Symphony Orchestras. Based in the USA for several years courtesy of the American Australian Association, the Australian Elizabethan Theatre Trust and Professor Jack C Richards, Tedeschi performed for the G’day USA celebrations in Carnegie Hall (2009) and received the prestigious Legacy Award from the Creativity Foundation. He also won the ‘New York Young Jewish Pianist Award’ and was featured in the Emerging Artist series held in the Museum of Jewish Heritage. Tedeschi has performed for dignitaries and world leaders such George W. Bush, Vladimir Putin, Nelson Mandela, Hu Jintao, Shinzo Abe and their Royal Highnesses the Crown Prince and Princess of Denmark.

As one of the busiest pianists in Australia, since returning to Sydney in 2010, Tedeschi has performed for the Queensland Music Festival, Musica Viva Countrywide, Art Gallery of NSW and Historic Houses Trust (NSW). Highlights have included critically acclaimed performances of Shostakovich Piano Concerto no.1 with the Sydney Symphony Orchestra: “Simon Tedeschi was an inspired choice of soloist. He leaped into the work with brittle glee... a keen musical intelligence prevailed. His lyrical moments had a wonderful, airy feel of taking a tune for a walk, full of relaxed curiosity about where it might end up.” (Sydney Morning Herald, 2010).

Alongside his classical performances, Tedeschi is one of the few classical pianists able to cross over into jazz improvisation. The versatility and scope of Tedeschi’s appeal is exemplified by his collaboration with acclaimed musicians across different genres and styles: he was the last pianist for renowned US jazz musician Larry Adler, who remarked: “I just wish Gershwin were here... [Simon is] the finest exponent of his music I have ever seen”. Tedeschi regularly appears with legendary trumpet player James Morrison, flautist Jane Rutter and jazz pianist Kevin Hunt.

Indeed, while Tedeschi’s wide-ranging discography includes highly acclaimed recordings of Piano Concerti of Grieg and Tchaikovsky with Queensland Symphony Orchestra/Richard Bonynge, Mozart with Tasmanian Symphony Orchestra/ Alexander Briger and Leroy Anderson with Melbourne Symphony Orchestra/Paul Mann (“of the highest order... warmly recommended”- International Record Review), more recently he has collaborated with Kevin Hunt for the duo jazz and classical album Woodlands (ABC Jazz). This was followed by Tedeschi’s 2012 release of his popular solo album, Gershwin and Me, enjoying many weeks at no.1 in the Limelight charts, with the re-release of his Queensland and Tasmanian Symphony recordings scheduled for 2013.

Engagements this year include three performances with internationally acclaimed soprano Yvonne Kenny, with Sydney Omega Ensemble, an extensive tour as headline act with Ian Cooper for the Queensland Music Festival, over 30 performances of a Mozart program for the Sydney Opera House Babies Proms, and numerous solo and duo recitals around Australia.

His talent and profile have enabled Tedeschi to enjoy reach across many art forms, most notably as the subject of Cherry Hood’s striking portrait Simon Tedeschi Unplugged, which won the prestigious Archibald Prize in 2002. He was also invited to play the hands of acclaimed pianist David Helfgott for the Oscar-winning film Shine, directed by Scott Hicks, and is currently enjoying success as a guest columnist for The Australian, Sydney Morning Herald, SBS Feast Magazine and ABC’s The Drum.

Support of charitable endeavours is a key commitment for Tedeschi, which has led him to perform for fundraising events for the Dalai Lama in London, the Karuna Foundation in support of Cambodian Orphans, and the Wayside Chapel in Sydney. He is a Roving Ambassador for the Australian Children’s Music Foundation, and Patron of Fine Music FM, Sydney Eisteddfod, Microloan Foundation Australia, Blue Mountains Concert Society and the Bowraville Cultural Festival. 21

Sydney eisteddfod ambassador & alumnus

Elena Kats-Chernin

Born in 1957 in Tashkent (Uzbekistan), Kats-Chernin received intensive training at the Gnessin Musical College before emigrating to Australia in 1975. She graduated from the Sydney Conservatorium of Music in 1980 and was awarded a DAAD scholarship to study with Helmut Lachenmann in Hanover. She remained in Germany for 13 years, returning in January 1994 to Sydney.

Elena Kats-Chernin has created works in nearly every genre, from orchestral compositions to chamber, choral, and stage works. Among her many commissions are pieces for Michael Collins, Katie Noonan, Marshall McGuire, David Pereira, Ensemble Liason, the Kings Singers, the Vienna Boys Choir, the Australian Chamber Orchestra, all major Australian orchestras including the Sydney and Melbourne Symphony Orchestras, Swedish Chamber Orchestra, City of London Sinfonia and the North Carolina Symphony.

While in Europe, Kats-Chernin composed “Clocks” (1993) which was an artistic breakthrough, earning her widespread attention with performances in Europe, Australia, and the USA. In 1996 Kats-Chernin’s piece for 14 instruments “Cadences, Deviations and Scarlatti” won the Sounds Australian Award; in the same year she was also awarded the Peggy Glanville Hicks Fellowship and the Jean Bogan Memorial Prize (the latter for her piano piece Charleston Noir).

Kats-Chernin has composed film soundtracks, and her music has often been used by ballet companies worldwide. She has collaborated in a series of dance works, one of which was part of the opening ceremonies of the Sydney 2000 Olympic Games. In 2003 Kats-Chernin and Tankard created “Wild Swans”, an evening-length ballet on the Hans-Christian Andersen story, commissioned by Australian Ballet. The score for this ballet won her Green Room as well as Helpmann Award in 2004. KATS-CHERNIN and MT have been developing a project “MAD” for the past few years, this project is based on the poet and schizophrenic activist Sandy Jeffs. MAD was shown as work in progress at the Brisbane Festival 2012 and is still awaiting full funding for the proper production.

Her “Russian Rag” has become Max’s’ theme in the 2009 claymation film titled “Mary and Max” by Oscar winning Australian director Adam Elliot. It has also been the theme for “Late Night Live” on ABC Radio National for many years until 2011 when it was replaced by her “Eliza Aria”.

Three CDs of her music (“Wild Swans”, “Clocks” and “Slow Food”) were nominated for ARIA awards. In 2012 her Symphonia Eluvium was voted by Limelight readers as the best composition of the year. Elena Kats-Chernin is one of the subjects of a “Creative Minds” 6 episode series by Robin Hughes. It is a 60 min. documentary made for Studio TV channel, it is currently showing on Qantas international flights.

elena Kats-chernin is one of Australia’s leading composers, reaching millions of listeners worldwide through her prolific catalogue of works in nearly every genre, including music for theatre, ballet, orchestra, and chamber ensemble. Her energetic, dramatically vivid and often propulsive music communicates a mixture of emotions.

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Someone heard this world premiere before you today – the orchestra. Musicians, the artistic conduit, are also the excited and lucky first audience. To faithfully welcome you into Elena Kats-Chernin’s sound-world, they had to go through an artistic and intellectual process that required listening closely, many times.

“Scherzino”? The title is unfamiliar – Stravinsky used the name in a ballet, but that small neo-classical movement is obscure, and won’t help us interpret Kats-Chernin’s music. Scherzino also appears as a pleasant late-romantic flute solo by andersen, renaissance songs, and a light mexican guitar serenade by Ponce.

It could be a diminuitive of “Scherzo”, an acknowledged musical form, meaning literally a “joke”. Here the triple-meter minuet was over time corrupted into something so quick and light-hearted one couldn’t dance to it – but in “Scherzino” we face a beat in four. Even examining the deviant, serious reworking of a scherzo by Brahms into an outright war on the piano doesn’t look relevant. And this new work uses the full romantic orchestra and plays for twelve minutes, so is in no way a moderation or diminution.

Further, this premiere is not an overture in the operatic sense, because it won’t foreshadow themes of later recitative or aria in the evening. Then, delving into Elena’s own work, most of her output is descriptively labeled, the ubiquitous jaunty “Russian Rag, the famous lilting “Wild Swans’” “Eliza’s Aria”, “Chamber of Horrors” for harp solo, “Variations in a Serious Black Dress” for piano… each give a handle on the soul and the sound – but “Scherzino” is abstract.

Finding no overt orientating signals, the conductor and orchestra were at liberty to interpret this premiere without assumptions. Acknowledging Kats-Chernin’s familiar technique, palette of sound and motivations – evocative, ethereal, motive, and dance-inspired, ragtime, Russian/Australian – the musicians could take an artistic leap into a void with trust but no preconceptions.

Still, if you prefer orientation over complete novelty, read one potential interpretation of “Scherzino”: the idea is inevitability, the method is relentless drive. An energy channel exists throughout, with no abatement or relaxation. Do not expect gentle rubato or inspirational solos from your favourite instrument. Listen to the introduction with suspicion, awaiting the ominous demands of the lustrous brass section, which are a truer, dire market of the plot.

Early on you’ll hear characteristic Kats-Chernin writing using harp and xylophone. The harp arpeggios and gentle pacing rhythms create the sound of a music box, at other times flooding the strings with a sense of mystical stillness. The xylophone gives spare brittleness, a feeling of water, counting, marking.

Fiercely golden brass are interrupted by reprieves of song from oboes, strings and other woodwind. In fact, the violins are compelled to sweep romantically forwards, if only this once. A semblance of hope and deliverance comes from marshaling of the horn section after too many aggressive interjections and discussions.

At last, a reference to the triple time of a traditional scherzo is sung through the upper winds, a codetta returning us to the solemn brass and epic strides of the violin section. Oboe-beauty rapidly morphs into something comical by the inability to suppress the tempo – the orchestra cannot slow down. It also cannot resist twists and modulations that, if there was room to breathe and note their humour, could be mistaken for cabaret.

The ending is heralded just the second truly homophonic statements of the work, descending Oriental pentatonic scales. Surprise falling chromatic scales paradoxically drag the harmony to a tierce de Picardy - the second downward spiral gives a breathless resolution. The electricity dissipates. The pursuit is over.

dr andreW Kennedy

ELENA KATS-CHERNIN

Programme notes

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Edvard Grieg, born in Bergen, is Norway’s most renowned composer. As a teenager his musical talents were recognised and then further developed at the Leipzig Conservatory where he absorbed the German techniques and ethos of Romantic music. He combined this with flavours of Norwegian nationalism, being strongly influenced by the folk songs of his native land.

His Piano concerto in a minor was an early success and was the only concerto grieg completed. Following this he was feted throughout europe and became an artistic musical ambassador for norway. With ongoing support and encouragement from Liszt he became one of the most popular composers of his time. In addition to a limited number of orchestral and chamber works, he produced many songs and piano works of great elegance. He received honorary degrees from the universities of cambridge and oxford, as well as the legion of Honour from the French government.

The Piano Concerto in A Minor was composed in 1868 during a summer vacation in Denmark shortly after his marriage to his first cousin. It is the first piano concerto ever recorded — by pianist Wilhelm Backhaus in 1909. It is one of Grieg’s most popular works and among the most popular of all piano concerti.

tHe concerto IS In tHree moVementS:

1. allegro molto moderato (a minor)

2. Adagio (D flat major)

3. allegro moderato molto e marcato - Quasi presto - andante maestoso (A minor > F major > A minor > A major)

The first movement opens with a famous drum roll and a dramatic seven octave descent by the piano from the top to the very bottom of the keyboard. The movement is in the Sonata form, the music continuing in a contrasting flowing lyrical style with the drama returning after a virtuosic cadenza near the end when the chords traversing the keyboard recur to close the movement with a similar flourish as in the beginning.

The second movement is warm and emotive, containing sustained periods of expressive writing for piano and orchestra alike. Grieg achieves great beauty by mixing song-like melodies from the piano and woodwinds with lush harmonies from the strings. The lyrical second movement leads directly into the third movement.

The third and final movement opens in 4/4 time with an energetic theme and contains the most dazzling writing of the whole work for the piano. The soloist and orchestra interact over a range of melodic material, culminating in a grandiose finale for full orchestra and piano, and ending with another fortissimo drum roll.

dr JacKy PollacK

Programme notes Edvard Grieg 1843-1907

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Antonin Dvořák was considered one of the most versatile composers of his time and was born near Prague, then part of Bohemia, and now part of the Czech Republic. He began pursuing music as a career from the age of 16 and graduated in Prague as an accomplished organist.

Following this, Dvořák proceeded to become a full-time musician. and began composing his first two string quartets. The constant need to supplement his income pushed him to give piano lessons and seek professional employment as an organist.

Dvořák secured the job of organist at St. Adalbert’s Church in Prague. This provided him with financial security, higher social status, and enough free time to focus on composing. Dvořák composed his second string quintet in 1875, the same year that his first son was born. It was during this year that he produced a multitude of works, including his 5th Symphony, String Quintet No. 2, Piano Trio No. 1 and Serenade for Strings in E. His music attracted the attention of the famous Johannes Brahms, whom Dvořák admired greatly. Brahms had a great influence over Dvořák’s work; for example the latter’s Slavonic Dances, opp. 46 and 72 (1878 and 1886), are based on the model of Brahms’s Hungarian Dances.

From 1892 to 1895, Dvořák was the Director of the National Conservatory of Music in New York City, which had been founded by a wealthy and philanthropic socialite, Jeannette Thurber. Dvořák’s main goal in America was to discover “American Music” and engage in it, much as he had used Czech folk idioms within his music. He supported the concept that African-American and Native American music should be used as a foundation for the growth of American music.

The Symphony No. 8 in G major, Op. 88, B. 163, was composed and orchestrated by Antonín Dvořák in1889 , and he conducted the premiere in Prague on February 2, 1890.

The Eighth Symphony is performed fairly frequently, but not nearly as often as the more famous Ninth Symphony (“From the New World”). The Eighth Symphony is cheery and draws its inspiration more from the Bohemian folk music that Dvořák loved.

tHe WorK IS In Four moVementS:

1. Allegro con brio (G major) – The first movement is a powerful and glowing exposition characterized by liberal use of timpani. It opens with a lyrical G minor theme in the cellos, horns, clarinets and bassoon with trombones, violas and double basses pizzicato. This gives way to a “bird call” flute melody. The generally cheery nature of this movement is contrasted sharply by the more ominous minor-key sections.

2. adagio (c minor) – Despite being marked Adagio the second movement, in reality, moves along at quite a reasonable speed. It begins with a typically beautiful clarinet duet and ends quietly.

3. Allegretto grazioso – Molto vivace (G minor) – Most of the third movement is a melancholy waltz in 3/8 time. Near the end, the rhythm changes to 2/4, and the music ends in a manner not unlike that of the second movement.

4. Allegro ma non troppo (G major) – The finale (formally a set of variations) is the most turbulent movement. It begins with a fanfare of trumpets, then progresses to a beautiful melody which is first played by the cellos. The tension is masterfully built and finally released at approximately two minutes into the piece, with a cascade of instruments triumphantly playing the initial theme at a somewhat faster pace. From there, following an enormous flute solo, the movement progresses through a tempestuous middle section, modulating from major to minor several times throughout. After a return to the slow, lyrical section, the piece ends on a chromatic coda, in which brass and timpani are greatly prominent.

dr JacKy PollacK

Programme notes Antonin Dvorak 1841-1904

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Thank YOUThe NSW Doctors Orchestra would like to acknowledge the generosity

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