The Song of the Earth · Mahler’s Fourth Symphony brings a third vision of heaven. It also introduces a voice, and thus words. As was the case for Strauss, there is a central poetic

Following The Song of the Earth in May, we are delighted to return to the music of Mahler and to welcome you to this fi nal Master Series concert, featuring his Fourth Symphony.

Tonight in the Sydney Opera House, the Sydney Symphony and Vladimir Ashkenazy will be performing what is generally thought to be Mahler’s most accessible orchestral work, music that allows us to ‘taste the joys of heaven’. And it’s a great pleasure to welcome soprano Emma Matthews, who last appeared in this series in 2007 singing Mozart under the baton of Sir Charles Mackerras.

There is more heavenly joy in the beautiful clarinet concerto of Mozart, performed for us in this concert by Dimitri Ashkenazy, making a welcome debut with the Sydney Symphony. Music by Richard Strauss sets the scene with serenity and moonlight.

As one of the most recognised names in the energy industry, and with more than 1.4 million customers in New South Wales, the ACT, Victoria and Queensland, we are proud to be associated with the Sydney Symphony, and we’re very excited to be linked to the orchestra’s fl agship Master Series.

We trust that you will enjoy tonight’s performance and look forward to seeing you at EnergyAustralia Master Series concerts in 2011.

George MaltabarowManaging Director

WELCOME TO THE ENERGYAUSTRALIA MASTER SERIES

MASTER SERIES PRESENTING PARTNER

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

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

Approximate durations: 10 minutes, 25 minutes, 20-minute interval, 54 minutes

The concert will conclude at approximately 10pm.

2010 SEASON

ENERGYAUSTRALIA MASTER SERIES

Wednesday 24 November | 8pmFriday 26 November | 8pmSaturday 27 November | 8pm

Sydney Opera House Concert Hall

MAHLER 4: CELESTIAL VISIONSVladimir Ashkenazy conductorEmma Matthews sopranoDimitri Ashkenazy clarinet

RICHARD STRAUSS (1864–1949) Capriccio: Prelude and Moonlight Music

WOLFGANG AMADEUS MOZART (1756–1791) Clarinet Concerto in A, K622

Allegro Adagio Rondo (Allegro)

Dimitri Ashkenazy clarinet

INTERVAL

GUSTAV MAHLER (1860–1912) Symphony No.4 in G

Bedächtig – Recht gemächlich [Deliberately – Really unhurried] In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste] Ruhevoll [Peacefully] Sehr behaglich [Very homely and comfortable]

Emma Matthews soprano

MAHLER ODYSSEY SUPPORTING PARTNER

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Portrait of Mahler by an unknown painter (c.1899)

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INTRODUCTION

Mahler 4: Celestial Visions

Tonight’s concert begins with music inspired by an old debate: words vs music. Which is more important? Everyone knows you need the words before you can write an opera, but what if the music comes fi rst – prima la musica? This is the essence of Richard Strauss’s Capriccio, a musical ‘conversation piece’ in one act. Strauss, like most artists, knew the debate could never be resolved, although his opera cunningly gives music the last word. And tonight we do the same: performing orchestral highlights. The second of these – a tiny interlude – uses all the exquisite colours of the orchestra to transport us to a moonlit terrace in late-18th century Paris, via 20th-century Vienna.

The real 18th century arrives in the form of Mozart’s Clarinet Concerto. This is a work of such instinctive beauty and obvious aff ection for the instrument that its enduring popularity comes as no surprise. There’s a reason it regularly fi nds its way into the top ten of the ‘Classic 100’ surveys conducted by ABC Classic FM. In particular, the slow movement, the Adagio, conveys a contemplative grace and serenity that can only be described as ‘heavenly’. Mozart’s concerto gives us the second celestial vision in this concert.

Mahler’s Fourth Symphony brings a third vision of heaven. It also introduces a voice, and thus words. As was the case for Strauss, there is a central poetic impulse to Mahler’s music, even when the music is purely symphonic. In the Fourth Symphony a song proves to be the conceptual source and inspiration for the whole work, and when the soprano enters in the fi nale the theme is made clear: ‘We taste the joys of heaven.’

Please share yourprogramTo conserve costs and reduce our environmental footprint, we ask that you share your program with your companions, one between two. You are welcome to take an additional copy at the end of the concert if there are programs left over, but please share during the performance so that no one is left without a program.

If you don’t wish to take your program home with you, please leave it in the foyer (not in the auditorium) at the end of the concert so it can be reused at the next performance.

All our free programs can be downloaded from: www.sydneysymphony.com/program_library

Mahler Odyssey program covers

The covers for our Mahler Odyssey program books have been designed by Christie Brewster. They feature a stylised typeface characteristic of early 20th-century Viennese posters and publications, and sumptuous patterns inspired by the art of Gustav Klimt (1862–1918).

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Keynotes

STRAUSS

Born Munich, 1864Died Garmisch-Partenkirchen, 1949

Richard Strauss wrote two symphonies as a teenager, but this was not the musical genre that captured his imagination. Instead he made his name with the evocative and storytelling possibilities of the symphonic poem (or orchestral ‘tone poem’, as he preferred to call it) and in opera. He composed 15 operas, of which Capriccio was his last. (‘I can make only one testament’, he said.)

CAPRICCIO

The opera Capriccio – a conversation piece for music in one act – was begun in 1940 and completed in 1941. It was premiered in Munich on 28 October 1942, under the direction of Clemens Krauss, Strauss’s collaborator on the opera. It takes its inspiration from an 18th-century libretto that addresses the status of music and words in opera and personifi es the debate with a composer and a poet, both in love with the widowed Countess. The exquisite Prelude which begins the opera and the Moonlight Music from the fi nal scene are orchestral highlights that reveal Strauss’s mastery of atmosphere and the refi nement and fl uidity of his late style.

ABOUT THE MUSIC

Richard Strauss (1864–1949)Capriccio: Prelude and Moonlight Music

Capriccio is an opera about opera, in the way that A Chorus Line is a musical about musicals and Noises Off is a play about the theatre. There’s no real plot, and Strauss himself described it as ‘a conversation piece for music in one act’.

The opera doesn’t begin with an overture or prelude of the conventional kind; there’s no dramatic opening to grab your attention, no rollicking medley of tunes, although the prelude does hint at the musical material to come. Instead Strauss begins with chamber music from inside the opera itself. In the theatre, the sound of the six string players emerges from the pit, but once the curtain rises it becomes apparent that it’s being played ‘off stage’ in an adjoining room, the music is an intrinsic part of the action.

The sextet is part of a concert for the Countess Madeleine. She listens, rapt. The composer, Flamand, and his friend the poet, Olivier, eavesdrop by the door – they are both in love with the widowed Countess. La Roche, the impresario – a character loosely modelled on the great director Max Reinhardt – sleeps. (‘Soft music is the best soporifi c’ in his opinion.) If you experience this poised and serene music as the Countess does then it becomes a stream of sounds to carry you away to distant enchantments.

The title of the 18th-century libretto which inspired Capriccio provides the clue to the subject matter of Strauss’s conversation piece: Prima la musica, poi le parole. First the music, then the words. It’s phrased as a statement but it’s an ancient dispute that goes to the heart of the relationship between words and music and their status in opera, and ponders the nature of musical expression and the power of emotion. The centrepiece of the opera, as devised by Strauss, is a sonnet by a poet and set to music by a composer for a countess they both love.

Sitting here in a concert hall, the question might seem settled. First the music. Of course! And our decision to perform two orchestral excerpts from Capriccio instead of, say, including a vocal scene from the opera, points to the natural bias of a symphony orchestra and its audiences.

The Capriccio orchestra is modest in size, although it includes a large woodwind section with the rarely heard basset horn among the fi ve clarinets. But these forces are employed with transparency and lightness. It’s an indulgence worthy of the composer himself that of the 66 musicians on stage, 60 will be waiting until the fi nal four minutes before they get to play.

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Prima la musica…poi il Capriccio

Prima la musica, poi le parole was a libretto by Giovanni Battista Casti, for which Antonio Salieri composed a setting. This famously formed a pair with Mozart’s Schauspieldirektor (The Impresario) commissioned by the Emperor Joseph in a cordial contest between Italian opera (Salieri) and the German Singspiel (Mozart). Both works were premiered on 7 February 1786 in the Orangerie of Schönbrunn Palace: after the fi rst opera, the audience turned their chairs to face the stage at the opposite end.

Strauss didn’t follow Casti’s libretto closely, instead he riffed on its themes. ‘I do not want to write just another opera,’ he wrote to Clemens Krauss, his collaborator at the Munich State Opera. ‘With Casti I would like to do something unusual, a treatise on dramaturgy, a theatrical fugue.’

The choice of a string sextet (two violins, two violas and two cellos) for the Prelude refl ects Strauss’s admiration for Brahms and his sextets, and even before the premiere of the opera in 1942, the prelude received a private performance in Vienna, literally as chamber music. Delicate woodwind colours, horns, trumpets and harps are added for the Moonlight Music, a magical interlude that is played towards the end of the opera as the Countess stands on her terrace, bathed in moonlight. It begins with a long horn melody, suspended above hazy textures of strings; the eff ect is as dreamy and distant as the Prelude. The Countess has yet to resolve the debate and her dilemma: will she choose the composer or the poet?

For Strauss-the-composer, the opera had to end with a question mark – artists know that the question of music and words can never be resolved – but it’s been observed that the Countess makes her exit humming the melody which Flamand has composed for Olivier’s sonnet. Perhaps the music doesn’t come fi rst, but Strauss seems to be suggesting that it has the fi nal word.

ADAPTED FROM A NOTE BY YVONNE FRINDLE ©2008

These excerpts from Capriccio call for an orchestra of two fl utes, piccolo, two oboes, cor anglais, three clarinets, basset horn, bass clarinet and three bassoons; four horns and two trumpets, two harps and strings.

The Sydney Symphony fi rst performed music from Capriccio in 1981, when Jessye Norman sang the closing scene in a concert conducted by Franz-Paul Decker. More recently the Moonlight Music was included in the 1997 Symphony under the Stars conducted by Sir William Southgate.

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Keynotes

MOZART

Born Salzburg, 1756 Died Vienna, 1791

Although Mozart claimed to dislike the fl ute, he clearly adored the mellow sound of the clarinet, and seemed to enjoy nothing more than writing horn concertos for his long-suffering friend Ignaz Leutgeb (the victim of many Mozartian pranks). Mozart’s music for wind instruments is one of the most wonderful aspects of his legacy. Alongside the various solo concertos – for fl ute, oboe, clarinet, and bassoon as well as horn – there are marvellous wind serenades, the Clarinet Quintet (a masterpiece), and incomparable orchestral writing for winds, especially in his piano concertos.

CLARINET CONCERTO

Mozart’s Clarinet Concerto was completed eight weeks before his death. The expressive range of the music moves from swooping exuberance to tender melancholy, and the key (A major) is one that is often associated in Mozart’s music with serenity and a fl owing style. The concerto was written for Anton Stadler, a leading exponent of what was then a relatively novel instrument, as capable of hymn-like gravity and celestial purity as it was of earthy simplicity. Mozart chooses his orchestra wisely: oboes and clarinets are omitted to avoid reed instruments that might compete with the intimacy and lyricism of the solo part.

Wolfgang Amadeus Mozart Clarinet Concerto in A, K622Allegro AdagioRondo (Allegro)


My thanks to you, brave virtuoso! I have never before heard the like of what you contrived with your instrument. Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and so lovely a tone that no one with a heart can resist it… (Johann Friedrich Schink, March 1784)

The ‘brave virtuoso’ was the clarinettist Anton Stadler (1753–1812). Schink had heard Stadler in a performance of four movements from Mozart’s Serenade, K361 for 13 instruments, including pairs of clarinets and basset horns, the clarinet’s lower-pitched sibling.

Stadler probably fi rst met Mozart in Vienna in 1781. As well as their musical association, both were members of the Masonic order. Another Mason was Theodor Lotz, instrument-maker to the Viennese court. Lotz and Stadler collaborated on a new version of the clarinet. Instead of the lower written range fi nishing with E below middle C, the addition of more keywork extended this to a full octave below middle C. Mozart soon exploited the advantages of the extra four notes in pieces for Stadler’s new instrument, the so-called basset clarinet.

Of the works Mozart wrote for Stadler, the Clarinet Concerto in A, K622, is arguably the most important. Stadler gave its premiere at Prague’s National Theatre on 16 October 1791. Over the next four years he performed the work in Berlin, Warsaw, Vilnius, Riga, St Petersburg, Lübeck, Hamburg and Hanover. Stadler’s last documented performance of the work was in 1804. Sadly, this is also the last known use of Mozart’s own manuscript, which subsequently disappeared. It may have been stolen from Stadler along with several other manuscripts or, equally likely, pawned to alleviate fi nancial hardship.

After Stadler’s death, the basset clarinet all but faded into obscurity, with subsequent 19th-century performances of the concerto being given on the ordinary clarinet in A. In the late 20th century, the basset clarinet was revived in historically informed models, to give timbral authority; at the same time attempts were made to re-establish ‘the score’. However, the Concerto continues to be played, as in the fi rst published versions, on the ordinary clarinet in A. Using


This unfi nished portrait of Mozart was begun by his brother-in-law, Joseph Lange, in 1783.

essentially the same score as fi rst appeared around 1801, this evening’s performance has something of a contemporary textual authority. We are indeed fortunate that someone, possibly Mozart’s publisher Johann André, had access to the original manuscript and had transcribed a version for clarinet in A, making the concerto available for generations of performers. No less a fi gure than English clarinettist Gervase de Peyer (born 1926) claimed to be able to ‘do things with the A clarinet that I cannot do with the basset…these things add more to the overall performance than the few extra notes at the bottom’.

In the Concerto, Mozart balances the clarinet’s mellifl uous timbre with subtle colours of fl utes, bassoon and horns, in addition to the regular string section. The opening orchestral exposition of the Allegro establishes the elegant, singing nature of the fi rst movement. The soloist’s initial entry is cast in the clarinet’s operatic upper register. Throughout this movement Mozart displays his intimate knowledge of the clarinet’s registral and dynamic fl exibility, utilising its complete compass in a manner truly sublime.

The structural simplicity of the Adagio contrasts Mozart’s timbral innovation. He bathes the solo line in a variety of textures. In particular, the French horns’ lower tessitura complements the movement’s wistful and somewhat introspective character.

The Rondo ebulliently blends sonata and rondo forms, and the clarinet line abounds with wit and exuberance. Despite Mozart’s untimely death on 5 December 1791, soon after the Concerto’s premiere, this fi nal monument to his favourite wind instrument provides a fi tting testimony to the vitality and sheer genius of his musical gifts.

In the words of the Concerto’s fi rst critic, writing in 1802: Good execution of this concerto will bestow honour and admiration upon every able clarinettist as it will bestow pleasure upon every listener whatever his sensibilities.

INGRID E. PEARSON ©2010

Australian-born clarinettist Dr Ingrid Elizabeth Pearson combines her role as Deputy Head of Graduate School at the Royal College of Music, London, with activities in historical performance and research.

Mozart’s Clarinet Concerto calls for an orchestra of two fl utes and two bassoons (no oboes, and no clarinets to compete with the soloist!), two horns and strings.

The Sydney Symphony gave its fi rst complete performance of the concerto in a Mozart festival in 1956, with soloist Gabor Reeves and conductor Bernard Heinze. Our most recent performance, in 2006, was conducted by Alexander Briger with Francesco Celata as soloist.


INTERLUDE

Mahler and the Voice

Gustav Mahler was not a composer with his fi nger in every pie. Early fl irtations with chamber music and opera aside, he devoted his career almost exclusively to just two genres, symphony and art song. This dual focus, perhaps inevitably, led quickly to cross-fertilisation, with songs and singers becoming a consistent and vital force in Mahler’s symphonic output. We might credit Beethoven with the revolutionary thought of introducing the human voice to the symphony, but it was through Gustav Mahler that this thought reached its apotheosis. While many other composers, before and particularly since, have given us symphonies incorporating a chorus and/or vocal soloists, Mahler’s utilisation of the human voice as an extensive and intrinsic symphonic force remains unparalleled.

Even in his fi rst symphony, which is purely orchestral, the infl uence of Mahler’s vocal writing can be felt, with songs from the concurrently composed Lieder eines fahrenden Gesellen (Songs of a Wayfarer) providing important thematic material for the symphony’s fi rst and third movements. In his next three symphonies, Mahler made the link to song even more explicit. These works date from the period 1887 to 1900, during which the composer was setting a large number of texts from Des Knaben Wunderhorn, a collection of German folk poetry, and each incorporates a setting of a Wunderhorn poem, along with other sung texts. In Symphony No. 2, the alto solo ‘Urlicht’ (Primal Light) functions as an introduction to an extended fi nal movement, in which two soloists (alto and soprano) and chorus give tangibly human voice – via Klopstock’s poem ‘Die Auferstehung’ – to the symphony’s depiction of afterlife and resurrection. The Third Symphony draws on vocal forces for its fi fth and sixth movements, with another alto solo – this time Nietzsche’s ‘Midnight Song’ – followed by Mahler’s setting of the Wunderhorn poem ‘Es sungen drei Engel’. And the whole of the Fourth Symphony is built around another Wunderhorn song, ‘Das himmlische Leben’, a child’s naïve vision of heaven, whose melody is prefi gured throughout the fi rst three movements before being sung in its entirety by a soprano soloist in the fourth and fi nal movement.

Symphonies 5, 6 and 7 saw Mahler revert to exclusively instrumental forces, but when at last he came to incorporate the voice again, he did so in thrilling and extravagant style, calling on vast choral forces and an array of soloists of all voice types for his Eighth Symphony, the

Mahler’s utilisation of the human voice as an extensive and intrinsic symphonic force remains unparalleled

Etching of Mahler by Emil Orlik


so-called ‘Symphony of a Thousand’, a celebration of love’s redemptive power. The Eighth owes more to Beethoven, and even to opera, than it does to the Lied. It is not divided into movements but rather into two parts – the fi rst based on the Latin hymn ‘Veni creator spiritus’, the second a setting of the closing scene from Goethe’s Faust. The Eighth also makes far greater demands on its singers than do the Wunderhorn symphonies, pushing both soloists and chorus to the extremes of tessitura and dynamics.

Mahler’s fi nal completed symphony, his Ninth, is another orchestra-only work – although the fi nal movement does quote from his Kindertotenlieder. However, while not among his numbered symphonies, Das Lied von der Erde, which Mahler completed between his Eighth and Ninth symphonies, surely represents the fullest realisation yet of his fusion of symphony and song. This six-movement work is symphonic in its structure and conception, while featuring its two soloists (tenor and alto) more prominently and at greater length than any of the numbered symphonies. These demanding songs require of their singers both operatic and symphonic sensibilities, with character and story conveyed through music whose phrasing and wide dynamic variation – as with much of Mahler’s symphonic vocal writing – is often more instrumental than typically vocal.

At a glance, it might seem curious that a composer who was so deeply concerned with the expressive possibilities of sung poetry, particularly on such a grand orchestral scale, should not have left us with an opera. Yet any engagement with the composer’s genre-blurring explorations on this front renders the question all but irrelevant. From the ‘Urlicht’ of his Second Symphony to the ‘Abschied’ which concludes Das Lied von der Erde, Mahler’s multifarious fusion of symphony and song achieves a transcendent, profoundly human synthesis of text and music, with a distinct and vitally important place in the symphonic canon.

SARAH NOBLE ©2010

Illustration for Des Knaben Wunderhorn by Moritz von Schwind

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WWW.VIENNA.INFO

For further information please contact the Vienna Tourist Board:Phone: +43-1-24 555E-Mail: [email protected]

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


Gustav Mahler Symphony No.4 in G

Bedächtig – Recht gemächlich [Deliberately – Really unhurried]

In gemächlicher Bewegung, ohne Hast [In a leisurely tempo, without haste]

Ruhevoll [Peacefully]

Sehr behaglich [Very homely and comfortable]


‘It is too beautiful: one shouldn’t allow oneself such a thing!’ exclaimed Mahler one day in 1900. He was standing on the balcony of his newly built summer residence at Maiernigg, surrounded by forest on the shores of the Wörthersee. Mahler’s career as a conductor usually left him only the summer months for composition; when he became Director of the Vienna Court Opera in 1897 and conductor of the Vienna Philharmonic in 1898 the intensity of the workload meant that he composed nothing during those years. The house at Maiernigg was a perfect retreat, and the perfect place to complete his Fourth Symphony which he had begun in the summer of 1899.

The symphony is at once the culmination of certain aspects of the previous two and their complete antithesis. The Second Symphony is Mahler’s musical dramatisation of nothing less than death and resurrection, while in the Third, as he put it, ‘all nature fi nds a voice’. The Fourth, by contrast, is on an altogether more modest scale: it consists of the ‘standard’ four movements (the fi rst time Mahler adhered to that pattern), plays for a comparatively short 55 minutes or so, and is scored for a much smaller orchestra. What it shares with its two predecessors is a preoccupation with ideas of life and death, and a relationship to the collection of folk poetry, Des Knaben Wunderhorn (The Youth’s Magic Horn), which Mahler mined for various song settings. The fi nal movement – which Mahler fi rst set in 1892 and which was originally planned for inclusion in the Third Symphony – is taken from the Wunderhorn collection, and describes a child’s vision of heaven.

One writer, Paul Bekker, has suggested that the whole symphony was germinated by the song, and Michael Kennedy has noted that all the movements are ‘thematically interconnected’. Dramatically, too, the work is unifi ed by a pervasive sense of innocence: Mahler’s music is never naïve, and its simplicity is deceptive given the formal sophistication of its structure and elaboration of its counterpoint, but the work is careful to avoid the obtuse, the

ABOUT THE MUSIC

Keynotes

MAHLER

Born Kalischt, 1860 Died Vienna, 1911

Mahler is now regarded as one of the greatest symphonists of the turn of the 20th century. But during his life his major career was as a conductor – he was effectively a ‘summer composer’, and his Fourth Symphony was completed in his tiny composing hut, by the shores of the Wörthersee. Mahler’s symphonies tend to be 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.

FOURTH SYMPHONY

By Mahler’s standards, the Fourth Symphony is relatively short – just 55 minutes of music – possibly his most uncomplicated and accessible orchestral work. It draws on the inspiration of a collection of German folksongs and poetry, The Youth’s Magic Horn. The text sung by the soprano soloist in the fi nal movement echoes the tone of the whole work – ‘We taste the joys of heaven’ – with its suggestion of childlike innocence and a longing for the sublime. Although the symphony makes a detour into the world of the macabre in the second movement, as a whole it radiates joy, peace and a lightness of spirit.


rhetorical and the monumental. The philosopher Theodor Adorno points out that the whole work’s ‘image-world is of childhood. The means are reduced, without heavy brass; horns and trumpets are more modest in number. No father fi gures are admitted to its precincts.’

The fi rst movement quickly establishes the mood of childish innocence with the sound of four fl utes and sleigh bells, simple melodies (one derived from Schubert) with a plucked accompaniment from the low strings. Various solo instruments appear like characters in a child’s story; the four fl utes at one point play low in unison to give the eff ect of what Adorno calls a ‘dream ocarina’. But as the great Mahler scholar Deryck Cooke once put it, the serene surface of the work conceals fi gures whom he described as ‘moving behind a veil which obscures their naked horror and makes them like the bogeymen who appear in illustrations to books of fairy tales’. Neville Cardus compared these musical goblins to the shadows cast by candlelight on a nursery wall. There is perhaps latent danger in the brief eruption of the Fifth Symphony’s tempestuous fanfare in the fi rst movement of this work, but the movement ends with a moment of seraphic peace before its good-humoured conclusion.

One ‘bogeyman’ is ‘Freund Hain’, a devilish fi ddler such as we also meet in Saint-Saëns’ Danse macabre. In an early sketch for the scherzo, Mahler wrote ‘Freund Hain spielt auf ’ (Our friend Hain strikes up). In the fi nal version of this movement with its ländler (a peasant dance in triple time) Trio section, there is a prominent solo for a violin which is tuned higher than normal to make it sound like ‘ein Fiedel’ (a fi ddle). Kennedy argues that Hain is ‘picturesque rather than macabre’, but quotes Mahler who compared

Youth’s Magic Horn

Des Knaben Wunderhorn was originally an anthology of Germanic folk poetry from the early 19th century. Collected by Arnim and Brentano, and published in 1805–08, the collection became immensely popular, informing literary styles and culture for much of the century. Mahler seems to have been acquainted with the style and texts of the Wunderhorn collection long before he set any of the poems to music. In doing so, he reinterpreted these fairytale, mediæval-style poems through his own personal experience, and song settings of the Wunderhorn texts with their orchestral accompaniment became the basis of symphonic movements in Mahler’s fi rst four symphonies.

Silhouette of Mahler by Schliessmann (1901)

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composing this work with ‘wandering through the fl ower-scented garden of Elysium and it suddenly changes to a nightmare of fi nding oneself in a Hades full of horrors’.

There is no horror in the opening of the work’s central adagio, by far the longest movement in the work. A set of variations, it is unifi ed by the device of the plucked double bass, which plays a repeated fi gure or ostinato. There is a violent passage towards the end of the movement, where the timpani take over the basses’ fi gure, playing, as Adorno says, ‘as drums once seemed before the age of seven’.

In the fi nal movement the orchestra is joined by the soprano soloist for the Wunderhorn song, and it is here that

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RTS Title page from the fi rst edition of Des

Knaben Wunderhorn (1808)


the work’s ambiguities come into clear focus. Ostensibly a cute account of how a child might see heaven, it is actually a cleverly disguised set of variations which allows Mahler to seem simple while constantly spinning new and fascinating sounds. It characterises various saints carrying on their earthly tasks to produce the gastronomic delights of the afterlife: St Martha cooks, of course; St Peter fi shes, Herod (somehow admitted through the pearly gates) is the butcher. As Adorno notes:

These are not only the modest joys of the useful south German vegetable plot…Immortalised in them are blood and violence; oxen are slaughtered, deer and hare run to the feast in full view on the roads. The poem culminates in an absurd Christianity.

After hymning St Cecilia, the work ends quietly. For Cooke it is a ‘peaceful close’, for Adorno this ‘fairy-tale symphony is as sad as the late works…Joy remains unattainable, and no transcendence is left but yearning’. Like Maiernigg, this work is perhaps ‘too beautiful’ to be true.

GORDON KERRY © 2003

Mahler’s Fourth Symphony calls for four fl utes (two doubling piccolo), three oboes (one doubling cor anglais), three clarinets (with E fl at clarinet and bass clarinet doubling) and three bassoons (one doubling contrabassoon); four horns and three trumpets but no lower brass; timpani and percussion; harp and strings.

The Sydney Symphony gave the fi rst performance by an ABC orchestra of Mahler’s Fourth on 8 June 1940 in a concert conducted by Antal Doráti with soprano Zena Moller. Our most recent performance of the symphony was in 2002, conducted by Edo de Waart with Sara Macliver as soloist.

In the fi nal movement…the work’s ambiguities come into clear focus.

Ahem! – Who said that?1. Stillness is our most intense mode of action.

2. I know two kinds of audience only – one coughing and one not coughing.

3. I was guided by the coughing of the audience. Whenever the coughing would increase, I would skip the next variation. Whenever there was no coughing, I would play them in proper order. In one concert the coughing was so violent I played only ten variations (out of twenty).

4. A cough is something that you yourself can’t help, but everybody else does on purpose just to torment you.

A. Ogden Nash, B. Leonard Bernstein, C. Artur Schnabel, D. Sergei Rachmaninoff

Answers: 1B 2C 3D 4A


Wir geniessen die himmlischen Freuden d’rum thun wir das Irdische meiden. Kein weltlich’ Getümmel hört man nicht im Himmel! Lebt Alles in sanftester Ruh’! Wir führen ein englisches Leben! Sind dennoch ganz lustig daneben! Wir tanzen und springen wir hüpfen und singen! Sanct Peter in Himmel sieht zu!

Johannes das Lämmlein auslasset, der Metzger Herodes drauf passet! Wir führen ein geduldig’s, unschuldig’s, geduldig’s, ein liebliches Lämmlein zu Tod! Sanct Lucas den Ochsen thät schlachten ohn’ einig’s Bedenken und Achten, der Wein kost kein Heller im himmlischen Keller, die Englein, die backen das Brot.

Gut’ Kräuter von allerhand Arten, die wachsen im himmlischen Garten! Gut’ Spargel, Fisolen, und was wir nur wollen! Ganze Schüsseln voll sind uns bereit! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben! Die Gärtner, die Alles erlauben! Willst Rehbock, willst Hasen, Auf offener Strassen sie laufen herbei!

Sollt ein Fasttag etwa kommen alle Fische gleich mit Freuden angeschwommen! Dort läuft schon Sanct Peter mit Netz und mit Köder zum himmlischen Weiher hinein. Sanct Martha die Köchin muss sein!

Kein Musik ist ja nicht auf Erden, die uns’rer verglichen kann werden. Elftausend Jungfrauen zu tanzen sich trauen! Sanct Ursula selbst dazu lacht! Kein Musik ist ja nicht auf Erden, die uns’rer verglichen kann werden. Cäcilia mit ihren Verwandten sind treffl iche Hofmusikanten! Die englischen Stimmen ermuntern die Sinnen! dass Alles für Freuden erwacht.

We taste the joys of Heaven leaving behind all that is earthly. No worldly strife is heard in Heaven. We live here in sweetest peace! We live an angelic life, yet we are merry as can be. We dance and spring and skip and sing while St Peter in heaven looks on.

St John lets the lamb go running, the butcher Herod is waiting for it. We lead the patient, meek, guiltless dear little Lambkin to death! St Luke is slaughtering the oxen without care or consideration, The wine is free in the heavenly tavern, and the angels, they bake the bread.

Fine vegetables of every kind grow in the gardens of Heaven, good asparagus and beans, whatever we fancy, big bowls are prepared for us! Good apples and pears and grapes! The gardeners let us take all! Do you want a roebuck or hare? Here in the open streets they run about!

And when there is a fast day the fi sh come swarming in merrily! St Peter, he runs with net and with bait to fi sh in the heavenly pond. St Martha is the cook, who else?

No music on earth can compare with ours. Eleven thousand virgins come forward to dance! Even St Ursula laughs to see that! No music on earth can compare with ours. Cecilia and her relations are excellent court musicians! The angelic voices lift our spirits and all things awaken to joy!

TRANSLATION BY HEDWIG ROEDIGER ABC/SYMPHONY AUSTRALIA ©1986


IN REVIEW

The Sydney Symphony on Tour

Earlier this year the Sydney Symphony and Vladimir Ashkenazy travelled to Europe, performing in some of the most prestigious summer festivals. From Lucerne to London, we were greeted with enthusiasm and acclaim. Here is just a small selection from the concert reviews.

“Ashkenazy has been a fi erce and vocal champion of his orchestra since he took over last year, calling it ‘a hidden treasure down under’ and stating that his aim is to ‘cement its place on the musical world stage’. They are indeed classy. The warmth in the sound, and the ease in their playing are immensely attractive.” The Guardian

“The orchestra was never short of class and, with Vladimir Ashkenazy conducting with beaming relish, there was pride in every smoochy chord…It’s not only Berlin and Vienna, then, that can sell out the Royal Albert Hall.” The Australian

“The concert itself revealed the Sydney Symphony Orchestra as a very fi ne band indeed…full-bodied, full-blooded and atmospheric, driven by the energy of their dynamic director.” Herald Scotland

“Equally energetic on the podium was conductor Vladimir Ashkenazy who ensured his brilliant band never missed a note…the orchestra was fi ring on all cylinders.” The Scotsman

“By far the best playing I heard at Grafenegg came from the Sydney Symphony Orchestra.” The Telegraph

“The 60 string musicians amazed with their technical brilliance and the uniformity of their sound, while the horns did so with their warm intensity of expression.” Nordwest-Zeitung

“Australia’s leading orchestra gave ample demonstration of their stage presence, with velvety and sumptuous strings, subtle woodwind and boasting brass.” Weser-Kurier

“With momentum and panache the Australians…proved their absolute international standing, which reaches far beyond their home in the most famous opera house in the world.” Hanauer Anzeiger

• Stresa (22 Aug) • Lucerne (23 Aug) • BBC Proms, London

(24 Aug) • Wiesbaden (26 Aug) • Bremen (28 Aug) • Amsterdam (29 Aug) • Edinburgh (1, 2 Sep) • Grafenegg (4 Sep)


MORE MUSIC

Selected Discography

CAPRICCIOFor the complete opera, try Karl Böhm’s 1971 recording with the Bavarian Radio Symphony Orchestra and Chorus and a cast including Arleen Augér, Peter Schreier and Dietrich Fischer-Dieskau.DEUTSCHE GRAMMOPHON 445347

For a generous selection of orchestral music from Strauss’s operas, there is André Previn’s recording with the Vienna Philharmonic of highlights from Der Rosenkavalier, Intermezzo, Capriccio, and Salome. Available as an ArkivCD from arkivmusic.com DEUTSCHE GRAMMOPHON 437790

MOZART’S CLARINET CONCERTODimitri Ashkenazy’s 2009 recording of Mozart’s Clarinet Concerto with the Czech Philharmonic conducted by Vladimir Ashkenazy is coupled with the Quintet for piano and winds, K452, with Ashkenazy senior at the piano.PAN CLASSICS 10220

Sabine Meyer performs the concerto on a modern basset clarinet; her recording with the Berlin Philharmonic and Claudio Abbado has been released on CD with Mozart’s Flute Concerto in G (Emmanuel Pahud) and the Flute and Harp Concerto (Marie-Pierre Langlamet, harp). EMI CLASSICS 57128

MAHLER 4Our artistic planners recommend several recordings of this symphony, including George Szell’s 1965 recording with the Cleveland Orchestra and Judith Raskin. Frederica von Stade performs Songs of a Wayfarer on the same disc (with the London Philharmonic Orchestra and Andrew Davis).SONY CLASSICAL 46535

Lucia Popp is the soloist in Klaus Tennstedt’s recording with the London Philharmonic Orchestra. In the 2000 budget reissue, the same disc is fi lled out with the Adagietto from Mahler’s Fifth Symphony. EMI SERAPHIM 73706

Another fi ne release is Claudio Abbado’s recording with the Berlin Philharmonic and soprano Renée Fleming, who also sings Berg’s Seven Early Songs.DEUTSCHE GRAMMOPHON 575902

EMMA MATTHEWSEmma Matthews in Monte Carlo is the most recent recording from one of Australia’s brightest stars. The selection begins with ‘Glitter and be gay’ from Bernstein’s Candide and ends with an aria from Richard Mills’ Love of the Nightingale. In between are arias by Bellini, Donizetti, Offenbach, Gounod and more. Brad Cohen conducts the Monte Carlo Philharmonic. ABC CLASSICS 4763555

DIMITRI ASHKENAZYDimitri Ashkenazy also appears on a disc of Stravinsky chamber works and rarities, performing the Three Pieces for Solo Clarinet and the violin, clarinet and piano arrangement of The Soldier’s Tale. DECCA 4738102

Broadcast Diary

NOVEMBER–DECEMBER

Friday 26 November, 8pmMAHLER 4See this program for details.

Wednesday 1 December, 8pmSERENADE FOR STRINGSDene Olding violin-directorNicholas Carter conductorSimon Tedeschi pianoPaul Goodchild trumpetMozart, Tchaikovsky, Shostakovich, Glazunov

Friday 3 December, 8pmMAHLER 3: JOYFUL SUMMER VOICESVladimir Ashkenazy conductorLilli Paasikivi mezzo-sopranoSydney Philharmonia ChoirsSydney Children’s Choir

2MBS-FM 102.5SYDNEY SYMPHONY 2010Tuesday 14 December, 6pm

What’s on in concerts, with interviews and music.

Webcast Diary

Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: sydneysymphony.bigpondmusic.com

Have Your SayTell us what you thought of the concert at sydneysymphony.com/yoursay or email: [email protected]

Sydney Symphony Online Visit the Sydney Symphony at sydneysymphony.com for concert information, audio features, and to read the program book in the week of the concert.Become a fan on Facebook at http://www.facebook.com/sydneysymphony (or search for “Sydney Symphony” from inside your Facebook account).Follow us on Twitter at twitter.com/sydsymph for program alerts, musical insight, concert-going chat and backstage gossip.We invite you to tweet with us at concerts, but not during the performance itself – as one of our followers said recently, “If it’s tweetworthy, it’s worthy of undivided attention.”


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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Emma Matthews is a Principal Artist with Opera Australia, for which she made her debut as Damigella in L’incoronazione di Poppea in 1993. Her many roles for OA have included title roles in Lulu, Lakmé, The Cunning Little Vixen and Lucia di Lammermoor, Cleopatra (Giulio Cesare), Juliette (Roméo et Juliette), Rosina (The Barber of Seville) and Kostanze (The Abduction from the Seraglio), and Zwaantie in Richard Mills’ Batavia.Her concert repertoire includes the Mozart, Fauré and Brahms requiems, Mahler Symphony No.2 and No.4, Haydn masses, Messiah, and Poulenc and Villa Lobos. She has also appeared with José Carreras in Sydney, and in the Opera Australia New Year’s Eve Gala. Festival engagements include Philomele (The Love of the Nightingale) in Perth, Ismene (Mitridate) in Sydney, and appearances in Melbourne, Adelaide and Huntington.

This year she made her Royal Opera House debut singing The Cunning Little Vixen, performed Amina (La Sonnambula) and Gilda (Rigoletto) for Opera Australia, and sang Mahler’s Fourth Symphony with the Orchestre Philharmonique de Monte Carlo.

Emma Matthews has received fi ve Helpmann Awards, a Mo Award, eight Green Room Awards, and the Remy Martin Australian Opera Award. Her most recent appearance with the Sydney Symphony was in 2007, singing Mozart’s Mass in C minor with Charles Mackerras.

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Born in 1969 in New York, Dimitri Ashkenazy fi rst studied piano, and then clarinet with Giambattista Sisini, entering the Conservatory of Lucerne in 1989. Since then, he has appeared with the Royal Philharmonic Orchestra, at the Hollywood Bowl with the German Symphony Orchestra Berlin, the Casals Festival (Puerto Rico) with the Czech Philharmonic Orchestra, with the Japan Philharmonic, Tokyo Metropolitan Symphony and Mito Chamber Orchestras, and here in the Sydney Opera House with the SBS Youth Orchestra.

In addition to the major concertos, his repertoire includes concertos and chamber music by Peter Maxwell Davies, Krzysztof Penderecki, Filippo del Corno and Marco Tutino. He has performed with the Kodály and Faust quartets, and with Barbara Bonney, Helmut Deutsch, David Golub, Edita Gruberova, Ariane Haering, Antonio Meneses, Cristina Ortiz and Maria João Pires, as well as his brother Vovka and his father Vladimir Ashkenazy.

Dimitri Ashkenazy has recorded for CD, television, and radio broadcasts throughout Europe, and he has given masterclasses in Australia, Spain, Iceland, Switzerland and the United States. Forthcoming engagements will include appearances with the Belgrade Philharmonic, Zurich Chamber Orchestra, Göttinger Symphony Orchestra, Neues Zürcher Orchester and Philharmonie Baden-Baden, as well as chamber concerts in Australia and Europe. This is his debut appearance with the Sydney Symphony.


MUSICIANS

Vladimir AshkenazyPrincipal Conductor andArtistic Advisor

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council

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Performing in this concert…

FIRST VIOLINS Michael Dauth Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonAmber Gunther Georges LentzNicola Lewis Nicole Masters Alexandra MitchellEmily Qin#Martin Silverton*

SECOND VIOLINS Kirsty Hilton Marina Marsden Jennifer Hoy Maria Durek Emma Hayes Stan W Kornel Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Katherine Lukey*Alexander Norton*

VIOLASRoger Benedict Anne-Louise Comerford Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Leonid Volovelsky Rosemary Curtin#Jacqueline Cronin#

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauFenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis Daniel Yeadon*

DOUBLE BASSESKees Boersma David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Janet Webb Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOESShefali Pryor David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSLawrence Dobell Francesco Celata Craig Wernicke Principal Bass Clarinet

Nicole Canham*Alexandra Carson†

BASSOONSRoger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSRobert Johnson Geoffrey O’Reilly Principal 3rd

Lee Bracegirdle Marnie Sebire Euan Harvey

TRUMPETSPaul Goodchild John FosterAnthony Heinrichs

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Colin Piper Brian Nixon*Mark Robinson

HARP Louise Johnson Owen Torr*

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

In response to audience requests, we’ve redesigned the orchestra list in our program books to make it clear which musicians are appearing on stage for the particular performance. (Please note that the lists for the string sections are not in seating order and changes of personnel can sometimes occur after we go to print.)

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.


THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

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

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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 world-wide recognition for artistic excellence, and in 2009 it made its fi rst tour to mainland Asia.

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. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff , Elgar and Prokofi ev orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

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


SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

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

PLATINUM PARTNERS MAJOR PARTNERS

REGIONAL TOUR PARTNERS

PREMIER PARTNER

GOLD PARTNERS

BRONZE PARTNER MARKETING PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station

SILVER PARTNERS


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 AlbertRoger Allen & Maggie GrayTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerMr J O Fairfax AC

Fred P Archer Charitable TrustThe Berg Family Foundation in memory of Hetty GordonThe Hansen FamilyMs Rose HercegMr 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

The Estate of the late G S WronkerAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopMr Robert & Mrs L Alison CarrLibby Christie & Peter JamesThe Estate of Ruth M DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreStephen Johns & Michele BenderHelen Lynch AM & Helen BauerIsabel McKinnonMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeJune & Alan Woods Family BequestAnonymous (1)

SILVER PATRONS $5,000–$9,999Andrew Andersons AO

Mark and Carolyn BethwaiteJan BowenMr Donald Campbell & Dr Stephen FreibergBob & Julie ClampettMichael & Manuela DarlingMrs Gretchen M DechertIan Dickson & Reg HollowayJames & Leonie FurberMr James Graham AM & Mrs Helen GrahamMr David Greatorex AO & Mrs Deirdre Greatorex

Irwin Imhof in memory of Herta ImhofJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationDavid Maloney & Erin FlahertyDavid & Andree MilmanEva & Timothy PascoeRodney Rosenblum AM & Sylvia RosenblumDavid Smithers AM & FamilyMrs Hedy SwitzerIan & Wendy ThompsonMs Caroline WilkinsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Stephen J BellMr & Mrs David & Halina BrettLenore P BuckleEwen & Catherine CrouchKylie GreenAnn HobanPaul & Susan HotzMark JohnsonAnna-Lisa KlettenbergMacquarie Group FoundationR & S Maple-BrownMora MaxwellJudith McKernanMatthew McInnesJustice Geoffrey PalmerJames & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropHenry & Ruth WeinbergGeoff Wood & Melissa WaitesAnonymous (1)

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

Terrey & Anne ArcusClaire Armstrong & John SharpeRichard BanksDoug & Alison BattersbyDavid BarnesMarco Belgiorno-Zegna AM & Angela Belgiorno-ZegnaPhil & Elesa BennettNicole BergerGabrielle BlackstockJane Brodribb & Colin DraperM BulmerThe Clitheroe FoundationDebby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisRussell & Sue FarrRosemary & Max Farr-JonesJohn FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnnette FreemanRoss & Jill GavinWarren Green

Anthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergJules & Tanya HallJanette HamiltonBarbara & John HirstThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterDr Michael Joel AM & Mrs Anna JoelThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingMr Justin LamWendy LapointeMallesons Stephen JaquesMr & Mrs Gilles T KrygerMr Robert & Mrs Renee MarkovicKevin & Deidre McCannIan & Pam McGawMrs 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 SchaefferJean-Marie & Leonie SimartVictoria SmythCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonAndrew Turner & Vivian ChangMrs Kathleen TuttonEstate of B M WardenThe Hon. Justice Anthony WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonDr Francis J AugustusMichael Baume AO & Toni BaumeMs Baiba B. BerzinsMrs Jan BiberDr & Mrs Hannes Boshoff Pat & Jenny BurnettDr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellMrs Catherine J ClarkJoan Connery OAM & Maxwell Connery OAM

Bruce CutlerMr Charles Curran AC & Mrs Eva CurranMatthew Delasey

Greg Earl & Debbie CameronPeter English & Surry PartnersIn Memory of Mr Nick EnrightRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n AM

Damien HackettMartin HanrahanMr Ken HawkingsDr Heng & Mrs Cilla TeyRev Harry & Mrs Meg HerbertMrs E HerrmanMrs Jennifer HershonMichelle Hilton-VernonMr Joerg HofmannBill & Pam HughesGreta JamesIven & Sylvia KlinebergIan KortlangDr & Mrs Leo LeaderMargaret LedermanMartine LettsGerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydAlison Lockhart & Bruce WatsonLocumsgroup Holdings LPDr Carolyn A Lowry OAM & Mr Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mr K J MartinMelvyn MadiganMrs Silvana MantellatoGeoff & Jane McClellanMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’ConnorMrs Rachel O’ConorA Willmers & R PalMr George A PalmerDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersRowan & Annie RossRichard RoyleDr Mark & Mrs Gillian SelikowitzCaroline SharpenMrs Diane Shteinman AM

Dr Agnes E SinclairRobyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMs Wendy ThompsonProf Gordon E WallRonald WalledgeThe Hon. Edward G WhitlamDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsGlenn & Everly WyssMrs R YabsleyAnonymous (15)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


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

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 with Gerald Tapper, Managing Director RogenSi

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

09Roger Benedict Principal ViolaRoger Allen and Maggie Gray Chair

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

DIRECTORS’ CHAIRS

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BEHIND THE SCENES Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AM Jennifer Hoy Irene Lee David Smithers AM

Ewen Crouch Rory Jeffes David Livingstone Gabrielle TrainorRoss Grant Andrew Kaldor Goetz Richter

Sydney Symphony Regional Touring CommitteeIan MacdonaldDr Richard Sheldrake Director-General, NSW Department of Industry and InvestmentColin Bloomfi eld Illawarra Coal BHPBilliton Stephen David Caroona Project, BHPBillitonJim Davis Regional Express Airlines

Peter Freyberg XstrataTony McPaul Cadia Valley OperationsTerry Charlton Snowy HydroPaul Mitchell Telstra Grant Cochrane The Land

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin Flaherty

Dr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid Maloney

Sydney Symphony CouncilDavid Malouf AO

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

Jane MorschelGreg 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* Regional Touring Committee member

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

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Please address all correspondence to the Publications Editor: Email [email protected]

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 Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

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Documents

The Song of the Earth · Mahler’s Fourth Symphony brings a third vision of heaven. It also introduces a voice, and thus words. As was the case for Strauss, there is a central poetic