Welcome to the concert · 2019-07-28 · Welcome to the concert APIA is pleased to bring you this performance in the 2007 Great Classics series. Like you, we’re an enthusiastic

Welcome to the concert

APIA is pleased to bring you this performance in the 2007Great Classics series.

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

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SEASON 2007

BEETHOVEN FESTIVAL

GREAT CLASSICS

PRESENTED BY APIA

BEETHOVEN’S EIGHTH SYMPHONY ANDTHIRD PIANO CONCERTO

Saturday 9 June | 2pm

Sydney Opera House Concert Hall

Gianluigi Gelmetti conductorGerhard Oppitz piano

LUDWIG VAN BEETHOVEN (1770–1827)

Symphony No.8 in F, Op.93

Allegro vivace con brioAllegretto scherzandoTempo di MenuettoAllegro vivace

INTERVAL

Piano Concerto No.3 in C minor, Op.37

Allegro con brioLargoRondo (Allegro)

This concert will be recorded forbroadcast across Australia on ABC Classic FM 92.9 on Saturday16 June at 8pm.

Pre-concert talk by Gordon Kerryat 1.15pm in the Northern Foyer.

Estimated timings:26 minutes, 20 minute interval, 34 minutes The performance will conclude at approximately 3.30pm.

Cover images: see page 30 forcaptions

Program notes begin on page 5

Artist biographies begin on page 20

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INTRODUCTION

Beethoven Festival

Most of the music in this Beethoven festival wascomposed in the first decade of the 19th century.Beethoven was in his 30s; he had contemplated suicidebut emerged with art as his saviour. In his orchestraloutput alone, the years 1800 to 1812 resulted in eightsymphonies and the five piano concertos, and today’sconcert represents the frame of that extraordinary periodof creativity.

The Eighth Symphony of 1812 was Beethoven’s lastsymphonic work before a period of troubled silence. As with the other ‘even-numbered’ symphonies, theEighth tends to be neglected by orchestras, and even atits premiere the audience showed a preference for itscompanion, the Seventh. But, as Maestro Gelmetti pointsout, it is wrong to think of a symphony like the Eighth as ‘reactionary’ or ‘less audacious’ – in fact the Seventh has a compressed energy and a daring modernity that is‘almost Stravinskian’.

Beethoven dated the Third Piano Concerto ‘1800’ – asymbolic gesture, pointing as much to the turn of thecentury as to the composer’s ‘transition to a new plane ofcreativity’. The concerto reveals Beethoven’s admirationfor Mozart and the Classical style of the 18th century, butit is in no way a backward-looking work. Beethoven mighthave said (of Mozart’s piano concerto in the same key,K491) that there was no way he would ever ‘be able to doanything like that’, but it’s also true, as Michael Steinbergobserves, that Beethoven was interested in rather morethan ‘anything like that’.

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5 | Sydney Symphony

6 | Sydney Symphony

Ludwig van Beethoven

Symphony No.8 in F, Op.93

Allegro vivace e con brioAllegretto scherzandoTempo di MenuettoAllegro vivace

This symphony was first performed on the same program as Symphony No.7, in the Great Redoutensaal in Vienna on 27 February 1814. Beethoven composed it,relatively quickly, after finishing the large-scale Seventh,and most commentators find the composer of the Eighth Symphony in a mood of relaxation from his recent mighty efforts. But though the Eighth is a shortsymphony, certainly Beethoven’s most compressed and concentrated, it is nonetheless musically powerfuland daring – little, but vast, as Sir George Grove observed.

This symphony has been undervalued from the start.Beethoven was annoyed that it was badly received bycomparison with the Seventh Symphony, played earlier in the concert. The audience did not appreciate theEighth, he said, ‘because it is so much better than theother’. Sophisticated listening is needed for itsconcentration and unusual treatment of the familiar.

The humorous side of this symphony, almost rough at times, has caused some problems for critics andlisteners alike. Part of the trouble is that 19th-centuryaudiences did not know how to react to humour and witin music (nor, it is to be feared, do their 21st-centurysuccessors). Something about the formal concert-goingritual stifles enjoyment and causes embarrassment – you can’t laugh out loud, so the comic or ironic isunexpected, and often unnoticed. But the humorous side of this symphony has been exaggerated by somewriters – notably Grove in his book on the Beethovensymphonies. It is there – especially in the Allegrettoscherzando second movement, with its sudden andperfunctory ending, just when the return of the maintheme is expected. But a forceful, as opposed to a relaxedand graceful, interpretation of the symphony will bringout Beethoven’s daring power and use of surprise – this is not Beethoven the practical joker but Beethoven theintellectual comedian.

ABOUT THE MUSIC

Keynotes

BEETHOVEN

Born Bonn, 1770Died Vienna, 1827

In orchestral repertoire at

least, Beethoven’s busiest

years were between 1800

and 1812. During this time,

he completed eight of his

nine symphonies and the

five piano concertos. And

until 1808 he was active as

a piano soloist as well.

During these years,

Beethoven was stretching

his audience, who (on the

whole) were gamely

following as he pushed the

boundaries of structure, style

and musical expression.

EIGHTH SYMPHONY

Beethoven may have been in

his 40s when he wrote it, but

the Eighth Symphony has

a youthful energy. It is one

of his shortest symphonies

(about the same duration as

the classically proportioned

First) – the result of a

powerful concentration of

musical material rather than

any lack of musical ideas.

Beethoven wastes no time

in this symphony: the first

movement launches

immediately into the main

theme, for example. He plays

with the central movements:

turning the normally slow

second movement into

something lively and good-

humoured, then following

it with an ‘old-fashioned’

minuet instead of the

Beethovenian scherzo that

audiences had come to

expect in third spot. The

finale unleashes a whirlwind

of vitality.

7 | Sydney Symphony

Listening Guide

Much of the music is immensely powerful – noticehow the motive which opens the first movement is then held back until the development, where it is built up with tremendous tension towards a climax marked tripleforte, a very rare dynamic marking in Beethoven, so thatthe beginning of the recapitulation is the climax of thewhole movement.

The second movement’s subject exists also in the formof a canon supposedly extemporised at a supper in 1812,and addressed to Beethoven’s friend Maelzel, the inventorof the metronome, whose tick-tocking is represented bythe staccato semiquavers (but the story and the canon area fabrication by Beethoven’s early biographer Schindler).The effect of this movement, whose mechanical characterhas affinities with Haydn’s Clock Symphony, is of gaiety

A concert is not a sterileceremony, but a popular rite,a rite for all to experiencewith education but also withenthusiasm. If I succeeded in provoking thosesensations today in a concerthall I wouldn’t be at allashamed!

GELMETTI

An engraved portrait of the composer made in 1814

by Blasius Höfel. Beethoven was 44 years old, with

eight symphonies and the five piano concertos

to his credit.

8 | Sydney Symphony

and gracefulness, a conversation with some brusque good-humoured interruptions, and an abrupt ending toBeethoven’s shortest symphony movement.

The Minuet provides a clear contrast – Beethoven hadjust given us a scherzo in place of a slow movement, sonext he writes a movement as broad and flowing as canbe, with a theme he seems to have hit on almost at once,rather than by his usual laborious process of sketches and revisions. The beauty of the subject is shown in a new light when it is played on the bassoon. The Trio’ssubject is given out by the horns, accompanied by a solofrom the cello section, which complements its broadrichness with busy arpeggios.

It has often been remarked that the Eighth Symphony’sreal centre of gravity is in the Finale, to which the othermovements lead. This finale is described by Sir DonaldTovey as ‘one of Beethoven’s most gigantic creations’, inconception if not in length, full of unexpected tonalitiesand dynamics, and bursting with vitality.

DAVID GARRETT ©2002

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

The earliest recorded performance of the Eighth Symphony by theSydney Symphony was a 1941 studio concert conducted by PercyCode. The most recent performance was in the 2001 BeethovenExperience conducted by Edo de Waart.

We think of the so-called‘even’ symphonies, which Ideeply love, as being lessaudacious, and instead morereactive, in the best sense ofthat word. But the EighthSymphony is absolutelyfascinating, modern, caustic,almost Stravinskian, a neo-classical phenomenon.

GELMETTI

Gelmetti talks of his vision forBeethoven’s symphonies at:www.sydneysymphony.com/gelmettisbeethoven

9 | Sydney Symphony

Beethoven

Piano Concerto No.3 in C minor, Op.37

Allegro con brioLargoRondo (Allegro)

Gerhard Oppitz piano

‘You and I will never be able to do anything like that!’exclaimed Beethoven to fellow-pianist and composerJohann Baptist Cramer, as they listened to a rehearsal of the last movement of Mozart’s Piano Concerto in C minor (K491). Beethoven’s reaction may have seemedincredible to the Beethoven-worshipping generationswhose appreciation of Mozart was partial and patronising,but great musicians know how to appraise each other,and Beethoven’s admiration for Mozart is obvious fromhis music as well as from his words. When in 1803 hecomposed for the first time a piano concerto in a minorkey, Beethoven chose the key of Mozart’s great tragic C minor concerto. No work illustrates better thanBeethoven’s Third Piano Concerto the similarities andcontrasts between his concertos and those of his greatestpredecessor in this form of music.

Beethoven’s Third Concerto is altogether moreexpansive than its part-model by Mozart, but also lessconcentrated in effect, more varied in mood and lessdominated by the minor key. The first movement’sorchestral exposition shifts early into the major, and

Keynotes

THIRD PIANO CONCERTO

The Third Piano Concerto

was Beethoven’s first and

only concerto in a minor key.

Its model, in many respects,

was another concerto in

C minor, Mozart’s K491

(No.24), which Beethoven

greatly admired.

Beethoven’s concerto,

which took him several

years to write, reflects the

transition in style from

his early ‘Vienna’ period to

the middle ‘heroic’ period.

Beethoven’s admiration

of the Classical tradition of

Mozart is evident, but there

is plenty in the music that

breaks new ground.

The concerto is in three

movements. The first has

a symphonic flavour and a

drum-tap idea that gains

in significance until it is

actually played by the

drums. The slow middle

movement takes us to a

remote key for mysterious

effect. The energy of the

finale is heightened further

after the piano’s solo

cadenza when, already

close to the end, Beethoven

sets off with a faster tempo,

a change of rhythmic pulse

and a new and cheerier key

(C major).

The Third Piano Concerto

was premiered in 1803.

The Page Turner

Ignaz von Seyfried, a conductor and good friend ofBeethoven’s, recounts the unnerving experience ofturning pages for the composer in the Third PianoConcerto:

Heaven help me! – it was easier said than done. I sawalmost nothing but empty leaves; at the most on onepage or the other a few Egyptian hieroglyphs, whollyunintelligible to me, scribbled down to serve as clues forhim; for he played nearly all of the solo part frommemory, since, as was so often the case, he had not hadtime to put it all down on paper. He gave me a secretglance whenever he was at the end of one of the invisiblepassages and my scarcely concealable anxiety not tomiss the decisive moment amused him greatly…

11 | Sydney Symphony

this alternation becomes a feature of the concerto. The energy of the first movement is remarkable: it has the confidence, the robustness of Beethoven’s firstmaturity, the period of the Kreutzer Sonata for piano andviolin, and the Eroica Variations for piano solo.

The essential musical material of this movement is all in the opening phrases, which consist of an upwardarpeggio, a downward scale, then a figure of a drum-tap.This last figure becomes almost dominant in thedevelopment, and its character is confirmed in the coda of the movement, when it is at last played by the timpani.This coda, incidentally, follows Mozart’s C minorconcerto in bringing the piano back to join the orchestraafter the cadenza has ended on an almost suspended chord,which leads the music into an unexpected key.

Like the end of the movement, its beginning is notable: a very long orchestral presentation of the themes,including a flowing, warm and lyrical one: fine music,but like a symphony rather than a concerto – when willthe piano play? Its eventual entry is a bold one, rushingfuriously up the keyboard in a scale of C minor, but it isno surprise to find that in his subsequent two pianoconcertos Beethoven brought the piano in at the start.

The Largo begins in extraordinary calm, a mysteriouseffect like unearthly suspended motion, heightened by the choice of a key, E major, very distant from the C minor of the first movement. The theme, spacious,

Beethoven at the age of 30. A portrait

from 1800, the year in which much of

the work on the Third Piano Concerto

was completed.

A New Plane of Creativity

Significantly, as if to mark the end of the old century andhis transition to a new plane of creativity, Beethoveninscribed the score ‘Concerto 1800 da L. v. Beethoven’ –though this would just be a symbolic statement of whenthe major work was done. There are preliminary sketchesfor the work dating from as early as 1797 (the year inwhich the immediately preceding concerto, which weknow as No.1 in C, was probably completed), andBeethoven did not finish revising it for performance andpublication until 1802. So it is likely that the ‘1800’ datewas entered on the score after revisions were completed,probably a short time before the first performance, onShrove Tuesday, 5 April 1803.

FROM A NOTE BY ANTHONY CANE ©1998


sublime yet emotional in expression, sounds a new voicewhich Beethoven brought to music. Later it is decoratedin a richly florid manner, developing into an imitation of an operatic singer’s cadenza. In the middle part of themovement the sonorities are romantically atmospheric,as flute and bassoon exchange antiphonal phrases overrolling piano arpeggios, the piano below and pizzicatostrings playing above.

The Rondo shows Beethoven in his ‘unbuttoned’mood – a rollicking theme of rustic flavour, with theirregular accents of some peasant dance. The snappingrhythm continues in the second theme, separated fromthe first by a striking passage of C minor wind chordsalternating with piano arpeggios. Some of the episodes of this Rondo are predominantly lyrical, others moreforceful, and there is a passage of fugato development.Beethoven must have enjoyed playing this concerto,which reveals the lyrical, assertive and humorous aspectsof his musical personality in such equable balance – thepiano keeps the lead to the end in a presto C major coda,with off-beat interjections for the woodwinds: a high-spirited ending, like an opera buffa finale, in which thecomposer again joins hands with Mozart.

DAVID GARRETT ©2003

The orchestra for Beethoven’s Third Piano Concerto calls for pairsof flutes, oboes, clarinets, bassoons, horns and trumpets; timpaniand strings.

The earliest recorded performance by the Sydney Symphony of theThird Piano Concerto was in 1939 with conductor George Szell andsoloist Artur Schnabel. The most recent performance was in 2004with Ola Rudner conducting and soloist Andreas Haefliger.

…this concerto reveals thelyrical, assertive andhumorous aspects ofBeethoven’s musicalpersonality…


Beethoven – the festival phenomenon

A journey through Sydney Symphony Beethoven festivalsof the past

‘Ever since I can recall, the first association that springs to anyone’s mind when serious music is mentioned is“Beethoven”. When I must give a concert to open a seasonan all-Beethoven program is usually requested… When afestival of orchestral music is contemplated the bets areten to one it will turn out to be a Beethoven festival…’Leonard Bernstein, Why Beethoven?

Leonard Bernstein was writing in the 1950s, but little has changed. Beethoven remains firmly at the heart ofthe orchestral experience. No one is surprised when anorchestra programs a Beethoven festival, and such an eventinevitably becomes a celebration. This year’s festival is theSydney Symphony’s sixth Beethoven Festival in its 75-yearhistory. Counting backwards there have been festivals ofvarying size and scope in 2001, 1998, 1982, 1961 and in 1943.

1943

The 1943 festival – in possibly the darkest year of WorldWar II – was a large and ambitious undertaking. Manyorchestral members had enlisted, so numbers werebolstered by interstate musicians and new players, manyof whom were women. The visits of overseas artists had ceased with the beginning of the Pacific war in 1941and orchestral funds were low. Even so, recognising thesignificance of the Sydney Symphony Orchestra as acontributor to cultural life, the ABC was determined to‘maintain the orchestra at the highest possible standarddespite war-time difficulties.’

The festival, conducted by Bernard Heinze withAustralian concerto soloists, was comprehensive: all thesymphonies and piano concertos, together with the ViolinConcerto and other works. The concerts – at the SydneyTown Hall and the Sydney Conservatorium of Music – were broadcast across the country.

All six concerts held at the Conservatorium were bookedout by season ticket-holders, and the subscribers’ allocationfor the final concert was sold out two months beforehand.Years later, Heinze recalled the day the tickets went on sale:‘…to our consternation, when the ABC opened the boxoffice, the streets around the ABC building were blocked bypeople. Police had to be called in to control the rush anddisperse those angry because they could not buy tickets.’The critics were impressed with some things and not others,

INTERLUDE

The Ninth in 1943

At the Conservatoriumconcerts they eventually had to install loudspeakersso that patrons camped onthe lawns outside couldlisten. The concertcontaining the NinthSymphony was eventually re-scheduled for the SydneyTown Hall. Heinze recalled:‘When the concerts began we put the music over apublic address system and I have photographs ofsoldiers sitting on the lawnsoutside the Conservatorium. And one picture – the rain ispouring down and soldiersare holding their girls closerunder umbrellas andenjoying …enjoying above all the concert…We came tothe Ninth Symphony and itwas an uproar…We wereswamped with letters.’


as they usually are, but generally the feeling was one ofsomething important and special happening. After all, even inthe midst of war, Australia could produce a Beethoven festivalwith Australian performers and draw massive audiences.

1961

Seventeen years later the Sydney Symphony presented aBeethoven festival for a new generation of music lovers. Heldat the Town Hall in the heat of a Sydney February (and againconducted by Bernard Heinze), the festival was more modest.Four programs, including Piano Concertos Nos. 3 and 4 withSoviet pianist Tatyana Nikolayeva; Symphonies 1, 3, 4, 5 andthe Ninth; and the Triple Concerto (including as soloists JohnPainter and Donald Hazelwood). Once again, it was popularevent: ‘…scores of fans turned away, and that wonderfulHouse Full notice parked defiantly on the top steps.’

The critics were astounded by the force and passion ofNikolayeva’s Beethoven, and the playing of the orchestrawas reasonably well received. But in an era of long-playingrecords, with Beethoven symphony recordings widelyavailable, reviewers had become more exacting. Apparentlythe playing of the orchestra was ‘spirited but unsubtle’ –better in accompanying the concertos than in the playing ofthe symphonies. The heat in the hall was partly to blame forthis, as the instruments’ tuning went irretrievably awry inthe humid atmosphere.

1982

In 1982, the ABC’s 50th Anniversary Year, the openingconcerts were a series dedicated to Beethoven’s PianoConcertos – a mini-Beethoven Festival under the baton ofMyer Fredman, with Roger Woodward at the piano. It was held,once again, at the Town Hall, in the January heat. There wereonly two concerts. In the first concert, Woodward performedthe first three Beethoven piano concertos – a Herculean effort– and in the second, the final two. Although it was not a largefestival, it achieved its aim of allowing Sydney audiences tohear all the concertos in two concerts only two days apart.

1998

The 1998 Beethoven Festival was the first in Sydney since1943 to include all the symphonies and piano concertos. The seven concerts were conducted by Edo de Waart andChristian Zacharias was the piano soloist. Some of the programs were rounded out with chamber music and otherBeethoven heard less often in orchestral concerts: the Octet

Nikolayeva’s Beethoven

One critic wrote: ‘Nikolayevaalmost belied her sex with the power of her playing – a rugged, square-cutperformance with shatteringclimaxes when they werecalled for.’ Another, left-leaning, reviewer ‘couldn’thelp think that as a Sovietcitizen she was particularlywell equipped to play themusic of Beethoven, mostpolitically advanced of allcomposers.’


The Beethoven

Experience

Overheard from a memberof the audience: ‘Thisoughta be a good one!’

in E flat, contredanses, and the concert aria ‘Ah! perfido’with soprano Deborah Riedel.

2001

Three years later, with the same conductor, the SydneySymphony’s Beethoven festival took a different tack. In fact,it wasn’t called a festival at all. It was ‘The 2001 BeethovenExperience’. So what did ‘experiencing’ Beethoven involve?First, all the symphonies – for how could we justify omittingany of them? – but in an eclectic context that suggested thecomprehensiveness and sheer variety of the public and privateconcerts in Beethoven’s time. Chamber music and pianosonatas shared the Concert Hall stage with the symphoniesand the violin concerto. Second, all this music was heard innearly chronological order, giving a sense of Beethoven’sdeveloping style. Third, it was intensive: seven concerts over two weekends. This was a festival, as one criticcommented, that reached ‘to the core of the music and the genius who gave it birth’.

2005

In 2005 the Sydney Symphony and Maestro GianluigiGelmetti presented, not a festival exactly, but a Beethovencelebration worthy of inclusion here. It was a recreation ofthe famous all-Beethoven program that the composer hadpresented in 1808: the Fifth and Sixth symphonies, the ChoralFantasy, the Fourth Piano Concerto, and selections from theMass in C, Op.86. In 1808 it had been a demanding four-hourmarathon comprising all new works by a local cutting-edgecomposer. In 2001 the event was just as demanding, justas long, and – although the music was no longer new andcertainly not ‘local’ – in some ways just as ‘cutting-edge’.

To his contemporaries Beethoven was a musical genius, tobe admired or deplored according to your taste. His new workswere awaited with interest, were generally well-received, andif not always entirely understood were recognised for theirgenius. Today Beethoven is still the genius, but he is more.He is, as Bernstein points out, the first who springs to mind when an orchestra thinks of a festival, but he is also acomposer who not only sustains repeated listening in theconcert hall but continually reveals his genius afresh – agenius worth celebrating.

SYDNEY SYMPHONY ©2007

Adapted in part from an article by Jillian Harding, Symphony Australia ©1998


GLOSSARY

ANTIPHONAL – a musical effect in whichmusical ideas are passed back and forthbetween two voices or groups of voices,often physically separated.

ARPEGGIO – a musical gesture in which thenotes of a chord are ‘spread’, or played oneafter the other instead of simultaneously.

CADENZA – a virtuoso passage for a soloinstrument.

CANON – music in which a melody ispresented by one ‘voice’ and then repeatedby one or more other voices, each enteringbefore the previous voice has finished,e.g. childhood singing rounds.

FUGATO – in the style of a fugue,characterised by imitation betweendifferent parts or instruments, which enterone after the other. The Latin word fugasuggests both ‘fleeing’ and ‘chasing’.

PIZZICATO – a technique for stringedinstruments in which the strings areplucked with the fingers rather than bowed.

RONDO – a musical form in which a mainidea (refrain) alternates with a series ofmusical episodes. A common form for thefinales of Classical concertos andsymphonies.

SCHERZO – literally, a joke; the termgenerally refers to a movement in a fast,light triple time, which may involvewhimsical, startling or playful elements.Most symphonic scherzos include acontrasting central section called a TRIO. The scherzo as a genre was a creation of Beethoven. In earlier symphonies bycomposers such as Mozart and Haydn the third movement of a symphony hadtypically been a minuet (also in a dance-liketriple time and also featuring a trio); inBeethoven’s hands it acquired a joking andplayful character as well as a much fastertempo.

SEMIQUAVER – a rhythmic unit that dividesthe crotchet beat into four quick notes.

SONATA FORM – a 19th-century termdescribing the harmonically basedstructure most Classical composers hadadopted for the first movements of theirsonatas and symphonies. It involves theEXPOSITION, or presentation of themes and subjects: the first in the home key, thesecond in a contrasting key. Traditionallythe exposition is repeated, and the tensionbetween the two keys is then intensified in the DEVELOPMENT, where the themes aremanipulated and varied as the music movesfurther and further away from the ultimategoal of the home key. Tension is resolved inthe recapitulation, where both subjects arerestated in the tonic. Sometimes a CODA

(‘tail’) is added to enhance the sense offinality. In nearly all Classical concertos,instead of the exposition (statement ofmain themes) being repeated as is, themusical material is played first by theorchestra (ORCHESTRAL EXPOSITION) andthen by the soloist (SOLO EXPOSITION).

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

Allegro – fastAllegro con brio – …with spiritAllegro vivace – …and livelyAllegretto scherzando – lively, not so fast

as Allegro, and playfullyLargo – broadlyTempo di Menuetto – in the tempo of a

minuet (dance-like and moderately fast)

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


75 YEARS: HISTORICAL SNAPSHOT

Television usually required studio production rather than

simply putting microphones (and cameras) in front of a live

concert. This photo shows the SSO in a television concert

from the 1960s.

E.J. Roberts, with Isador Goodman assoloist. The broadcasting of the orchestraby the ABC continues. Sydney would nodoubt eventually have acquired a full-timeprofessional symphony orchestra, but –without a public broadcaster that became a major concert promoter – who can saywhen and how? The audience, then andnow, has been formed and shaped by thebroadcaster’s heavy bias towards the kind of music you have come to hear.

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

Listening In

As you look at the stage, you’ll probably seemicrophones. Most likely, too, you’ll be ableto hear this concert, again, in a broadcast.The ABC was broadcasting this kind ofmusic before there was a Sydney Symphony,and indeed brought the orchestra intoexistence for this very purpose. TheConcert Hall of the Sydney Opera Houseused to be referred to in ABC radio as‘Studio 227’. But it was a broadcast studioonly when there was an audience for publicconcerts. The ABC’s Sydney SymphonyOrchestra was, soon after its beginnings in 1932, much more a concert than abroadcasting orchestra. This came as asurprise, to some a nasty one. Before theformation of the ABC, commercialentrepreneurs had imported high-flyingsoloists, and even conductors, in the hopeof making money. Now these promotersfaced a formidable competitor, subsidisedby the public purse. The ABC held a trumpcard: its new orchestras. At first orchestralresources were traded for broadcast rightsto privately promoted concerts. But,frustrated at the limited broadcasts theywere obtaining, the ABC soon began topresent their own ‘Celebrity Concerts’, bysubscription. Their competitors – especiallythe Tait Brothers/J.C. Williamson combine– threatened legal action. In 1938 the ABC cleverly bluffed its way out of a courtcase, deflecting the complainants with theargument that the ABC’s concerts were alsobroadcasts, which enabled them to reach‘listeners in’ who would otherwise never be able to hear such concerts. And so itbecame an – unwritten – law that at leastpart of every ABC concert was also abroadcast. It would seem that the firstconcert broadcast by the new ABC involving their ‘Sydney’ orchestra was on 1 July 1932, when the ‘National BroadcastingSymphony Orchestra’ was conducted by


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MORE MUSIC

GIANLUIGI GELMETTI

Beethoven Choral Fantasy (DVD)with Gerhard Oppitz, piano, and the Stuttgart RadioSymphony Orchestra and Choir; a Region 1 (USA &Canada) releaseGENEON (DVD) 10535

Nino Rota Film Music

The Leopard, War and Peace, La Strada, WaterlooMonte Carlo Philharmonic EMI ENCORE 5 74987-2

Rossini The Thieving Magpie

Live recording with the RAI Torino (3CDs)SONY S3K 45 850

Rossini The Barber of Seville (DVD)Teatro Real Madrid production; Juan Diego Flórez(Count Almaviva), María Bayo (Rosina), Pietro Spagnoli(Figaro)DECCA 074 3111 5 DH2

Rossini Overtures and highlights from

The Barber of Seville

Thomas Hampson, Susanne Mentzer; Stuttgart RadioSymphony Orchestra, Toscana OrchestraEMI 74752-2

Salieri Les Danaïdes

with Monserrat Caballé and the RAI OrchestraDYNAMIC 489/1-2

GERHARD OPPITZ

Complete Beethoven Sonatas

Six volumes currently available, the most recent releasefeatures the Appassionata and Waldstein sonatas.HÄNSSLER CLASSIC 98201 – 98206

SYDNEY SYMPHONY: LIVE RECORDINGS

Strauss and Schubert

R. Strauss Four Last Songs; Schubert Symphony No.8(Unfinished); J. Strauss II Blue Danube Waltz Gianluigi Gelmetti (cond.), Ricarda Merbeth (sop.)SSO1

Glazunov and Shostakovich

Glazunov The Seasons; Shostakovich Symphony No.9Alexander Lazarev (conductor)SSO2

ABC CLASSIC FM 92.9

JUNE

RELIVE THE BEETHOVEN FESTIVAL

Gianluigi Gelmetti conductorGerhard Oppitz piano

Wed 13 June 2.30pm‘Moonlight’ Sonata (Gerhard Oppitz)

Wed 13 June 8pmSymphonies No.4 and No.7

Thu 14 June 8pmSymphony No.2 and Piano Concerto No.4

Fri 15 June 8pmSymphonies No.3, Eroica and No.6, Pastoral

Sat 16 June 12.05pmSymphony No.5 and Piano Concerto No.5 (Emperor)

Sat 16 June 8pmSymphony No.8 and Piano Concerto No.3

Mon 18 June 8pm – LIVE BROADCAST

Gerhard Oppitz recital Beethoven sonatas, including the Appassionata

Tue 19 June 8pmSymphonies No.1 and No.9 (Choral)

Broadcast Diary

In 2006 selected Sydney Symphony concerts were recorded for webcast by Telstra BigPond. These can be viewed at:http://sydneysymphony.bigpondmusic.com.

sydneysymphony.com

Webcast Diary

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

Selected Discography

2MBS-FM 102.5

SYDNEY SYMPHONY 2007

Tue 12 June 6pmWhat’s on in concerts, with interviews and musicalsamples.

Further Reading

GELMETTI ON BEETHOVEN’S SYMPHONIES

Visit www.sydneysymphony.com/gelmettisbeethoven

Gianluigi Gelmetti, Chief Conductor and Artistic Directorof the Sydney Symphony, studied with Sergiu Celibidache,Franco Ferrara and Hans Swarowsky. For ten years heconducted the Stuttgart Radio Symphony Orchestra; he has conducted many of the leading orchestras in theworld and appears regularly at international festivals.Since 2000 he has been Music Director of the Teatrodell’Opera di Roma.

Highlights of past seasons include engagements inFrance, Germany, Great Britain, America, Australia, Japan,Switzerland and Italy, where he conducted Mascagni’s Irisand Respighi’s La fiamma at the Teatro dell’Opera di Romaand William Tell at the Rossini Opera Festival. In 1999 hewas awarded the Rossini d’Oro Prize. Gianluigi Gelmettihas also worked regularly at the Royal Opera House,Covent Garden.

His interpretation of Mozart’s The Marriage of Figaroearned him the title Best Conductor of the Year from the German magazine Opernwelt, and in 1997 he won theTokyo critics’ prize for the best performance of the year of Beethoven’s Symphony No.9. He has been honoured as Chevalier de l’Ordre des Arts et des Lettres in Franceand Grande Ufficiale della Repubblica Italiana in Italy.

Gianluigi Gelmetti’s recording catalogue includesoperas by Salieri, Rossini, Puccini and Mozart, thecomplete orchestral music of Ravel, the late symphoniesof Mozart and works by many 20th-century composers,including Stravinsky, Berg, Webern, Varèse and Rota.Among his recent recordings are William Tell, Iris, Lafiamma, Bruckner’s Symphony No.6 and Rossini’s Stabat Mater.

Gianluigi Gelmetti is also a composer; his recentworks include In Paradisum Deducant Te Angeli, written tocommemorate the tenth anniversary of Franco Ferrara’sdeath, Algos, and Prasanta Atma, in memory of SergiuCelibidache.

Since summer 1997 he has been teaching at theAccademia Chigiana in Siena.

THE ARTISTS

Gianluigi Gelmetti

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR



Gerhard Oppitz gives about 80 recitals and concertoperformances a year, appearing with the world’s leadingorchestras including the Berlin, Vienna, London, Israeland Royal Philharmonic Orchestras, the Philadelphia and Cleveland Orchestras, the Boston, Pittsburgh, andLondon Symphony Orchestras, and the Bavarian RadioSymphony Orchestra, with conductors such as CarloMaria Giulini, Wolfgang Sawallisch, Riccardo Muti,Lorin Maazel, Dmitrij Kitajenko, Zubin Mehta, HerbertBlomstedt, Kent Nagano, Kurt Masur, Sir NevilleMarriner and Gianluigi Gelmetti.

He frequently programs performances of completepiano cycles, including Schubert’s solo piano music,Beethoven and Mozart sonatas, Bach’s Well-TemperedClavier, and Grieg’s solo works, as well as Brahms cyclesin most of the major cities of Europe and in Tokyo.

He has recorded the Beethoven piano concertos withthe Leipzig Gewandhaus Orchestra and Marek Janowski,and his extensive discography also includes the complete solo piano works of Brahms and the twoBrahms concertos with Sir Colin Davis. He has alsorecorded the complete solo piano works of Grieg, theconcertante works of Carl Maria von Weber, and mostrecently the 32 Beethoven sonatas.

Gerhard Oppitz was born in Frauenau (Bavaria) in 1953 and began playing the piano at the age of five. Hegave his first public concert at 11, performing Mozart’sConcerto in D minor. In 1973 he met Wilhelm Kempff,who soon became his guide and mentor. In 1977 hebecame the first, and to date the only, German to win the coveted First Prize of the Artur RubinsteinCompetition in Tel Aviv. This achievement and quasi-political event led to concert tours across Europe, Asiaand the USA.

In addition to his busy performing and recordingschedule, Gerhard Oppitz has a broad spectrum ofinterests: he is a qualified professional air pilot andfrequently flies himself to concert engagements acrossEurope; he is an informed gourmet and a connoisseur of fine wines; and he speaks seven languages.

His most recent appearances for the Sydney Symphonywere in 2006, when he played Brahms’ Second PianoConcerto and a recital of Beethoven and Schubert.

Gerhard Oppitz piano

Gerhard Oppitz presents a recital of Beethovensonatas including theAppassionata on Monday18 June at 8pm and willperform in the Mozart inthe City series onThursday 14 June at 7pm. Both concerts are at theCity Recital Hall AngelPlace. Call the SydneySymphony on 8215 4600for tickets.


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Resident at theiconic Sydney Opera House where theSydney Symphony gives more than 100performances each year, the Orchestra alsoperforms concerts in a variety of venuesaround Sydney and regional New SouthWales. International tours to Europe, Asiaand the USA have earned the Orchestraworld-wide recognition for artisticexcellence.

Critical to the success of the SydneySymphony has been the leadership given by its former Chief Conductors including:Sir Eugene Goossens, Nikolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, Stuart

Challender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fourth year asChief Conductor and Artistic Director ofthe Sydney Symphony, a position he holdsin tandem with that of Music Director at the prestigious Rome Opera.

The Sydney Symphony is reaping therewards of Maestro Gelmetti’s directorshipthrough the quality of sound, intensityof playing and flexibility between styles. His particularly strong rapport withFrench and German repertoire iscomplemented by his innovativeprogramming in the Shock of the New concerts and performances ofcontemporary Australian music.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonymaintains an active commissioningprogram promoting the work of Australiancomposers and in 2005 Liza Lim wasappointed Composer-in-Residence forthree years.

In 2007, the Orchestra celebrates its 75th anniversary and the milestoneachievements during its distinguishedhistory.

JOH

N M

AR

MA

RA

S

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


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Kirsten WilliamsAssociate Concertmaster

Sun YiAssociate Concertmaster

02 Fiona ZieglerIan & Jennifer Burton Chair of Assistant Concertmaster

03 Julie Batty04 Gu Chen05 Amber Davis06 Rosalind Horton07 Jennifer Hoy08 Jennifer Johnson09 Georges Lentz10 Nicola Lewis11 Alexandra Mitchell

Moon Design Chair of Violin

12 Léone ZieglerSophie Cole

Second Violins

01 Marina MarsdenPrincipal

02 Susan DobbieAssociate Principal

03 Emma WestAssistant Principal

04 Pieter Bersée05 Maria Durek06 Emma Hayes07 Shuti Huang08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Dimity Hall Principal First Violin

Emily Qin First Violin #

Emily Long First Violin #

Leigh MiddenwayFirst Violin

Alexandra D’Elia Second Violin

Alexander Norton Second Violin #

Deborah Sholem Second Violin

Thomas Dundas Second Violin

Jacqueline Cronin Viola #

Rosemary Curtin Viola

Vera Marcu Viola

Rowena Crouch Cello #

Patrick Murphy Cello #

Martin Pencika Cello †

Janine Ryan Cello

Minah Choe Cello

Jennifer Druery Double Bass #

Lauren Brandon Double Bass

Hayley Clare Double Bass

Peter McLean Double Bass

Euan Harvey Horn *

Alexandra Bieri Trumpet

Key:

# Contract Musician† Sydney Symphony

Fellowship * Courtesy of New

Zealand Symphony Orchestra

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council


08Cellos

09 10 11 01 02 03

01Violas

02 03 04 05 06 07

04 05 06 07 08 -9

01Double Basses

02 03 04 05 06 07

08Harp

01Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictPrincipal

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

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

Cellos

01 Catherine Hewgill Principal

02 Nathan Waks Principal

03 Kristy Conrau04 Fenella Gill05 Leah Lynn06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Andrew RacitiAssociate Principal

04 Neil BrawleyPrincipal Emeritus

05 David Campbell06 Steven Larson07 Richard Lynn08 David Murray

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

01 Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild Associate Principal

03 John Foster04 Anthony Heinrichs

Trombone

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

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipal

02 Brian NixonAssistant Principal Timpani (contract)

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

02

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

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

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contactCorporate Relations on (02) 8215 4614.


01 02 03 04 05 06

07 08 09 10 11

DIRECTORS’ CHAIRS

01Mulpha Australia Chair ofPrincipal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul Salteri Chair ofArtistic Director Education,Richard Gill OAM

04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris

05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing

06Brian and Rosemary White Chair of Principal Double Bass,Kees Boersma

07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding

08Gerald Tapper, Managing Director Rogen International withRogen International Chair of Trombone, Nick Byrne

09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell

10Ian and Jennifer Burton Chair of Assistant Concertmaster,Fiona Ziegler

11Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty


Mr Russell FarrMr & Mrs David FeethamMr Richard & Mrs Diana FisherRev H & Mrs M Herbert °*Ms Michelle Hilton-VernonMr and Mrs Paul HoltMr Eric C Howie °Mr & Mrs P Huthnance °Ms Judy JoyeMrs Jeannette King ° *Mrs J Lam-Po-Tang °Dr Barry LandaMrs Joan Langley °Ms Jan Lee Martin & Mr Peter

Lazar §Mr David & Mrs Skye LeckieMargaret Lederman °Mr & Mrs Ezzelino Leonardi §Mr Bernard & Mrs Barbara LeserErna & Gerry Levy AM *Mr and Mrs S C Lloyd °Mr Andrew & Mrs Amanda

LoveMr Matthew McInnes §Mr Tony & Mrs Fran MeagherMr Andrew NobbsMoon DesignMrs R H O’ConorMs Patricia Payn §Mr Adrian & Mrs Dairneen

PiltonMr & Mrs Michael PottsMrs B Raghavan °Mrs Caroline RalphsmithDr K D Reeve AM *Mr & Mrs A Rogers °Dr Jane & Mr Neville Rowden §Mrs Margaret SammutIn memory of H St P Scarlett °*Blue Mountain Concert

Society Inc °Mr Ezekiel SolomonMr Andrew & Mrs Isolde TornyaMiss Amelia TrottMrs Merle Turkington °The Hon M. Turnbull MP &

Mrs L. Hughes TurnbullMr & Mrs Franc VaccherRonald Walledge °Louise Walsh & David JordanMr Geoff Wood and

Ms Melissa WaitesMiss Jenny WuMr Michael Skinner &

Ms Sandra Yates AO

Anonymous (12)

PLAYING YOUR PART

Maestri

Brian Abel & the late BenGannon AO °

Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop ° §Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °The Clitheroe Foundation *Patricia M. Dixson *Penny Edwards ° *Mr J O Fairfax AO *Dr Bruno & Mrs Rhonda

Giuffre *Mr Harcourt Gough §Mr David Greatorex AO &

Mrs Deirdre Greatorex §Mr Andrew Kaldor &

Mrs Renata Kaldor AO §H. Kallinikos Pty Ltd §Mr David Maloney §Mr B G O’Conor §The Paramor Family * Mr Paul & Mrs Sandra SalteriMrs Joyce Sproat & Mrs Janet

CookeMr Brian & Mrs Rosemary WhiteAnonymous (1) *

Virtuosi

Mrs Antoinette Albert §Mr Robert & Mrs L Alison Carr §Mr John C Conde AO §Mr John Curtis §Irwin Imhof in Memory of

Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Helen Lynch AM °Mr E J Merewether & Mrs T

Merewether OAM *Miss Rosemary Pryor *Bruce & Joy Reid Foundation *John Roarty in memory of

June Roarty

Rodney Rosenblum AM & SylviaRosenblum §

Mrs Helen Selle §Dr James Smith §David Smithers AM & family §Michael & Mary Whelan Trust §Anonymous (2) §

Soli

Ms Jan Bowen *Mr Chum Darvall §Ian Dickson & Reg Holloway *Hilmer Family Trust §Mr Paul & Mrs Susan Hotz °§Mr Rory JeffesPaul Lancaster & Raema

Prowse °§Mrs Joan MacKenzie §Mr James & Mrs Elsie Moore °Ms Kathleen ParerMs Gabrielle TrainorMr R Wingate §Anonymous (2) §

Tutti

Mr C R Adamson ° §Mr Henry W Aram §Mr David Barnes °Mr Alex & Mrs Vera BoyarskyMrs F M Buckle °Debby Cramer & Bill Caukill °Libby Christie & Peter JamesMr Bob & Mrs Julie Clampett §Mr John Cunningham SCM

Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof

Neville Wills §Mrs Dorit & Mr William

Franken °§Mr & Mrs J R W Furber §Mr Arshak & Ms Sophie

Galstaun §In Memory of Hetty Gordon §Mrs Akiko Gregory §Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski °Dr Paul Hutchins &

Ms Margaret Moore °Mrs Margaret JackMr John W Kaldor AM §Mr & Mrs E Katz §Mr Andrew Korda &

Ms Susan Pearson §Mr Justin Lam §Mr Gary Linnane §Ms Karen Loblay §Mr & Mrs R. Maple-Brown §Mrs Alexandra Martin & the late

Mr Lloyd Martin AM §Justice Jane Mathews §

Mrs Mora Maxwell °§Judith McKernan °Mrs Barbara McNulty OBE °Mr & Mrs John MorschelMr R A Oppen §Mr Robert Orrell §Dr Timothy Pascoe §Ms Robin Potter §Mr Nigel Price §Mr & Mrs Ernest Rapee §Mrs Patricia H Reid °Mr Brian Russell & Ms Irina

SinglemanGordon & Jacqueline Samuels °§Ms Juliana Schaeffer §Robyn Smiles §Derek & Patricia Smith §Catherine Stephen °Mr Fred & Mrs Dorothy Street §Mr Georges & Mrs Marliese

Teitler §Mr Stephen ThatcherMr Ken Tribe AC & Mrs Joan

Tribe °Mr John E Tuckey °Mrs Kathleen Tutton °Ms Mary Vallentine AO §Henry & Ruth Weinberg §Mr & Mrs Bruce WestJill Wran §Mrs R Yabsley °Anonymous (10) §

Supporters over $500

Mr Roger Allen & Ms MaggieGray

Mr Lachlan AstleJohn Augustus °Mr Warwick Bailey §Mr Marco Belgiorno-Zegna AM

Mr G D Bolton °Pat & Jenny Burnett °Hon. Justice J C & Mrs

Campbell *Mr & Mrs Michel-Henri Carriol °Mrs B E Cary §Mr Leo Christie & Ms Marion

BorgeltMr Peter CoatesMr B & Mrs M Coles §Mrs Catherine Gaskin

Cornberg §Stan & Mary Costigan *Mrs M A Coventry °Ms Rowena Danziger °Mr & Mrs Michael DarlingLisa & Miro Davis *Mrs Patricia Davis §Mrs Ashley Dawson-DamerMr Paul Espie °

Patron Annual

Donations Levels

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

To discuss givingopportunities, please callCaroline Mark on (02) 8215 4619.

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

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace is limited we are unable to list donors who give between $100 and $499 –please visit sydneysymphony.com for a list of all our patrons.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

What’s on the cover?During the 2007 season Sydney Symphony program covers willfeature photos that celebrate the Orchestra’s history over thepast 75 years. The photographs on the covers will changeapproximately once a month, and if you subscribe to one ofour concert series you will be able to collect a set over thecourse of the year.

COVER PHOTOGRAPHS (clockwise from top left): Couple looking at an SSO Youth Concerts brochure, 1960s; Gianluigi Gelmetti;Edo de Waart’s farewell gala concert, November 2003; Proms audience playingpenny whistles in McCabe’s Mini Concerto for organ, orchestra and 485 pennywhistles (17 February 1968); Cliff Goodchild, former Principal Tuba, early 1960s;75 Years of Inspiring Music; Dene Olding, Co-Concertmaster; Diana Doherty,Principal Oboe


Sydney Symphony Staff

MANAGING DIRECTOR

Libby Christie

EXECUTIVE ASSISTANT

Deborah Byers

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON

Ilmar Leetberg

PERSONAL ASSISTANT TO THE

CHIEF CONDUCTOR

Lisa Davies-Galli

Education Programs

EDUCATION MANAGER

Margaret Moore

EDUCATION CO-ORDINATOR

Bernie Heard

A/EDUCATION CO-ORDINATOR

Charlotte Binns-McDonald

Library

LIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Rory Jeffes

CORPORATE RELATIONS MANAGER

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Alan Watt

CORPORATE RELATIONS EXECUTIVE

Julia Owens

PHILANTHROPY MANAGER

Caroline Mark

PATRONS & EVENTS MANAGER

Georgina Andrews

MARKETING AND

CUSTOMER RELATIONS

DIRECTOR OF MARKETING AND

CUSTOMER RELATIONS

Julian Boram

Publicity

PUBLIC RELATIONS MANAGER

Imogen Corlette

PUBLICIST

Yvonne Zammit

Customer Relationship

Management

MARKETING MANAGER – CRM

Aaron Curran

ONLINE & PUBLICATIONS MANAGER

Robert Murray

DATABASE ANALYST

Martin Keen

Marketing Communications

MARKETING COMMUNICATIONS

MANAGER

Georgia Rivers

MULTICULTURAL MARKETING

MANAGER

Xing Jin

ASSISTANT MARKETING MANAGER

Simon Crossley-Meates

CONCERT PROGRAM EDITOR

Yvonne Frindle

Box Office

BOX OFFICE MANAGER

Lynn McLaughlin

BOX OFFICE COORDINATOR

Anna Fraser

CUSTOMER SERVICE

REPRESENTATIVES

Wendy AugustineMatthew D’SilvaMichael Dowling

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA

MANAGEMENT

Aernout Kerbert

ACTING DEPUTY ORCHESTRA

MANAGER

Greg Low

ORCHESTRAL ASSISTANT

Angela Chilcott

OPERATIONS MANAGER

John Glenn

TECHNICAL MANAGER

Derek Coutts

PRODUCTION CO-ORDINATOR

Tim Dayman

PRODUCTION ASSISTANT

Ian Spence

STAGE MANAGER

Marrianne Carter

COMMERCIAL PROGRAMS

DIRECTOR OF COMMERCIAL

PROGRAMMING

Baz Archer

RECORDING ENTERPRISES

RECORDING ENTERPRISES MANAGER

Aimee Paret

BUSINESS SERVICES

DIRECTOR OF FINANCE

Teresa Cahill

EXECUTIVE PROJECT MANAGER

Rachel Hadfield

FINANCE MANAGER

Samuel Li

OFFICE ADMINISTRATOR

Shelley Salmon

INFORMATION TECHNOLOGY

MANAGER

Tim Graham

PAYROLL AND ACCOUNTS

PAYABLE OFFICER

Caroline Hall

HUMAN RESOURCES

Ian Arnold

SYDNEY OPERA HOUSE TRUST

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

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Norman GillespieDIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . .David Antaw DIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . .Naomi GrabelDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . .Joe HoracekDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

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

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulatedwithout the publisher’s consent in writing. It is a further condition that thispublication shall not be circulated in any form of binding or cover otherthan that in which it was published.

This is a /SHOWBILL publication.

Publisher

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

1017 Pacific Highway, Pymble, NSW 2073 Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected]: www.playbill.com.au

EXECUTIVE CHAIRMAN AND ADVERTISEMENT DIRECTOR Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR Michael Nebenzahl

EDITORIAL DIRECTOR Jocelyn Nebenzahl

DIRECTOR – PRODUCTION Chris Breeze

NEW ZEALAND MANAGER Ngaire Stent

Melbourne Office: C/- Moore Stephens HF, 14th Floor, 607 Bourke Street, Melbourne VIC 3000; (61 3) 9614 4444, Fax (61 3) 9629 5716. Canberra Office: C/- Minter Ellison, 25 National Circuit, Forrest, Canberra ACT 2603; (61 2) 6225 3000, Fax (61 2) 6225 1000. Brisbane Office: C/- HBM Heiser Bayly Mortensen Lawyers, Level 4 Toowong Tower, 9 Sherwood Road, Toowong QLD 4066; (61 7) 3371 1066, Fax (61 7) 3371 7803. Adelaide Office: Playbill Pty Limited, Adelaide Convention Centre, GPO Box 2669, North Terrace SA 5001; Mobile (61) 419 244 425, Fax (61 8) 8231 3681. Perth Office: C/- Ernst & Young, 11 Mounts Bay Road,Perth WA 6000; GPO Box M939 Perth WA 6843; (61 8) 9429 2222, Fax (61 8) 9429 2436. Hobart Office: C/- Page Seager, 162 Macquarie Street, Hobart TAS 7000; (61 3) 6235 5155, Fax (61 3) 6231 0352. Darwin Office: C/- Ernst & Young, 9-11 Cavanagh Street, Darwin NT 0800; (61 8) 8943 4200, Fax (61 8) 8943 4290.

OVERSEAS OPERATIONS

New Zealand Registered Office: Playbill (N.Z.) Limited, Level 5, 94 Dixon Street, PO Box 11-755, Wellington, New Zealand; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland Office: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected] London Office: Playbill UK Limited, C/- Everett Baldwin BarclayConsultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong Office: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia Office: Playbill (Malaysia) Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 PetalingJaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Singapore Office: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc.,Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should be directed to the above company and address.

Entire concept copyright. Reproduction without permission in whole or inpart of any material contained herein is prohibited. Title ‘Playbill’ is theregistered title of Playbill Proprietary Limited. Title ‘Showbill’ is theregistered title of Showbill Proprietary Limited.

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14843 – 1/090607 – 20G S41

SYMPHONY SERVICES AUSTRALIA LIMITED

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

www.symphony.net.au

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Facsimile (02) 8215 4646

Customer Services:GPO Box 4338, Sydney NSW 2001Telephone (02) 8215 4600Facsimile (02) 8215 4660

www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanical,including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in thispublication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.

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

Documents

Welcome to the concert · 2019-07-28 · Welcome to the concert APIA is pleased to bring you this performance in the 2007 Great Classics series. Like you, we’re an enthusiastic