2008...6 2008 Annual Report sydneysymphony.com 7 • The Sydney Symphony presented 100 concerts in...

2008AnnuAl RepoRt

2 2008 Annual Report 3sydneysymphony.com

FIRST VIOLINS Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Kirsty Hilton Assistant Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty

Marianne Broadfoot

Brielle Clapson

Sophie Cole

Amber Davis

Rosalind Horton

Jennifer Hoy

Jennifer Johnson

Georges Lentz

Nicola Lewis

Alexandra Mitchell Moon Design Chair

Léone Ziegler

SECOND VIOLINSMarina Marsden Principal

Emma West Assistant Principal

Susan Dobbie Principal Emeritus

Pieter Bersée*

Maria Durek

Emma Hayes

Shuti Huang

Stan Kornel

Benjamin Li

Nicole Masters

Philippa Paige

Biyana Rozenblit

Maja Verunica

VIOLASRoger Benedict Principal

Anne Louise Comerford Associate Principal

Yvette Goodchild Assistant Principal

Robyn Brookfield

Sandro Costantino

Jane Hazelwood

Graham Hennings

Mary McVarish

Justine Marsden

Felicity Tsai

Leonid Volovelsky

CELLOS Catherine Hewgill Principal

Nathan Waks Principal

Leah Lynn Assistant Principal

Kristy Conrau

Fenella Gill

Timothy Nankervis

Elizabeth Neville

Adrian Wallis

David Wickham

DOUBLE BASSESKees Boersma Principal

Alex Henery Principal

Neil Brawley Principal Emeritus

David Campbell

Steven Larson

Richard Lynn

David Murray

HARPLouise Johnson Principal Harp, Mulpha Australia Chair

FLUTESJanet Webb Principal

Emma Sholl Associate Principal Flute, Mr Harcourt Gough Chair

Carolyn Harris

PICCOLORosamund Plummer Principal

OBOESDiana Doherty Principal Oboe, Andrew Kaldor and Renata Kaldor ao Chair

Shefali Pryor Associate Principal

COR ANGLAISAlexandre Oguey Principal

CLARINETSLawrence Dobell Principal

Francesco Celata Associate Principal

Christopher Tingay

BASS CLARINETCraig Wernicke Principal

BASSOONSMatthew Wilkie Principal

Roger Brooke Associate Principal

Fiona McNamara

CONTRABASSOONNoriko Shimada Principal

HORNSRobert Johnson Principal

Ben Jacks Principal

Geoff O’Reilly Principal 3rd

Lee Bracegirdle

Euan Harvey

Marnie Sebire

TRUMPETSDaniel Mendelow Principal

Paul Goodchild Associate Principal

John Foster

Anthony Heinrichs

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

Scott Kinmont Associate Principal

Nick Byrne RogenSi Chair

BASS TROMBONEChristopher Harris Principal Bass Trombone, Trust Foundation Chair

TUBASteve Rossé Principal

TIMPANIRichard Miller Principal

PERCUSSIONRebecca Lagos Principal

Colin Piper

PIANOJosephine Allan Principal (contract)

Musicians 2008Sydney Symphony

GIANLUIGI GELMETTIChief Conductor and Artistic Director

Michael Dauth Concertmaster

Dene Olding Concertmaster

Concertmaster Chairs supported by the Sydney Symphony Board and Council

*Deceased


Page 6 2008 The Year in Review

Page 8 Chairman’s Report

Page 10 Managing Director’s Report

Page 12 Board of Directors

Page 14 Report on Artistic Direction

Page 16 Artistic Report

Page 18 Artists and Repertoire

Page 20 Audience Development

Page 22 The Education Program

Page 26 Touring and Outreach

Page 28 Philanthropy Report

0 Sydney Symphony Donors

Page 32 Partnerships

Page 33 Directors’ Chairs

Page 34 Corporate Governance Statement

Page 36 Financial Statements

Page 66 Sydney Symphony Council

Page 66 Sydney Symphony Volunteers

Page 67 Sydney Symphony Staff

Contents


• The Sydney Symphony presented 100 concerts in the Sydney Opera House and City Recital Hall Angel Place to 187,456 patrons.

• These performances included 92 concerts to which subscriptions are sold across 11 series, 6 gala performances and a further 2 performances sold to subscription series programs where increased demand was anticipated.

the year in review 2008

Sydney Subscription Series and Stand-Alone Mainstage performances

SeriesNumber of performances

Number of programs 2008 attendance

EnergyAustralia Master Series 27 9 53,284

Thursday Afternoon Symphony 9* 9 19,308

Emirates Metro Series 8 8 16,488

Meet the Music 8 4 17,383

Kaleidoscope 8 4 15,656

Great Classics 7* 7 14,120

Tea & Symphony 8* 8 14,525

The Veuve Clicquot Series 5 5 10,452

Discovery Program 4 4 4,104

International Pianists in Recital 4 4 3,312

Mozart in the City 4 4 2,952

Gala Performances 6 4 11,257

Additional mainstage performances 2 2 4,615

Total 100 72 187,456

* Matinee performances

In 2008 the Sydney Symphony performed 232 concerts to more than 300,000 people.

the education program• 40,765 knowledge seekers

attended the Sydney Symphony’s 86 education activities in 2008.

• Of these, 13,314 pupils attended the 28 schools concerts that are held at both the ABC Centre in Ultimo and Sydney Olympic Park, and 4,454 pupils attended one of nine regional schools concerts in Inverell, Moree & Armidale.

• 3,000 concertgoers enjoyed 21 performances by the Sydney Symphony Fellows.

• 573 teachers attended 4 education seminars.

• 135 people attended the 2 Sinfonietta performances.

• 67 students and several local music teachers participated in the Coffs Harbour Playerlink workshop.

Commercial WorkThe Sydney Symphony allocated approximately 11 per cent of available orchestral playing time to earn necessary additional income from collaborations with commercial presenters. This work is undertaken with either the Sydney Symphony taking the full risk or as a ‘band for hire’.

In 2008 the Sydney Symphony performed in 25 commercial concerts which attracted 46,927 attendees

touring and outreach• The Sydney Symphony performed

at two free outdoor concerts in 2008:* Sydney Festival Symphony in

the Domain – 1,000* Sydney Olympic Park Music by

Moonlight – 8,000

• The Sydney Symphony toured to Bathurst where it played to a packed hall of 642 and also visited Orange and the Blue Mountains, playing to an audience of 600.

• Seven performances to over 350 attendees were given under the Sydney Symphony and MBF’s music4health program at hospitals throughout NSW.

• More than 69 hours of Sydney Symphony recorded concerts were broadcast in 75 transmissions on ABC Classic FM to an estimated total audience of over 3,632,000.

• 8 Sydney Symphony performances were offered to European Broadcasting Union members and 52 broadcasts were made in Europe as a result of these offers.

• 10 performances were made available for streaming on the BigPond website.

• 4 CD releases by the Sydney Symphony’s own label:* Sir Charles Mackerras conducts

Dvorák, Smetana, Janácek and Richard Strauss

* Gelmetti conducts Ravel* Gelmetti conducts Cantata

della vita* Brett Dean and the Sydney

Symphony (released simultaneously for Europe on the BIS label)

• 1 digital download release of Richard Meale’s Very High Kings.

• Vladimir Ashkenazy – conducts Rachmaninov CD box-set released on the Octavia label.

• 80 clients of the Redfern & Inner City Home Support Service attended four performances in 2008.

• Sydney Symphony musicians also contribute to the wider community in their capacity as teachers and members of community music groups.

• An eight-city tour to major Italian cultural centres was completed in October 2008. The Orchestra benefited from the opportunity to perform to a range of exceptional concert halls, some of great historic significance (Verona) and others representing the highest standards of modern concert hall construction and acoustics (Lingotto).


I am delighted to report another successful year for the Sydney Symphony. 2008 was the fifth and final year of Maestro Gelmetti’s tenure as our Chief Conductor and Artistic Director and it represented the culmination of his achievements with the Orchestra. Throughout the year, both under the baton of Maestro Gelmetti as well as with an inspiring array of visiting artists, our audiences have enjoyed outstanding performances.

Maestro Gelmetti’s concerts included the critically acclaimed Ravel celebration in February and in July performances of Beethoven’s Missa Solemnis. In September Sydney farewelled him at sold-out performances of some his best-loved repertoire before the Orchestra’s ten-day tour to his home country of Italy. This tour, the first visit by the Sydney Symphony to Italy in its 76-year history was a wonderful opportunity for the Sydney Symphony to demonstrate the outstanding artistic collaboration achieved during Maestro Gelmetti’s term with us, as well as fulfilling his dream of demonstrating what can be achieved when bringing together the best of the old world with the finest talents of the new. Performing in eight cities throughout Italy, and featuring virtuoso didgeridoo soloist William Barton and flautist Rosamund Plummer in music by Australian composer Liza Lim, the Orchestra was received warmly by audiences and critics.

In November the Orchestra welcomed back Vladimir Ashkenazy to present a noteworthy Elgar festival. This provided audiences and the orchestra with a foretaste of the four-year period beginning January 2009, when Ashkenazy will lead the Sydney Symphony as our Principal Conductor and Artistic Advisor.

Like all cultural enterprises, we are very concerned about the impact of current economic conditions on income from ticket sales, philanthropy and business partnerships. The company has explored all means to manage and reduce the costs resulting from divestment from the ABC. The Sydney Symphony has demonstrated the negative financial effect

Chairman’s Report

of divestment through the 2008 Evaluation of the Orchestras Review conducted by the Australia Council for the Arts, and we await recommendations from that review and its consideration by the Federal Government.

As a result of these additional costs, the Sydney Symphony’s capacity to support non-revenue generating activities, such as our education program and composer collaborations, has been affected during the year and will remain under significant pressure in 2009 and subsequent years.

I thank the Federal Government through the Australia Council for the Arts and the New South Wales Government through Arts NSW for their invaluable and ongoing support. Government support is critical to the success of the Sydney Symphony. Currently, the Australia Council is undertaking its Third Review of the Major Performing Arts Funding Model. The Sydney Symphony will work closely with the Council and make every attempt to achieve a positive outcome from this review in terms of divestment cost compensation, full indexation of base grants and access to special grants in support of major government arts initiatives.

I also acknowledge and thank our sponsors, patrons and donors, without whose support the Sydney Symphony would be unable to present either the world-class performances enjoyed by our audiences or the equally important community and outreach programs.

I thank my fellow directors for their significant contribution to the wellbeing of the company and its continuing success. The Board takes pride in the accomplishments of the Sydney Symphony.

Above all, I thank the musicians of the Sydney Symphony, our visiting artists and all members of the company who have worked tirelessly to entertain and inspire us in 2008. I pay tribute to our outgoing Chief Conductor and Artistic Director,

Maestro Gianluigi Gelmetti. Gianluigi served the company with artistic flair and great enthusiasm. We congratulate him on his achievements and thank him for his contribution to the success of the Sydney Symphony.

We look forward to 2009 and beyond as Vladimir Ashkenazy assumes artistic leadership as our Principal Conductor and Artistic Advisor. This will be a period of great opportunity and development for the Sydney Symphony under his inspiring leadership.

Finally, I acknowledge the significant contribution that our Managing Director, Libby Christie, has made to the Sydney Symphony during her time with the company. Libby announced towards the end of 2008 that she would be leaving us in the first half of 2009. She has been a driving force for change in the Orchestra, has achieved excellent results for our relationships with important stakeholders, our financial management and our administration generally, and has encouraged and supported artistic integrity and excellence. We thank her warmly and wish her every success.

JOHN C CONDE AO

Chairman and Non-Executive Director


2008 was a year of significant artistic achievement for the Sydney Symphony, a year in which the Orchestra presented a range of outstanding and diverse programs and celebrated Maestro Gelmetti’s final year as our Chief Conductor and Artistic Director. To highlight his achievements with the Sydney Symphony, Maestro Gelmetti offered the season-opening Ravel celebration and memorable performances of Beethoven’s Missa Solemnis as part of the 2008 World Youth Day. In September audiences were delighted with the gala concerts to farewell Maestro Gelmetti, which featured musical highlights from his time as our Chief Conductor and Artistic Director and from the world of opera.

In 2008 it was a pleasure for the orchestra to work with many outstanding international conductors including Oleg Caetani, David Robertson, Kristjan Järvi, Charles Dutoit and our incoming Principal Conductor Vladimir Ashkenazy, whose Elgar Festival in November was received so enthusiastically. Outstanding soloists who performed with the orchestra in 2008 included Nigel Kennedy, Ralph Kirshbaum, Kurt Elling, James Ehnes, Emanuel Ax, Yefim Bronfman and Simon Trpceski. The Sydney Symphony’s commitment to Australian music and artists was a notable feature of the season, with performances of works by Australian composers Georges Lentz (Monh), Lee Bracegirdle (Euphonium Concerto), Peter Sculthorpe (Mangrove), William Barton and Matthew Hindson (Kalkadungu) and Liza Lim, whose work The Compass was featured on the Orchestra’s Italy Tour. In addition, numerous Australian instrumentalists appeared as soloists and Australian conductors Matthew Coorey, Nicholas Milton, Benjamin Northey, Mark Shiell, Guy Noble and Richard Gill directed the orchestra in the 2008 season.

The report which follows is a testament to the extraordinary talent of the musicians of the Sydney Symphony whose outstanding performances ensure the artistic success of the orchestra. In 2008 the orchestra was delighted to welcome three musicians who were appointed to trial with the Sydney Symphony: Co-Principal Cello Timothy Walden, and in the First Violins, Brielle Clapson and Marianne Broadfoot.

Managing Director’s ReportOur audience reach was also assisted by our ongoing broadcasting partnerships with the ABC and with BigPond. There were 75 ABC Classic FM broadcasts, eight European Broadcasting Union broadcasts and ten webcasts of Sydney Symphony performances during the year.

The Sydney Symphony’s Italy Tour in September–October 2008 – the first time the orchestra has toured to Italy – was a great success. The orchestra performed in Merano, Milan, Turin, Siena, Caserta, Rome, Modena and Verona to capacity houses in each city. Australian digeridoo virtuoso William Barton was a guest soloist during the tour, performing with flautist Rosamund Plummer in a work co-commissioned by the Orchestra from Australian composer Liza Lim.

2008 was a successful year for the Sydney Symphony in terms of deepening mutual benefits with our valued corporate partners and attracting new sponsors. In 2008 the company renewed 90 per cent of corporate partner agreements and added a small number of new partnerships. We value the generous support and constructive collaboration we enjoy with our partners, who make possible many of the Sydney Symphony’s artistic, education and community programs.

Philanthropy plays an increasingly important part in supporting our artistic goals. A major philanthropy initiative has been the Sydney Symphony Maestro’s Circle, established in 2008 to support the 2009–12 Ashkenazy period. In addition to the generous donations received in support of this initiative, the company is tremendously grateful for regular gifts from our very loyal patrons who support our education program, our instrument fund and core Sydney Symphony activities.

Before the company’s contribution to the Italy Tour, the Sydney Symphony posted a profit of $181,250 for 2008. This result includes exceptional costs due to ABC divestment totalling $470,011. The company has provided information to the Federal Government via the Australia Council for the Arts in support of compensation for the unexpected costs due to divestment. These costs are a continuing burden and now threaten our capacity to support non-commercial activities such as young and emerging artist and composer programs. Declining income from single ticket sales in the second half of the year was offset by careful cost control. The Sydney Symphony’s Italy Tour was supported by fee income, generous sponsorship, donations and support from the NSW Government and the Australia Council. The company also contributed $459,132 to tour expenses from our International Touring Reserve. At year-end, the company had reserves of $9,673,653.

As I will be leaving the Sydney Symphony in 2009, I would like to pay tribute to the musicians and administrators whose collective talent, creative endeavour and hard work ensure the continuing success of the Sydney Symphony. I would also like to thank and recognise our Chairman, Mr John Conde, and our Board of Directors for their generous and tireless support, wise counsel and for their inspiring contribution to the success of the company during the six years I have been privileged to be Managing Director. I would also like to thank the many patrons, sponsors and our audience members who have provided me with invaluable and generous support, advice and friendship.

A new era, which promises to be outstanding and inspiring on all levels, has begun for the Sydney Symphony in 2009 under the artistic leadership of our new Principal Conductor and Artistic Advisor, Vladimir Ashkenazy. I wish the company and Mr Ashkenazy every success in the years to come and look forward to enjoying many brilliant performances as a loyal member of the Sydney Symphony’s audience.

LIBBY CHRISTIE Managing Director

A total of 232 performances were presented by the Sydney Symphony to more than 300,000 people in 2008. Concerts were presented in Sydney and across the State as well as in eight Italian cities as part of the Sydney Symphony’s 2008 Italy Tour. The Sydney Symphony performed free outdoor concerts in the Domain (as part of the Sydney Festival) and at Sydney Olympic Park. We continued our hospital performances with the support of MBF’s music4health program, with performances in seven hospitals during the year.

While overall attendance numbers in 2008 fell slightly compared with 2007 (our celebratory 75th anniversary season), 2008 subscriber numbers remained at previous year levels. Single ticket sales were somewhat challenging in 2008, and in the second half of the year we felt the effects on box office results of an artistic leadership year-in-transition, strong competitive events and a weakening consumer market.

The Sydney Symphony’s commitment to developing new audiences and young and emerging artists continued in 2008. Our outstanding Education Program gave 86 performances to more than 40,000 people seeking to increase their knowledge of orchestral music. Of these, almost 18,000 school children attended schools concerts in Sydney, the outer metropolitan area and regional New South Wales. Forty-five young musicians successfully auditioned for the Sydney Sinfonia, our mentoring orchestra, which provides these outstanding tertiary students and recent graduates with the invaluable experience of working alongside professional musicians as part of a performing orchestra. The Sydney Sinfonia performed 32 Discovery and schools concerts under the direction of Richard Gill. Six very talented young musicians were awarded Sydney Symphony Fellowships and worked with Fellowship Artistic Director and Principal Viola, Roger Benedict, throughout the year. A highlight of the Fellowship program was two private performances for His Holiness Pope Benedict XVI during his visit to Sydney for World Youth Day. We are delighted that, since the inception of the Sydney Fellowship program in 2001, 15 Sydney Symphony Fellows have been appointed to positions in orchestras in Australia and overseas.

In 2008 we continued with our recently revived recording activities. Six recordings produced in previous years were released in 2008. Five recordings were released on the Sydney Symphony label including a 2-CD set with Sir Charles Mackerras and a recording of music by Brett Dean. The box set, Rachmaninov: Complete Symphonies & Orchestral Works, recorded with Vladimir Ashkenazy and the Sydney Symphony by Exton in 2007 was also released during the year. The Sydney Symphony was delighted with the positive reviews of these recordings by Australian and international critics. In 2008 we recorded nine performances from the season and of these the Gelmetti Ravel CD, Gelmetti’s Song of Life, and a Burt Bacharach recording were released during the year. The remaining six recordings, which include Ashkenazy’s Elgar Festival box set, are due for release in 2009.


Board of Directors

JOHN C CONDE ao

Chairman and Non-Executive Director

John Conde is Chairman of EnergyAustralia, one of Australia’s largest utility corporations. He is also Chairman of BUPA Australia Health Pty Limited, Chairman of Whitehaven Coal Limited and Chairman of the Homebush Motor Racing Authority. He is President of the Commonwealth Remuneration Tribunal and Chairman of the Australian Olympic Committee (NSW) Fundraising Committee. Positions previously held include Director of BHP Billiton and Excel Coal Limited, Managing Director of Broadcast Investment Holdings Pty Limited, Director of Lumley Corporation and President of the National Heart Foundation of Australia.

LIBBY CHRISTIE Executive Director

Libby Christie has been the Managing Director of the Sydney Symphony since July 2003. Prior to joining the Sydney Symphony she held senior roles in the IT and telecommunications sector. She has held executive senior marketing and business development roles in TMP Worldwide, Telstra, Optus Communications and Computer Power group. She is also a Director of the Australian Standards Association.

EWEN CROUCH Non-Executive Director

Ewen Crouch is a Partner and Chairman of Allens Arthur Robinson effective 1 January 2009. He is currently Co-head of the firm’s Mergers &

Acquisitions and Capital Markets group, comprising a team of 121 lawyers, including 27 partners. He is one of Australia’s leading M&A lawyers, having acted in recent years in some of the country’s most significant transactions. Ewen Crouch is a member of the Corporations Committee of the Law Council of Australia, and the International Bar Association, and is admitted to practise law in NSW, Victoria, the ACT and Western Australia. He is also a Director of KONE Elevators Pty Ltd and KONE Holdings (Australia) Pty Ltd, Vice President and Director of Mission Australia Group and a Director of Working Links (Employment) Ltd.

JOHN CURTIS Non-Executive Director

John Curtis is a professional company director. He is currently the Chairman of Merrill Lynch Australia Advisory Board and a member for the Merrill Lynch Global Advisory Council and Asia Advisory Board. He is also Chairman of Allianz Australia Limited, the Bayard Group and is Chairman of St.George Bank Limited and Deputy Chairman of Westpac Banking Corporation Limited.

For the past 20 years he has been Chairman and Director of a number of public companies and Government entities including Television and Telecasters Limited (Channel 10 network), Homebush Bay Development Corporation (the corporation responsible for the development of the Olympic Games site), Air New Zealand Limited and Perpetual Limited.

Prior to 1987, he was a main board director of Wormald International Limited and was responsible for its operations in Australia, Europe, Asia and the Americas. During part of that time he was Chairman of the National Building and Construction Council, the peak Industry body.

John Curtis is Chairman of the University of Technology Sydney Faculty of Business Executive Council. He is also Chairman of the Advisory Committee of Open Family in Sydney, which assists homeless children.

JENNIFER HOY Non-Executive Director

Jennifer Hoy was appointed to the First Violin section of the Sydney Symphony Orchestra in 2001. Her formal qualifications include a Bachelor of Music with first class honours from the Sydney Conservatorium and a Master of Music degree. She is also a teacher, adjudicator and tutor to musical students of all ages. In addition to the Sydney Symphony, Jennifer Hoy has toured and performed with the Australian Chamber Orchestra, Deutsche Radio Philharmonie Saarbrücken and the Western Australian Symphony Orchestra, for whom she acted as Assistant Concertmaster during 2006.

Jennifer Hoy has served on the Executive of the Sydney Symphony Orchestra Musicians Association and is currently a member of the Sydney Symphony’s Management Committee and is also a member of the Sydney Youth Orchestra’s Artistic Advisory Council.

Libby ChriStieJohn C Conde ao ewen CrouCh John CurtiS Jennifer hoy Stephen JohnS Andrew KALdor goetz riChter dAvid SmitherS am gAbrieLLe trAinor

STEPHEN JOHNSNon-Executive Director

Stephen Johns had a long career with Westfield where he held a number of positions including that of Finance Director from 1985 to 2002. He was appointed an executive director of Westfield Holdings Limited and Westfield Trust in 1985, and Westfield America Trust upon its listing in 1996. He became a non-executive director of the three Westfield boards in October 2003. He is currently a non-executive director of the Westfield Group, which resulted from the merger of the three listed entities in July 2004.

He was a non-executive director of Brambles Industries Limited and Brambles Industries PLC from August 2004 to December 2006, at which time he became a non-executive director of Brambles Limited, the new holding company of the Brambles group following a corporate reorganisation which became effective in December 2006.

Stephen Johns is Chairman of Spark Infrastructure Group, which was listed on the ASX in December 2005.

ANDREW KALDOR Non-Executive Director

Andrew Kaldor is the founder and Chief Executive of a group of privately held companies. He has been a director of a number of publicly listed companies and community organisations. He holds a Bachelor of Economics (Hons) degree from the University of Sydney and an MBA from Wharton.

Andrew Kaldor has been involved in the commissioning of four works by Australian composers for the Sydney Symphony: Ross Edwards’ Symphony No.2 (Earth Spirit Songs), Oboe Concerto (Bird Spirit Dreaming), and Symphony No.5 (The Promised Land); and Graeme Koehne’s Trumpet Concerto (High Art).

GOETZ RICHTER Non-Executive Director

Violinist Goetz Richter is currently Associate Professor and Chair of Strings at the Sydney Conservatorium. He was born in Hamburg, Germany and came to Australia as Concertmaster of the Queensland Philharmonic Orchestra in 1985. He was appointed Associate Concertmaster of the Sydney Symphony Orchestra in 1987 and remained in that position until 2002.

Professor Richter holds a PhD in philosophy from the University of Sydney and publishes and presents papers on the philosophy of Plato, Nietzsche, music and philosophy. His recent translation of Eugen Fink’s Nietzsches Philosophie was published by Continuum Press (2002).

DAVID SMITHERS am

Non-Executive Director

David Smithers is a director of the Rabobank Australia Group of Companies, the IES Group and Sydney IVF Ltd. He is also a director of Kirby Foundation and the Country Education Foundation. In 2003 he retired from PricewaterhouseCoopers after 30 years as a partner, during which time he was

a member of the PWC Global Board and Chairman of PWC Australia. He is a past president of the Institute of Chartered Accountants. He was also heavily involved in Sydney’s bid for the 2000 Olympic Games as a member of the Board of the bid company and Chairman of its Finance Commission.

GABRIELLE TRAINOR Non-Executive Director

Gabrielle Trainor is a lawyer, journalist and former public sector executive who has consulted in issues management and public affairs for over 20 years. She is a founding partner of John Connolly and Partners, a specialist public affairs and communications firm.

She has been a non-executive director for 15 years and has chaired and held positions on the boards of public, private, government and community organisations. She is a director of the Sydney Harbour Foreshore Authority, VicUrban, Breast Cancer Network Australia, a member of the Council of St Ignatius’ College, Riverview and other community organisations. She is an Honorary Associate in the Graduate School of Government at the University of Sydney.


Report on Artistic Direction

Gianluigi GelmettiChief Conductor and Artistic Director

Gianluigi Gelmetti’s fifth and final season as Chief Conductor and Artistic Director was a year of momentous musical achievements and will be remembered for many years to come. The year was marked by many moments of deep expression of friendship through music, of journeys undertaken together, and of many mutually enriching encounters along the way. It was a time to share and a time to reflect, but above all a time to experience together once again the joy and the message of music as a gift to all people.

In June Maestro Gelmetti completed and conducted his composition Cantata della vita in the Sydney Opera House to honour and recognise his time with the Sydney Symphony Orchestra. This performance of his “Song of Life” – a large fresco of the human voyage – was recorded for CD and remains a lasting testimony of his heartfelt affection for the people of Sydney.

In July we celebrated World Youth Day with performances of Beethoven’s great Missa Solemnis. In Gelmetti’s concert farewell to Sydney, he shared that other great love of his life, opera, with music by Mascagni, Verdi and Wagner. But his final farewell to the musicians of the Sydney Symphony took place in his ancient and beloved Italy, at the most prestigious cities and festivals, on an eight-city tour extending from Merano, Milan and Turin to Siena, Caserta and Rome, before circling back to Modena and Verona. Touring for the first time in Maestro Gelmetti’s own country, the Sydney Symphony performed the music of Ravel, Liza Lim (featuring William Barton and Rosamund Plummer as inspiring soloists) Rossini and Beethoven.

In Maestro Gelmetti’s final season the Sydney Symphony welcomed many great and distinguished guest artists, all of the very highest calibre. We continued our successful series of cycles dedicated to a single composer – such as we presented in 2007 with Brahms, Beethoven and Rachmaninov – celebrating in 2008 the wonderful music of Ravel and Elgar. With the music of Elgar, Vladimir Ashkenazy deepened his association with the musicians in preparation for taking over at the helm of the Sydney Symphony from 2009.

When, in 1993, Maestro Gelmetti first conducted the Sydney Symphony, he fell instantly in love with the spirit and the supreme musicianship of a great orchestra. Maestro Gelmetti has noted that the 2001 invitation to take the role of the Orchestra’s Chief Conductor for the period 2002–2008 was one of the most joyous moments of his life and an expression of trust that he was honoured to receive. As the Maestro said in his farewell, “Thank you for your support and friendship and thank you for sharing in the joy of great music!”

Viva gli amici della musica!


Artistic Report

the Year in Review The 76th season of the Sydney Symphony was defined by its diversity. Following the celebrations marking its 75th year, in 2008 the Orchestra bade farewell to its Chief Conductor and Artistic Director and also enjoyed an extended visit from its incoming Principal Conductor and Artistic Advisor. In 2008 the Sydney Symphony performed its most diverse program yet and also found its most diverse audience.

Mainstage performancesFocused explorations of two composers’ output formed the bookends to the 2008 season. To begin his final year as Chief Conductor, Maestro Gelmetti programmed a two-week celebration of the music of Maurice Ravel. In his second tour period, he conducted two large-scale choral works: gala performances of Beethoven’s Missa Solemnis, in coordination with World Youth Day, and his own composition, Cantata della vita. In his final period with the orchestra, before embarking on a tour of Italy, Maestro Gelmetti conducted a farewell gala concert, reprising many of the repertoire highlights of his tenure.

Prior to his taking up the mantle of Principal Conductor and Artistic Advisor, Vladimir Ashkenazy visited in November for a three-week festival of the music of Edward Elgar. As with the two previous festivals that Ashkenazy had conducted in Sydney, the intense schedule and volume of repertoire presented a special challenge to the orchestra. And, as in the previous visits, they rose to the challenge and presented an acclaimed series of concerts, leaving audiences with high anticipation of the coming years’ activities with Ashkenazy at the helm. Highlights included violinist James Ehnes, making a stunning concerto debut with Sydney Symphony, and two stand-alone performances of The Dream of Gerontius, featuring massed choirs and an acclaimed international line-up of soloists.

In 2008 the Sydney Symphony continued its commitment to engage A-list conductors as guest artists. Charles Dutoit visited for two weeks to prepare and present two monumental programs: Berlioz’s Roméo et Juliette, and Strauss’s An Alpine Symphony – repertoire for which he is an acknowledged authority. American conductor David Robertson presented a subscription program featuring Tchaikovsky and Stravinsky, and also his musical lecture, The Colour of Time – an audio-visual exploration of the concepts of impressionism and modern art. Oleg Caetani and Paul Daniel, chief conductors for the Melbourne and West Australian symphony orchestras respectively, both gave acclaimed concerts while visiting the Sydney Symphony.

First-time visitors to the podium included rising star Robin Ticciati, who made a remarkable debut in a challenging program of Mozart (featuring piano virtuoso Emanuel Ax), Sibelius, Meale and Schubert. Also making their debuts with the orchestra: Eivend Gullberg Jensen, Thomas Netopil, Thomas Dausgaard, and Lothar Zagrosek, whose two-week focus on Viennese Classical and early Romantic repertoire closed the season in style. These artists brought new perspectives to the orchestra’s performances in 2008 and will, we hope, return to our podium in the future.

Emanuel Ax and James Ehnes were just two of the guest artist highlights of this season. The orchestra was joined to memorable effect by cellist Ralph Kirshbaum, pianists Yefim Bronfman and Simon Trpceski, mezzo-soprano Daniela Barcellona, violinist Arabella Steinbacher and many other outstanding soloists.

The Sydney Symphony’s engagement with the best Australian musicians is perhaps exemplified by William Barton’s activity with the orchestra. His commissioned work Kalkadungu, composed with Matthew Hindson, received its premiere in April in the Meet the Music series. Barton was also the didgeridoo soloist in this work and subsequently toured Italy with the orchestra, performing Liza Lim’s piece The Compass. Australian conductors Matthew Coorey, Nicholas Milton, Benjamin Northey, Guy Noble and Richard Gill directed the orchestra in this season. The Sydney Symphony was especially proud to welcome the distinguished Australian bass baritone Peter Coleman-Wright to the Concert Hall platform, after an absence of several years. Numerous other Australian instrumentalists appeared with as soloists with the orchestra (for complete details see page 17).

There was also opportunity to celebrate the unique musical gifts residing in our own ranks: solo appearances by permanent members of the Sydney Symphony were a feature of every series, and orchestral soloists also appeared in regional and international tours. Major works by two composers who also play in the orchestra took place in 2008. Georges Lentz’ Monh for viola, electronics and orchestra, received its Australian premiere at the hands of its dedicatees Steven Sloane and Tabea Zimmermann, in an acclaimed concert in March. Lee Bracegirdle’s Euphonium Concerto received its premiere in the Meet the Music series in February, and Barton and Hindson’s Kalkadungu had its first performance a month later. The Discovery Program presented by Richard Gill featured a further two commissioned works.

The Kaleidoscope series offered four concerts to attract lovers of jazz, film and Latin American music to the Concert Hall. Concerts by vocalist Kurt Elling and trumpeter James Morrison (who is also Artistic Advisor of the series) playing music of Duke Ellington celebrated the cool. Frank Strobel and Clive James explored music from the crime film genre. Kristjan Järvi and Carel Kraayenhof

tapped into the rhythm and melancholy of Argentina and the Americas. Kaleidoscope continues to be a potent programming endeavour in the Sydney musical scene.

The diversity of the Sydney Symphony’s programming is illustrated by an almost tribal connection to several of our events in 2008. The Argentinean, Macedonian and Danish communities turned out in force to see their musical icons: Piazzolla’s tangos, Simon Trpceski and Thomas Dausgaard respectively. Our performances of Beethoven’s Missa Solemnis, coinciding with World Youth Day, attracted a different demographic again. And the finals of the Sydney International Piano Competition brought lovers of piano music to the Concert Hall. These sometimes unexpected displays of common ground with the orchestra’s performances were a delightful addition to the emotional bonds between audience and performers in the concert experience.

The breadth of the season’s appeal in 2008 meant that the Sydney Symphony’s activities touched a great number of people. The Orchestra aspires to continue to offer the best in music to its expanding public, and the highest quality experience to its musicians.

World and Australian premieres WORLD PREMIERES

BRACEGIRDLE Euphonium Concerto

Commissioned by Symphony Australia with assistance from the Australian Government through the Australia Council, its arts funding and advisory body.

BARTON and HINDSON Kalkadungu

Commissioned by Maggie Gray and Roger Allen for the Sydney Symphony

AUSTRALIAN PREMIERES

LENTZ Monh

Commissioned for Tabea Zimmermann by the BBC, the Echternacht International Music Festival and the Sydney Symphony.

GELMETTI Cantata della vita

TARALLI Oboe Concertino II

Commercial ActivityThe Sydney Symphony’s commercial activity in 2008 included self-presented concerts and concerts in which the orchestra appeared in presentations by other artistic organisations.

The Sydney Symphony’s own major commercial activity included a tour of Nigel Kennedy performing Mozart and Beethoven. This program was linked to the subscription series in Sydney. Songs from the Movies presented four leading Australian vocalists in concert in May. Successful concerts by Human Nature and Kate Ceberano completed the year’s commercial activity.


AppeAring in Sydney Symphony mAinStAge ConCertS And SeLeCted tourS And Community ConCertS

Artists and Repertoire

Ahbez Nature Boy

Antill* Corroboree: Welcome Ceremony

Bach trans. Busoni Chaconne in D minor

Barry, Norman, et al My Name is Bond – Themes from 007

Bartók The Miraculous Mandarin: Suite

Barton* and Hindson* Kalkadungu premiere

Beethoven Missa Solemnis, Op.123 Violin Concerto in D, Op.61 Symphony No.1 in C, Op.21 Symphony No.7 in A, Op.92 Piano Sonata No.21 in C, Op.53 (Waldstein) Septet in E flat, Op.20°

Bennett, Richard Rodney Murder on the Orient Express: Waltz

Berlioz Roman Carnival – Overture Roméo et Juliette – Dramatic symphony Symphonie fantastique: March to the Scaffold

Bernstein Candide: Overture Symphonic Dances from West Side Story

Bizet L’Arlésienne: Suite No.2

Bloch Schelomo – Hebraic rhapsody

Bracegirdle* Euphonium Concerto premiere

Brahms orch. Schoenberg Piano Quartet in G minor, Op.25

Bridge Suite for string orchestra

Britten Sunday Morning – Sea Interlude from Peter Grimes Variations on a Theme of Frank Bridge The Young Person’s Guide to the Orchestra°

Busoni Sonatina No.6 (Chamber fantasy after Carmen) Toccata (1921)

Butterley*° The 2009 education program featured excerpts from:Fire in Heaven First Day Covers From Sorrowing Earth Never This Sun, This Watcher

Carmichael Stardust

Carter Tight

Chabrier Le roi malgré lui: Danse slav

Chopin Fantasy, Op.49 Polonaise-fantaisie, Op.61

Copland Fanfare for the Common Man

Davis, Don The Matrix: Suite

Davis, Orbert Double Blues

Debussy Jeux – poème dansé L’isle joyeuse Nocturnes Prélude à l’après-midi d’un faune

Debussy arr. Robert Hughes Three Preludes from Préludes for piano

Dvorák The Noon Witch Serenade in E for strings° Slavonic Dance, Op.46 No.8 Slavonic Dances, Op.72 Nos.1 and 2 Symphony No.9 in E minor, Op.95 (From the New World)

Elgar The Dream of Gerontius Sea Pictures Cello Concerto in E minor, Op.85 Violin Concerto in B minor, Op.61 In the South (Alassio) Pomp and Circumstance – Marches Nos.1 and 2 Serenade in E minor for strings, Op.20 Symphony No.1 in A flat, Op.55 Symphony No.2 in E flat, Op.63 Variations on an Original Theme, Op.36 (Enigma)

Ellington, Duke Symphonic arrangements by Graeme Lyall except where stated.Black, Brown and Beige – Suite (orch. Maurice Peress) C Jam Blues Caravan (with Juan Tizol) Don’t get around much anymore El Gato Ellington Medley Giggling Rapids from The River (arr. Ron Collier) I got it bad (and that ain’t good) I’m beginning to see the light It don’t mean a thing Mood Indigo (with Barney Bigard) Solitude (arr. Morton Gould)

Franck Symphonic Variations for piano and orchestra

Franks Nightmoves

Gabrieli, Giovanni arr. Eric Crees Canzon in echo, C192

Gelmetti Cantata della vita australian premiere

Ginastera Four Dances from Estancia Piano Sonata No.1

Glinka Ruslan and Ludmila: Overture°

Goldmark Rustic Wedding Symphony

Goldsmith Basic Instinct: Suite Chinatown: Suite

Goodwin Miss Marple: Theme

Grainger* Danish Folk Music Suite

Grieg From Holberg’s Time (Holberg Suite) Piano Concerto in A minor, Op.16

Haydn Sinfonia concertante in B flat, Hob.I:105

Hobgood The Beauty of All Things

Honegger Symphonie liturgique (Symphony No.3)

Howard The Sixth Sense: Suite

Howes* Morgentanz premiere°

Koehler Don’t worry ’bout me

Korngold Violin Concerto in D, Op.35

Lambert Concerto for Piano and Nine Players

Lara arr. Tommy Tycho* Granada

Lentz* Monh for viola, electronics and orchestra australian premiere

Lim* The Compass

Liszt Mephisto Waltz No.1 (for piano) Petrarch Sonnet No.123 Vallée d’Obermann

Mahler Symphony No.1 in D

Marcello, Alessandro Oboe Concerto in D minor

Mascagni Cavalleria rusticana: Intermezzo

McCartney Live and Let Die

Meale* Clouds Now and Then

Mendelssohn A Midsummer Night’s Dream, Op.61: Intermezzo and Scherzo Sinfonia No.10 in B minor

Messiaen Chronochromie L’Ascension – 4 méditations symphoniques

Mintzer All is quiet

Mozart The Marriage of Figaro: Overture Bassoon Concerto in B flat, K191 Oboe Concerto in C, K314 Piano Concerto No.5 in D, K175 Piano Concerto No.13 in C, K415 Piano Concerto No.21 in C, K467 Piano Concerto No.22 in E flat, K482Violin Concerto No.4 in D, K218 Symphony No.27 in G, K199 Symphony No.41 in C, K551 (Jupiter)

Mussorgsky orch. Ravel Pictures at an Exhibition: Baba Yaga – The Great Gate of Kiev

Repertoire

Newman 20th Century Fox Fanfare

Ortolani More (Theme from Mondo Cane)

Piazzolla Aconcagua – Bandoneon Concerto The Four Seasons of Buenos Aires Tangazo

Prokofiev arr. Fisher Tull The Love for Three Oranges: March

Rachmaninoff Rhapsody on a Theme of Paganini, Op.43

Rameau Les Indes galantes: Suite

Rautavaara A Requiem in Our Time

Ravel Alborada del gracioso Bolero Daphnis et Chloé Suites Ma Mère l’oye: Suite Menuet antique Pavane pour une infante défunte Rapsodie espagnole Le Tombeau de Couperin La Valse – poème chorégraphique

Ravel orch. Grainger* The Valley of the Bells

Respighi Ancient Airs and Dances – Suite III

Revueltas La Noche de los Mayas

Robin Easy Living

Rossini String Sonata No.1 in G William Tell: Overture (Galop)

Rota The Godfather: Theme

Saint-Saëns Piano Concerto No.2 in G minor, Op.22

Scarlatti, Domenico Six Keyboard Sonatas

Schubert Four Impromptus, D935 Piano Sonata in A, D664 Symphony No.3 in D, D200 Symphony No.6 in C, D589 The Devil’s Pleasure Palace: Overture

Schumann Theme and Variations on the Name ABEGG, Op.1 Humoreske, Op.20 Piano Sonata No.2 in G minor, Op.22 Symphony No.4 in D minor, Op.120

Sculthorpe* Mangrove

Shostakovich Symphony No.8 in C minor, Op.65

Sibelius Symphony No.1 in E minor: 3rd movement° Symphony No.2 in D, Op.43 Symphony No.7 in C, Op.105 Kuolema: Valse triste°

Smetana Má Vlast: Šárka, Vyšehrad, Vltava

Sousa Stars and Stripes

Strauss, Richard An Alpine Symphony Till Eulenspiegel’s Merry Pranks

Stravinsky Petrushka – Ballet (1911) The Firebird – Ballet (1910)

Strayhorn arr. Graeme Lyall Take the A Train

Susato arr. John Iveson Suite of Renaissance Dances

Taralli Oboe Concertino II australian premiere

Tchaikovsky 1812 – Festival Overture Piano Concerto No.1 in B flat minor, Op.23 Manfred, Op.58

Tchaikovsky trans. Feinberg Scherzo from the Sixth Symphony (for piano)

Tiomkin Dial M For Murder: Suite

Verdi La forza del destino: Overture La traviata: Prelude to Act III

Vines* Scenes from Suburbia: Parts I–III premiere°

Vivaldi The Four Seasons

Wagner Tristan und Isolde: Prelude

Waxman Rear Window: Suite Rebecca: Suite Sinfonietta

Weber Der Freischütz: Overture

Williams JFK: Suite

Young My Foolish Heart

* Australian composer

° Performed within the Discovery or Education programs

ConductorsVladimir AshkenazyOleg CaetaniMatthew Coorey*Paul DanielThomas DausgaardCharles DutoitGianluigi GelmettiRichard Gill*Eivind Gullberg JensenKristjan JärviKirill KarabitsWayne MarshallHamish McKeichNicholas Milton*Tomas NetopilGuy Noble*Ben Northey*David RobertsonMark Shiell*Steven SloaneJonathan StockhammerFrank StrobelRobin TicciatiBarry Tuckwell*Lothar Zagrosek

ChoirsCantillation Sydney Philharmonia Choirs

SoloistsRob Amster, jazz bassEmanuel Ax, pianoBurt Bacharach, piano and directorDaniela Barcellona, mezzo-sopranoWilliam Barton, didgeridoo*Yefim Bronfman, pianoAnthony Callea, vocalist*Michele Campanella, pianoGlen Campbell, vocalist and guitarKate Ceberano, vocalist*Joe Chindamo, piano*Peter Coleman-Wright, baritone*Trisha Crowe, vocalist*Michael Dauth, violin and director†

Diana Doherty, oboe*†

James Ehnes, violinKurt Elling, vocalistKirill Gerstein, pianoAndrew Goodwin, tenor*Catherine Hewgill, cello*†

Laurence Hobgood, pianoFiona Janes, mezzo-soprano*Nigel Kennedy, violinScott Kinmont, euphonium*†

Ralph Kirshbaum, celloCarel Kraayenhof, bandoneonGregory Kunde, tenorTodd McKenney, vocalist*Gabriela Montero, pianoJames Morrison, jazz trumpet*John Morrison, drums*Ian Munro, piano*Dene Olding, violin and director*†

Alexandra Oomens, child soprano*Lilli Paasikivi, mezzo-sopranoMyrtò Papatanasiu, sopranoIonut Turlica Pascu, baritoneRosamund Plummer, flutes*†

Shefali Pryor, oboe*†

Orli Shaham, pianoJasminka Stancul, pianoArabella Steinbacher, violinAnna Rita Taliento, sopranoSimon Trpceski, pianoMark Tucker, tenorLuca Vignali, oboeNathan Waks, cello*†

Jian Wang, celloKobie Watkins, drumsPaul Whelan, bassMatthew Wilkie, bassoon*†

Julien Wilson, saxophone*David Wilson-Johnson, bassAlexey Yemtsov, pianoTabea Zimmermann, violaJonathan Zwartz, double bass*

* Australian artist† Sydney Symphony musician


Audience Development

Concert Audience and Attendance In 2008 the Sydney Symphony witnessed a slight contraction in its overall audience numbers. Total audience for paid concert performances of 187,456 represented a decrease of 5% on 2007 total numbers when adjusted for number of performances. Subscription audiences remained flat (down by 1.1%) over 2007 numbers. In 2008 the company reorganised its marketing program and many of the key business functions within the marketing, sales and ticketing operations to enable audience development efforts in 2009 to be more efficient, focused and productive. A primary focus will be increasing subscription audiences as a percentage of total sales and maximizing single ticket numbers.

Market Development The Sydney Symphony serves a variety of concert audience constituencies, from long-term loyal audiences, who attend 9 to 12 times each year, to casual attenders who may come just once or twice a year by way of single ticket purchase, to prospects who have shown interest, but have yet to make their first outing to a Sydney Symphony concert. Knowledge and expectations can vary tremendously between and within these levels of participation, as can the motivating factors of attendance and engagement. Throughout 2008 our efforts were focused on recognising and better understanding the behavioural characteristics and motivational drivers of each group and responding with products, promotions and opportunities that met the needs and expectations of the key segments.

For prospects our objective in 2008 was to increase the likelihood of a first-time visit. For occasional single ticket buyers our objective was to encourage repeat attendance and eventual subscription package purchase. And for loyal subscribers it was about recognising loyalty and improving appreciation.

Examples of 2008 market development initiatives include:

• For price-sensitive single ticket constituencies, the introduction of a new D-reserve price band for all subscription concerts

• For prospects, the introduction of pay-what-you-can, money back guarantees and other price- and/or value-driven promotional offers.

• For single ticket buyers, experiments with targeted bundled offers and value and/or incentive packages including dinner, drinks or dessert.

• For subscribers, “Introduce a Friend” incentives.

• For subscribers, a review of parking egress at the Sydney Opera House.

Throughout 2008 we also continued to work with above-the-line media partners in TV, radio and distribution. These included ABC TV and Ovation Channel (8 campaigns), APN Outdoor bus panels (5 campaigns), City of Sydney (110 street banners in CBD), Avant Card (6 campaigns) and ad hoc campaigns on 2GB and Vega FM

Vitality in a Changing MarketWith the changing market conditions and increased competition for audience the Sydney Symphony used 2008 as an opportunity to restructure and prepare for the future. All key components of how we market and promote concert tickets were reviewed as we sought to understand audience interests and demand. A result of this was a greater emphasis on direct marketing and creating ticket packages that offer tickets together with additional experience-related value, for example dinner and a concert. Such promotions were very successful in a contracting market place, as were inducements to persuade long-time lapsed ticket buyers to renew their interest.

Examples include:

• Developing new relationships with food and beverage partners in the local precinct that were reflected in package offers.

• Introduction of a D-reserve price band from August. This low-access price was used to re-engage the most distant single ticket buyers and prospects, and has been successful.

• Introduction of post-concert customer feedback surveys to gauge audience satisfaction.

Audience educationPRE-CONCERT TALKS

The Sydney Symphony is dedicated to enriching the concert going experience and educating its audiences. Since 1983, the Orchestra has presented free pre-concert talks before subscription concerts. It was the first presenter in Australia to do so, thereby setting a standard for concert presenters to the extent that very few classical concerts in Sydney or other capital cities are now offered without an accompanying pre-concert talk.

The pre-concert talks are held before all subscription performances and gala events, with the exception of the Discovery and Tea & Symphony series. They are presented by a range of speakers drawn from the ranks of the Orchestra’s administrative staff and musicians as well as the wider community of music experts and professional speakers. On occasion a composer, conductor or soloist will present the pre-concert talk.

FREE PROGRAM BOOKS

Program books are an important and vital way of informing and educating concert audiences, providing not only the ‘order of events’ but authoritative and engaging articles about music and its context.

In 2007 the Sydney Symphony began offering free program books at all subscription concerts (souvenir program books continued to be sold at selected events in collaboration with commercial producers). In addition, all program books were made available for download in the week of the concert, enabling the patrons to read about the music and the performers before arriving at the performance. In some cases programs are downloaded by patrons not attending the concert and read when, for example, listening to the orchestra’s radio broadcasts. The Sydney Symphony continued to provide free program books and downloads in 2008.


music is taught because it is good. we teach music so we can compose music; make our own music. we listen to the music of many composers and to many different types of music so that we can try to understand how sound works, how instruments work, how voices work and how music evolves. we sing and learn musical instruments so that the music we write and the music of others can be brought to life.

Richard Gill, Artistic Director Sydney Symphony Education Program

The Sydney Symphony, through its Education Program led by acclaimed educator and musician Richard Gill, works with Australia’s leading musicians and music teachers to create the nation’s most innovative education programs.

The Education Program’s goal is to educate, inspire and encourage people of all ages in the enjoyment of playing of music and it achieves this through two main areas:

Artist Development – to develop preparation and performance techniques of future professional orchestral musicians, including the development and support of Australian composers; and

Education – to enhance the musical understanding and appreciation of all people in NSW and in particular young people.

Artist Development programDevelop preparation and performance techniques of future professional orchestral musicians.

SYDNEY SINFONIA

The Sydney Sinfonia training and mentoring orchestra gives outstanding tertiary students and recent graduates invaluable experience working alongside professional musicians as part of a performing orchestra. Sinfonia members have the unique opportunity to play alongside some of Australia’s finest and most experienced orchestral musicians. Now in its 14th year, the Sydney Sinfonia is proving to be an important step in the transition from student to professional musician.

In addition to performing the Discovery Program and schools concerts for specific age groups both in Sydney and on tour, the Sinfonia had the opportunity in 2008 to work with visiting international conductor Kristjan Järvi, in a workshop on the Sydney Opera House stage.

The Sinfonia has provided a valuable pathway for emerging professionals, and has become a bridge between study and work. Since its inception in 1996, 356 students have been a part of the Sydney Sinfonia orchestra, with ten permanent positions appointed to trial with the Sydney Symphony, seven of whom have been appointed as permanent players. Eleven have been appointed to contract positions in the Sydney Symphony, and approximately 19 permanent positions, eight contracts, and 38 casual positions have been appointed with other Australian orchestras.

Further to this, there have been to date eight permanent appointments to overseas orchestras, including the Concertgebouw Orchestra Amsterdam and Berlin Philharmonic (Principal Double Bass). Sinfonia alumni also represent a valuable pool of professional musicians, and at least 127 have received casual work in Australian orchestras.

“Sinfonia forms an intricate part of a young aspiring professional musician’s education. it provides students with the opportunity to interact with Australia’s leading professional orchestral musicians, providing the environment to nurture their talents to new levels. Sinfonia is a unique program that should be aspired to by all young musicians.”

Duncan Spry, Tuba, Sinfonia 2008

the education program

photo: tito media

THE FELLOWSHIP PROGRAM

Since its inception in 2001 the Sydney Symphony Fellowship program has grown into the leading training program of its kind in Australasia and is rapidly gaining international recognition. The program is dedicated to the final stages of training for musicians of the future, and a Fellowship with the Sydney Symphony provides access to the nation’s best orchestral mentors, established conductors and masterclasses with the finest international artists.

Through an intensive one-year full-time fellowship integrating chamber music, mentored orchestral playing and specially designed workshops, the program offers a vital stepping stone from study to work, preparing musicians as thoroughly as possible for their future careers. As orchestral opportunities become more competitive internationally, Fellows are encouraged to show adaptability, initiative and resourcefulness as well as being able to perform the widest possible repertoire at the highest possible level.

Chamber music is a vital part of the program, with the Fellows presenting a range of performances to more than 3,000 people, in the city, outer-metropolitan venues, and regional areas including Bingara, Scone and Thirroul. In 2008 the Fellows were invited to present two private one-hour performances for His Holiness, Pope Benedict XVI during his visit to Sydney for World Youth Day.

Led by Fellowship Artistic Director and Principal Viola Roger Benedict, the ensemble benefitted from masterclasses with the Jerusalem Quartet, Tabea Zimmermann, Ralph Kirshbaum, Arabella Steinbacher and Jian Wang.

Through the generous support of Sydney Symphony patrons, each Fellow received a stipend of $14,000 in 2008.

Develop and support Australian composers.

SINFONIETTA PROJECT

The Sydney Symphony Sinfonietta Project aims to develop a new generation of Australian composers. Through an online interactive site, students are able to register, download resources, arrange a virtual orchestra and experiment with orchestral sound, and watch video footage from previous years’ projects.

Twenty student composers from across Australia submitted works to the composition competition and six were selected for the Sinfonietta workshop and performances. The student composers ranged from school years 9 to 11 and came from a wide range of locations including inner Sydney, regional NSW, Armidale, Victoria and Queensland.

All the student compositions used Beethoven’s Septet Op.20 as their foundation model, yet all were expressed in a variety of styles. One student used modern harmonies, one focussed on the interesting dialogue between melody and accompaniment, another used a structure emphasising the simple variation of harmonies and textures.

The Sydney Symphony Sinfonietta ensemble consisted of seven young elite musicians, chosen from the Sydney Symphony Fellowship and Sinfonia ensembles. Two Sydney Symphony musicians mentored the ensemble. This involved offering advice and constructive criticism during rehearsals and after performances, both within their allocated section and to the ensemble as a whole. Specific feedback was given on the model work (Beethoven), together with advice on performance techniques for the student works. The mentors performed their roles with enthusiasm and their generosity and expertise were valued highly.

The Sydney Symphony Sinfonietta project is supported by individual donors.

“i must say that this is the single most useful and exciting learning experience of Andrew’s year! the notion of a model, such as the beethoven Septet, is the best idea – it teaches the kids to seek out how a ‘real’ composer writes, to listen to, think about, and analyse the music in more depth than they’re ever likely to for anything else…hearing their piece played and commented upon by live musicians is of huge value…they don’t know how lucky they are to be dragged through that process of being held accountable by the players for what they write.”

Rosamund Plummer, mother of Sinfonietta composer Andrew HowesSydney Symphony fellows 2008 photo: ilia uzunoski


the education program

education programEnhance the musical understanding and appreciation of all people in NSW.

SCHOOLS CONCERTS

The Sydney Symphony has designed school performances to match the development of knowledge and skills at infants, primary and secondary levels. Presented by a range of experienced conductors and music educators, and featuring the Sydney Sinfonia, these performances provide interactive experiences and encourage each member of the audience to engage with the music. Students are given the opportunity to dance, play musical instruments and even conduct the orchestra, while learning about the four families of orchestral instruments and how they work in an age-appropriate setting.

Professional development teacher seminars are run by the Sydney Symphony for all participating schools. Teachers receive kits written by leading educators featuring information on composers and their music, dynamic teaching activities and customised CD recordings of the music played at the concerts.

In 2008, and thanks to financial assistance from ArtsNSW ConnectEd program, disadvantaged schools were again offered assistance with transport costs. This enabled more than 1,600 students from Priority Schools Funding Program (PSFP) schools to attend our Education Program performances. In addition, this funding was extended in 2008 to provide PSFP schools with access to teaching resources at no cost. Through a partnership with The SongRoom, access to disadvantaged schools was greatly enhanced.

MEET THE MUSIC

Meet the Music continues to provide an unrivalled mainstage experience with the full Sydney Symphony, international conductors, world premieres and exciting soloists. The series presents stimulating programs of the highest calibre while fulfilling the course topic requirements of the NSW secondary school music education syllabuses.

For this reason, Australian composition is a crucial part of the Meet the Music series, and in 2008 we presented compositions by Peter Sculthorpe, Lee Bracegirdle, and William Barton and Matthew Hindson.

“it was so great for our school to be able to finally get back to meet the music this week! what a triumph of a concert – and brilliant programming! Kalkadungu was a deeply moving experience. when william barton emerged from the audience and circled the orchestra with that spine-tingling song/chant to take his place, you were completely overawed! the movement of the music, the important story that it told, the powerful blend of electric guitar, didgeridoo and orchestra was amazing. but above all, the powerful collaboration of two remarkable men to make the music – this was above all a great achievement, and unique in concert music.”

Phillip Bailey, Redeemer Baptist School

DISCOVERY PROGRAM

The Discovery Program, led by Richard Gill and performed by the Sydney Sinfonia, provides a lively, entertaining and informative blend of concert and illustrated lecture, predominantly for our adult subscribers and single ticket buyers. Four programs were presented in 2008, each focussing on a different composer to be featured in an upcoming mainstage performance: Brahms, Berlioz, Sibelius and Elgar. Alongside these composers, Discovery audiences heard emerging Australian composer Nicholas Vines, and a young composer from our Sinfonietta project, Andrew Howes.

The Discovery Program is presented at City Recital Hall Angel Place, and in 2008 was also performed in Blacktown, in partnership with the Blacktown Arts Centre and Blacktown City Council.

SYDNEY SINFONIA REGIONAL TOUR

In 2008 the Sydney Sinfonia presented nine schools concerts in Moree, Inverell and Armidale. Three concerts were presented in each centre for Kindergarten to Year 2, Years 3–6 and Secondary levels respectively. Following the tour, the Fellowship went on to provide masterclasses for local students in Tamworth, and a chamber performance for general public in Bingara. A significant number of PSFP schools attended these performances, supported by travel subsidy provided through the ArtsNSW ConnectEd funding.

“please send on my thanks to guy and all your travelling musos. the concert was fantastic and i have received so many comments from teachers and students about the appropriateness of the pieces, the educational program and guy’s entertaining delivery. Sadly your visits are rare but believe me, very inspirational!”

Geoff Croft, Ross Hill Public School, Inverell

PLAYERLINK WORKSHOPS

Distance and travel costs prevent many teachers and students from accessing the widest range of performance and learning experiences available. To help, the Sydney Symphony’s Playerlink workshop travels to regional communities each year.

Through Playerlink workshops, aspiring musicians from Years 5 to 12 have the opportunity to learn from professional Sydney Symphony musicians through three days of intensive tutorials and rehearsals which concentrate on instrumental technique and ensemble playing.

In 2008 the Playerlink workshop was presented in partnership with the Coffs Harbour Regional Conservatorium, hosted by John Paul College, and made possible through the support of the Ian Potter Foundation. Sixty-seven local musicians participated, from within a 200km radius of Coffs Harbour, including local music teachers and community music makers.

Australian MusicThe Sydney Symphony Education Program actively showcases new works and particularly those by Australian composers.

In 2008, this included the following works:

MEET THE MUSIC

BRACEGIRDLE Euphonium Concerto premiere

BARTON & HINDSON Kalkadungu premiere

SCULTHORPE Mangrove

SCHOOLS CONCERTS

In 2008, the music of Australian composer Nigel Butterley was explored in all concerts.

FELLOWSHIP

SMALLEY Toccata premiere*

Composition project with University of Sydney senior composition students

DISCOVERY

VINES Scenes from Suburbia: Parts I–III premiere (over three separate performances)

HOWES Morgentanz*

*Supported by Fr Arthur Bridge, Ars Musica Australis


ITALIAN TOUR

In September/October 2008, the Sydney Symphony embarked on a two-week tour of Italy, representing the culmination of Maestro Gianluigi Gelmetti’s five years as the Orchestra’s Chief Conductor and Artistic Director.

The tour saw a full-strength Sydney Symphony of 92 musicians performing 8 concerts over 11 days at some of Italy’s most prestigious festivals and performance centres, marking the first time the Orchestra had toured Italy in its 76-year history.

Taking in the Italian cities of Merano, Milan, Turin, Siena, Caserta, Rome, Modena and Verona, the Sydney Symphony and Maestro Gelmetti performed works for which they received critical acclaim during Maestro Gelmetti’s tenure. Pieces by Ravel and Beethoven were complemented with a work by recent Sydney Symphony composer-in-residence, Australian Liza Lim, featuring indigenous Australian didgeridoo player, William Barton.

The Sydney Symphony played to packed houses and garnered international support and exposure that will build the Orchestra’s reputation in Europe. The performances were vibrant, exciting and intriguing for the Continental concertgoers and generated some significant praise from Italian critics:

“We have often heard from European musicians and conductors who have worked in Australia that the musical life in the ‘new continent’ was in good health. The ‘face-to-face’ experience with an orchestra such as the Sydney Symphony, conducted by Gianluigi Gelmetti at the inaugural evening of Turin’s Musical Union, has confirmed the general feeling and even exceeded expectations. It was a great success for a strong, flexible group which has shown great communicative effectiveness…” (La Stampa, 8 October 2008)

The Sydney Symphony’s 2008 Italian Tour was only made possible thanks to the support of government and corporate organisations. The NSW Government through the Department of State and Regional Development, the Federal Government through the Australia Council and the Export Market Development Grants, and Emirates, the Sydney Symphony’s Principal Partner, who supported the travel needs of the tour.

International touring is a vital aspect of the Sydney Symphony’s work. It helps to establish the Orchestra’s reputation at home and abroad and provides cultural diplomacy support for Australian business and government programs in the fields of trade, commerce and government relations

BATHURST CONCERT

On 12 July 2008, 75 musicians and two tonnes of instruments went on the road to perform our annual fundraising concert at the Bathurst Memorial Entertainment Centre. The concert was conducted by Chief Conductor and Artistic Director, Gianluigi Gelmetti, and a sold-out audience enjoyed a program of Mozart, Haydn and Beethoven. The enthusiastic response again demonstrated the support and commitment to classical music and the Sydney Symphony in rural NSW, with some people travelling many hundreds of kilometres to join the evening. This year the performance was again supporting local communities affected by drought and thanks to Major Presenting Partner, BHP Billiton, 50 directly affected local families joined the audience as our guests. The evening raised $50,000, which was donated to local drought-relief charities.

REGIONAL SUMMARY

The following table summarises all regional activity (excluding hospital visits listed below) conducted by the Sydney Symphony in 2008.

2008 LOCATION TOUR

2 Feb Dalwood (Wyndham Estate)

Burt Bacharach

2–3 Feb

Brisbane Nigel Kennedy

6 Feb Newcastle Nigel Kennedy

7 Mar Orange Regional concert

8 Mar Springwood Regional concert

17 Jun Moree Sinfonia Tour

18 Jun Inverell Sinfonia Tour

19 Jun Armidale Sinfonia Tour

21 Jun Bingara Fellows concert

28 Jun Berry Fellows concert

29 Jun Thirroul Fellows concert

12 Jul Bathurst Regional concert (drought relief)

29–31 Aug

Coffs Harbour Playerlink

HOSPITAL VISITS

The Sydney Symphony continued regular visits to hospitals to Sydney and regional areas via the award-winning music4health program, supported by MBF. A practical manifestation of the health industry’s recognition of the therapeutic power of

music, the program provides entertainment and welcome moments of respite for hospital patients, their families and hospital staff.

In 2008, seven hospital visits were made to a range of audiences including The Children’s Hospital Westmead through the Starlight Room and via broadcasts direct to children’s wards, patients at Royal North Shore Sydney and St Luke’s Hospital Potts Point, regionally to The Bathurst Health Service and to the pain rehabilitation facility housing many war veterans at Lady Davidson Hospital Turramurra.

The Sydney Symphony continued to work with music therapists at The Children’s Hospital Westmead to extend the performances beyond the Starlight Room and to perform privately for children and families in their wards, including a special appearance from soprano Trisha Crowe. The program was also a participant in the Music Council of Australia’s Making Music Being Well week, which helps raise awareness about the power of music to heal, connect and energise.

OUTDOOR CONCERTS

Symphony in the Domain is one of Sydney’s landmark free events, traditionally ending with Tchaikovsky’s 1812 Overture, complete with cannons and fireworks. This year three days of solid rain prior to the event meant that the few people who came were truly committed to the experience, so the Sydney Symphony went ahead with the performance, even though the rain and wind meant we had to cover the front of the stage with plastic sheeting to protect the musicians’ valuable instruments.

In February the Sydney Symphony performed at Sydney Olympic Park as part of the Music by Moonlight series. Some 7,000 enjoyed a balmy, and dry, summer evening.

DISADVANTAGED COMMUNITY ACCESS CONCERTS

With support and facilitation from the City of Sydney, the Sydney Symphony introduced 20 clients and volunteers of the Redfern and Inner City Home Support Service to four concerts in the Tea & Symphony series.

STUART CHALLENDER LECTURE

Each year the Sydney Symphony, supported by Arts NSW, holds a free lecture in memory of its late Chief Conductor Stuart Challender. As a recognised music authority, inspiring communicator and

touring and outreachrespected educator, visiting American conductor David Robertson was a fitting figure to present the 2008 lecture. David Robertson called upon his own personal perspectives and a number of audio samples to address the question, ‘Is classical music relevant?’. Challenging, thought-provoking and often controversial, the lecture led to a spirited debate with the appreciative audience.

BROADCASTING – AUSTRALIA

The Sydney Symphony’s collaboration with the ABC continues to yield great benefits to both organisations. Almost all of our concert programs are broadcast nationally on ABC Classic FM and every hour the Sydney Symphony is heard playing the news fanfare on ABC National and Local Radio Services. The Discovery Program series with Richard Gill was broadcast on ABC Radio National, and visiting artists regularly appeared on The Music Show for in-depth interviews with Andrew Ford. ABC TV also broadcast two hour-long programs as part of the Sunday Arts Show strand (ABC1 & ABC2): Lalo Schifrin with the Sydney Symphony, and our farewell concert to Gianluigi Gelmetti. The Sydney International Piano Competition of Australia was also broadcast live and televised on ABC1.

BROADCASTING – THE WORLD

In 2008 eight Sydney Symphony performances were offered for broadcast to EBU members including Bulgaria, the Czech Republic, Denmark, Estonia, Finland, Korea, the Netherlands, New Zealand, Portugal, Romania, Serbia, Spain, Sweden, United Kingdom, and the USA. As a result, 52 broadcasts of Sydney Symphony performances were heard in Europe during the year.

WEBCASTING

In 2008 our webcasting activity, in collaboration with Telstra BigPond and ABC Classic FM, continued with ten concerts being streamed live and made available free on demand through BigPond TV. These can be viewed at http://sydneysymphony.bigpondmusic.com

This activity is an important addition to our outreach both nationally and internationally – of particular benefit to those less mobile, and people in regional or remote areas of Australia who want to experience an orchestral performance but are unable to attend in person.

RECORDINGS

The Sydney Symphony continues to make use of the state-of-the-art recording facilities at the Sydney Opera House. Five CDs were released during the year and numerous concerts and projects in 2008 were recorded for subsequent CD release on the orchestra’s in-house label Sydney Symphony Live, Octavia’s Exton label and ABC Classics.

Five CDs were released on the Sydney Symphony Live label during the year. The first was a recording of Brett Dean’s music, including two works featuring the Sydney Symphony: Dean’s Viola Concerto, with Brett Dean as soloist, conducted by Simone Young, and Komarov’s Fall, conducted by Hugh Wolff. The Sydney Symphony cellists also performed Brett Dean’s Twelve Angry Men. This disc was also released internationally by BIS.

One review raved, “…the symphony orchestra from Australia’s biggest city Sydney presents itself in captivating form and can compete anytime with any traditional European orchestra.” (Hartmut Lück, Classical Music [Germany], December 2008)

A limited edition souvenir release of Brahms’ Symphony No.1 conducted by Gianluigi Gelmetti was issued for the 2008 Italy Tour and hundreds of Sydney Symphony Live CDs were sold at venues across Italy.

Sydney Symphony Live also issued a double CD of music by Janácek, Smetana, Dvorák and Richard Strauss, conducted by Sir Charles Mackerras: “Again the players outdo themselves in the quality of their playing, even more than I remember from concerts of theirs I have attended.” (Edward Greenfield, Gramophone, January 2009)

Gianluigi Gelmetti, in his final year as Chief Conductor, conducted his Cantata della vita, and a CD of this, Song of Life, was released along with another recording of Gelmetti conducting Ravel works, including La Valse and Alborada del gracioso.

Richard Meale’s Very High Kings, conducted by Yannick Nézet-Séguin, was released as a digital download from iTunes and eMusic. Other Sydney Symphony Live CDs are also available through iTunes and eMusic.

Octavia’s Exton label released a handsome 5-CD set, Rachmaninov’s Complete Symphonies & Orchestral Works, featuring the orchestra’s incoming Principal Conductor and Artistic Advisor, Vladimir Ashkenazy. In November 2008, Octavia recorded three Elgar Festival concerts and ABC Classics also recorded Elgar’s Cello

Concerto and his choral masterpiece, The Dream of Gerontius, for release in 2010.

Concord Records released The New Crystal Silence, featuring an extended duet between the Sydney Symphony and Chick Corea and Gary Burton. This CD won the 2009 Grammy Award for Best Jazz Instrumental Album, Individual or Group.

Verve Records released Burt Bacharach’s Live at the Sydney Opera House, his first live recording since Woman of 1979. “Impeccably recorded…the Sydney Symphony Orchestra are wonderful throughout. They play Bacharach’s arrangements tautly, they are suited to the poignant or humorous parts in each tune, and their accompaniment feels quite natural.” (Thom Jurek, All Music Guide, October 2008)

In 2009, Onyx Classics plans to release Pieter Wispelwey’s performance of Walton’s Cello Concerto and ABC Classics has slated William Barton and Matthew Hindson’s Kalkadungu and Isaac Nathan’s Don John of Austria, conducted by Sir Charles Mackerras, for CD release.

Other music recorded for future release included:

• Lothar Zagrosek conducting Mozart’s Oboe Concerto, featuring the Sydney Symphony’s Diana Doherty

• Rachmaninoff chamber music featuring Vladimir Ashkenazy, soprano Joan Rodgers, co-concertmaster Dene Olding, and the Goldner String Quartet, for release by Sydney Symphony Live

• Georges Lentz’s Monh for viola, electronics and orchestra, performed by Tabea Zimmermann and conducted by Steven Sloane, for release by Naxos.

CD DISTRIBUTION – THE DAILY TELEGRAPH

In 2008 the Sydney Symphony distributed 800,000 CDs with The Daily Telegraph. The CD contained 11 tracks showcasing the Sydney Symphony and The Whitlams.

SYMPHONY AUSTRALIA ACTIVITIES

The Sydney Symphony contributes $140,000 towards the artistic development activities delivered annually by Symphony Australia on behalf of all Australian orchestras. In 2008 these activities included conductor development, an artistic administration traineeship and the ABC Symphony Australia Young Performers Awards.


philanthropy ReportWhile 2008 will be remembered as year of economic volatility and global uncertainty, we know that at these moments people turn to the arts, seeking that moment that transcends the day to day, providing a time for reflection and renewal.

Now, more than ever, the Sydney Symphony’s core values – artistry, intensity and unity – are at the heart of every performance, every program and every education activity. Underpinned by a loyal and committed patron base, the Orchestra continues its pursuit of artistic excellence, and its commitment to access for music lovers from all walks of life and to opportunities for the finest young artists.

In 2008 patrons of the Sydney Symphony committed some $1.5 million dollars to the five existing philanthropic funds. The following outstanding achievements were made possible by the 635 donors who aligned their philanthropic giving with their individual interest in 2008:

1. ORCHESTRA FUND

• The Sydney Symphony Italy Tour was a major beneficiary of Orchestra Fund gifts in 2008, including a special grant from the Ian Potter Foundation.

• The Orchestra Fund paid for 80 citizens from the Redfern Inner City & Home Support Service program to attend one of four Tea & Symphony concerts throughout the year.

• The Orchestra Fund assisted with augmentation of the Sydney Symphony to perform Elgar’s Dream of Gerontius and Beethoven’s Missa Solemnis.

• The chairs of several principal players continued to be endowed by the generous patrons listed on page 29.

2. STUART CHALLENDER TRUST

• The Stuart Challender Trust presented the annual Stuart Challender Lecture, this year delivered by the esteemed conductor David Robertson.

• Vladimir Fanshil, a young Australian conductor, was granted $10,000 towards his conducting major at the Rimsky-Korsakov State Conservatoire in St Petersburg.

• Together with the Symphony Australia Conductor Development Program, the Stuart Challender Trust has supported the appointment of Sydney Symphony’s first Assistant Conductor, Nicholas Carter.

3. EMERGING ARTISTS FUND

• Patrons of the Sydney Symphony Fellowship program provided year-long support for six of the most talented young orchestral musicians in Australia.

• Six young composers from secondary schools in New South Wales, Queensland and Victoria participated in workshops with Richard Gill and had works performed in concert by the Sydney Sinfonia. This project was made possible by the patronage of Geoff and Vicki Ainsworth.

4. ALLEGRO EDUCATION FUND

• In 2008, 17,768 students from schools around NSW participated in one of 37 Sydney Symphony schools concerts.

• 1,600 students from disadvantaged schools in NSW were provided with free transport to schools concerts via funding from the ArtsNSW ConnectEd program.

• 573 teachers received specialised professional development training at one of four Sydney Symphony Education Seminars.

5. REGIONAL TOURING FUND

• The Regional Touring Fund supported the Sydney Symphony’s drought relief performances in Bathurst.

• The Fellowship Ensemble and Sinfonia gave concerts in Moree, Inverell, Armidale, Tamworth and Bingara, while the Fellows conducted workshops and performances in Berry and Thirroul on the South Coast.

• Fourteen musicians from the Sydney Symphony travelled to Coffs Harbour to present Playerlink workshops for students. This project was again made possible by The Ian Potter Foundation.

MAESTRO’S CIRCLE

Incoming Principal Conductor and Artistic Advisor, Vladimir Ashkenazy, is firm in his belief that the Sydney Symphony is one of the finest orchestras in the world, and his vision and plans for the orchestra are bold and exciting. Over the next four years, audiences can expect to hear a visiting roster of the most esteemed soloists and conductors and see the development of further composer festival programs, and some memorable performances will be captured for posterity via an ambitious recording schedule. The Orchestra is also planning a four-year itinerary of international tours encompassing Asia, Europe, the United Kingdom and United States, which will raise its visibility and international profile significantly.

Opportunities of this magnitude require visionary support and in 2008 Sydney Symphony Chairman, John C Conde ao, together with Peter Weiss am, mobilised a core group of patrons to contribute the vital flow of funds necessary to realise Ashkenazy’s plans. Known as the Sydney Symphony Maestro’s Circle, members have pledged a four-year investment in the artistic initiatives of Ashkenazy’s tenure. In addition to seeing, hearing and experiencing the maturation of that investment, members participate in a range of activities that shine light on the inner workings of the Sydney Symphony, as well as meeting the guest artists whose appearances the Maestro’s Circle has made possible.

The Sydney Symphony acknowledges and extends its warmest thanks to the Maestro’s Circle members for their extraordinary support at this extraordinary time.

INSTRUMENT RESERVE

In 2007 the Orchestra received an anonymously contributed gift of $800,000 to launch the Sydney Symphony Instrument Reserve. The Instrument Reserve exists to acquire a range of very high quality stringed instruments that are placed throughout each section, further enhancing the Orchestra’s overall sound.

In 2008 47 instruments were brought to Australia and trialled by a selection panel of musicians headed by Dene Olding and Michael Dauth. From these instruments, five were selected and subsequently purchased by the Sydney Symphony. They were:

1. Bisiach violin – Milan,1900

2. Boullanger viola – London, 1883

3. Pedrazzini violin – Milan, 1932

4. Bisiach violin – Milan, 1925

5. Ornati violin – Milan, 1930


MAESTRO’S CIRCLEJohn C Conde ao, ChairmanPeter Weiss am, Founding Patron &

Doris WeissGeoff & Vicki AinsworthAnonymous in memory of

Hetty & Egon GordonTom Breen & Rachael KohnAshley Dawson-DamerAndrew Kaldor & Renata Kaldor ao

Roslyn Packer ao

Penelope Seidler am

Westfield Group

$10,000 +Brian Abel Geoff & Vicki AinsworthMrs Antoinette Albert Mr Robert O Albert ao

Mr Terrey & Mrs Anne ArcusAlan & Christine BishopSandra & Neil BurnsMr Ian & Mrs Jennifer BurtonLibby Christie & Peter JamesMr John C Conde ao

Mr John CurtisMrs Ashley Dawson-DamerEric DoddPenny EdwardsMr J O Fairfax ao

Fred P Archer Charitable TrustDr Bruno & Mrs Rhonda GiuffreIn memory of Hetty & Egon GordonMr Harcourt GoughMr James Graham am &

Mrs Helen GrahamMr Ross GrantMr David Greatorex ao &

Mrs Deirdre GreatorexThe Hansen FamilyMr Stephen JohnsMr Andrew Kaldor & Mrs Renata Kaldor ao

H Kallinikos Pty LtdMrs Joan MacKenzieMrs T Merewether oam Mr B G O’ConorMrs Roslyn Packer ao

The Paramor FamilyThe Ian Potter FoundationRodney Rosenblum am &

Sylvia RosenblumMr Paul & Mrs Sandra SalteriMrs Penelope Seidler am

Mrs Joyce Sproat & Mrs Janet Cooke

Mr Peter Weiss am and Mrs Doris Weiss

Anonymous (1)

$5,000–$9,999Mr Roger Allen & Mrs Maggie GrayMr Charles BarranMr Robert & Mrs L Alison CarrMrs Emily ChangMr Bob & Mrs Julie ClampettMr Robert GayMr & Mrs Paul HoultMs Ann Lewis am

Helen Lynch am & Helen BauerMr & Mrs David MilmanMr David MaloneyThe Perini Family FoundationMiss Rosemary PryorBruce & Joy Reid FoundationMrs Helen SelleThe Sherry Hogan FoundationDavid Smithers am & FamilyMs Gabrielle TrainorIn memory of Dr William &

Mrs Helen WebbMichael & Mary Whelan TrustAnonymous (1)

$2500–$4,999Ms Jan BowenMr Peter CoatesMs Elise Fairbairn-SmithHilmer Family TrustIrwin Imhof in memory

of Herta ImhofMr Bob LongwellMr James & Mrs Elsie MooreMs Julie TaylorMr Geoff Wood &

Ms Melissa WaitesRay Wilson oam Anonymous (2)

$1,000–$2,499Mr Henri W Aram oam

Mr David BarnesMrs Joan BarnesDoug & Alison BattersbyMr Stephen J BellMr Phil BennettNicole BergerMr Mark BethwaiteMr Alexander & Mrs Vera BoyarskyMr David S BrettMr Maximo BuchMrs Lenore P BuckleDebby Cramer & Bill CaukillJoan Connery oam

Mr & Mrs R ConstableMr John Cunningham SCM &

Mrs Margaret CunninghamMr Greg DanielLisa & Miro DavisMs Michelle Hilton VernonIan Dickson & Reg HollowayMr Russell FarrMr Ian Fenwicke &

Prof Neville Wills

Anthony Gregg & Deanne Whittleston

Mrs Akiko GregoryMiss Janette HamiltonMr Charles HannaMs Ann HobanDr Michael Joel am &

Mrs Anna JoelMs Judy JoyeMr & Mrs E KatzMrs Margaret KeoghMiss Anna-Lisa KlettenbergMr Andrew Korda &

Ms Susan PearsonMr & Mrs Gilles T KrygerMr Justin LamDr Barry LandaMrs Belinda & Mr Arti OrtisMrs Alexandra Martin Mrs Mora MaxwellMrs Judith McKernanMr Robert & Mrs Renee MarkovicWendy McCarthy ao

Mr Matthew McInnesJudith McKernanMrs Barbara McNulty obe

Kate & Peter MasonMs Margaret Moore &

Dr Paul HutchinsMr R A OppenMr Robert OrrellTimothy & Eva PascoeMs Patricia PaynMrs Almitt PiattiMr Adrian & Mrs Dairneen PiltonMs Robin PotterMr Ernest & Mrs Judith RapeeDr K D Reeve am

Mrs Patricia H ReidDr John Roarty

in memory of Mrs June RoartyPamela RogersMr Brian Russell &

Mrs Irina SinglemanMs Juliana SchaefferRobyn SmilesThe Hon. Warwick SmithDerek & Patricia SmithCatherine StephenMr Fred & Mrs Dorothy StreetMr Michael & Mrs Georgina SuttorMr Georges & Mrs Marliese TeitlerMr Ken Tribe ac & Mrs Joan TribeMr John E TuckeyMrs Merle TurkingtonMs Mary Vallentine ao

Mr and Mrs John van OgtropHenry & Ruth WeinbergAudrey & Michael WilsonJill WranAnonymous (11)

$500–$999Mr C R AdamsonGabrielle BlackstockA I ButchartMr John AzariasMs Wendy BlackBlack CommunicationsMr G D BoltonDr & Mrs Hannes BoshoffM BulmerMarty CameronHon. Justice J C & Mrs CampbellMr B & Mrs M ColesMrs Catherine Gaskin Cornberg

in memory of Oscar CornbergJen CornishMr Colin DraperMrs Francine J EpsteinIn memory of Angelica GreenIn memory of Oscar GrynbergDr & Mrs C GoldschmidtMr Ken HawkingsDr Heng & Mrs Cilla TeyRev H & Mrs M HerbertDr & Mrs Michael HunterMr Philip Isaacs oam

Mrs Greta JamesMr Stephen JenkinsMrs Jannette KingJulia KingErna & Gerry Levy am

Mr Gary LinnaneMr & Mrs S C LloydMr Ian & Mrs Pam McGawMs Julie Manfredi-HughesJustice Jane Mathews ao

Helen MorganMrs Rachel O’ConorMrs S D O’TooleMrs Jill PainMr Tom PascarellaDr Kevin PedemontPTW ArchitectsMr L T & Mrs L M PriddleMrs B RaghavanMr M D SalamonIn memory of H St P ScarlettMr & Mrs Richard ToltzMr Andrew & Mrs Isolde TornyaRonald WalledgeLouise Walsh & David JordanMiss Jenny WuAnonymous (13)

Sydney Symphony Donors$100–$499Richard Ackland Ms Madeleine Adams Mr C R AdamsonElaine AdlerMiss Barbara AllanMrs and Mr Rosemary D. AndersonPTW ArchitectsProf. Stephen &

Mrs Helga AngyalJohn AugustusMr John Azarias Tony BarnettPaul BarrettMr Alexander &

Mrs Jessie BartosDr B D & Dr J E BattsMiss L. J. BeatonMr Michael BeckDr Anthony Bendall and

Mr Hayden MacDonaldPamela BennettMr Phil Bennett Mr David BerryMr and Mrs M J. BerryMrs M BerryMs Barbara BestMrs Elizabeth BeveridgeMrs Jan BiberMr Kevin BinderVirginia R BirdJuliet BishopMs Wendy Black Gabrielle BlackstockDavid BlackwellAllan M. BlanchMr John BlattmanMr G D BoltonMr John BoothDr & Mrs Hannes BoshoffElizabeth BowlesMr David R. BradleyCommander W J Brash obe

Ms Elaine BriggsHelen BristowDr John A Broadbent Mrs E BryantAlexandra BuchnerM BulmerPat & Jenny BurnettA. I. ButchartDr Herma ButtnerHugh & Hilary CairnsMr Phillip CalvertMrs and Mr CameronMarty CameronMr N M CameronHon. Justice J.C. &

Mrs CampbellMrs Marie CarvillDr John H CaseyMrs Freda CassenMs C CathelsL M ChapmanAngela Chilcott

Ms M ChipkinMr F Choy & Mrs J YoungMr Howard R ClarkMr Andrew ClarksonMr B & Mrs M ColesDr Malcolm ColleyMr Rod McGeoch am &

Ms Deeta Colvin Mr Ray CooperMs Donna CorbettJen CornishMr Stan Costigan ao and

Mrs Mary CostiganMr Brian CourtneyMr and Mrs Neville CrewMr Ewen CrouchMrs Anne DavidCharles DavidsonJoan De HamelLiftronc P/CMr Martyn DominyDr A D DonaldElizabeth DonatiMrs Cate DuffyMr Lindsay DunstanMrs Jacqueline DwyerHilda EhrhardtIn loving memory of

Nick EnrightMr Paul EspieMr Geoffrey EvansMrs S FacerJoyce FalkMr Russell Farr Patricia FlemingMrs Anota FlorinMrs Maddie GiutronichMrs F GoldbergDr & Mrs C GoldschmidtVivienne GoldschmidtM. H. GoswellMrs Edna GrayIn Memory of

Angelica GreenMs Susan GregoryMiss Pauline M. Griffin am

Mr Richard Griffin am

Miss Ida GuggerMr R L HalloranMs Kathleen HamiltonMrs I HammerMs Victoria HartsteinR Y HarveyClare McDonoghRev H & Mrs M HerbertDr. M. Hersch &

Dr. M. ZwiA & J HimmelhochMr John HodgkinsonMrs Yvonne V HonneryMr David M HorneMr Brian HorsfieldMrs Elizabeth HoultMrs Elizabeth HowardMrs Betty HumeMrs Elizabeth Hume

The Hon David Hunt ao qc &Mrs Margaret Hunt

Miss Pamela HuntRobin HutchersonMrs Greta JamesDr Rebekah JenkinMr Stephen JenkinsMs Michelle JohnsonMs Gloria E. JonesMrs Anita JordanH. KilhamDuncan &

Anna Marie KinnonHugh KnightMrs L KornmehlMs Sewwandi KulasingheElaine M. LangshawMs Helen LawMrs M J LawrenceMr & Mrs Phillip E LazarusMr B W LeckeyMiss Lina LeeN & S.G Lee-MartinMr P & Ms L E LevyMr Gary LinnaneMr Joseph LipskiMr and Mrs S C LloydMrs Noellie LofbergMrs A LohanMr E C LordMrs Panee LowDr Carolyn A. Lowry oam &

Mr Peter Lowry oam

Mrs Iris LukeMrs A MacSweenMrs Silvana MantellatoMary MarazMr K J MartinMrs M J MashfordMr and Ms Ian McGawMrs E McNamaraMrs Inara MerrickMs Joy MillarMr E C MillerHelen MorganMr Howard MorrisMrs Judith MortonMr D & Mrs M MullenMr Colin MurphyMrs Margaret NewtonMs Helen NicksonMr Graham NorthMr Geoff OakleyMrs S.D O’TooleMary Paget-CookeA. Willmers & R. Pal Mrs E K PalmerMrs J H. ParkerMr Ron Patten Mr and Mrs John PennefatherMrs G PerryCaroline PhillipsMr & Mrs D PidcockMrs Dagmar Pidd

Mr Adrian & Mrs Dairneen Pilton

Mr Jean PorterDr Craig PowellMr John PrerauMr Geoffrey QuayleKen & Lois RaeMrs B Raghavan Ken RamshawMr Kenneth ReedDr Robert &

Mrs Beverley Reid Catherine RemondEmmy RevesMalcolm & Barbara RichardsonDr Hedwig RoedigerDr Samuel RosenbergMrs R RudkinMr Brian Russell and

Ms Irina Singleman Mr M D SalamonDr Celina SeetoMs Barbara Sharpham Mr and Mrs Desmond SheehanMargaret Sikora Shirley & Robert Silverton Mr Bronwyn SimonsEvelyn SimpsonMr G & Mrs M G SimpsonDr Agnes E SinclairDr John Sivewright &

Ms Kerrie KempMaureen SmithThe Hon Warwick Smith Dr William E SmithDr Eric SoweyProfessor D SpearrittRuth StaplesMs Fiona StewartMr Lindsay &

Mrs Suzanne StoneMrs T. J. StuddertMs Ruth SundstromMs Margaret SwansonMs M P SwartsMiss Sandra M TaylorMs Prue ThompsonMrs Hanni TittmanA & N TkalMr & Mrs Conry TsangMr William TubbsMr & Mrs Franc VaccherJudy VallMrs Jill VaughanMiss Mary VernonLois WalkerProf Gordon E WallRonald Walledge Brian & Rosemary WhiteMs Margery L WhiteheadDr Peter M. WilliamsonDavid WilsonMr R B & I L WilsonMrs Donna Woodhill

Mr R R WoodwardMr and Mrs Lindsay WoolveridgeMr Mark WorrallMs Jane WuMiss Jenny Wu Mrs R YabsleyMs Esta YiouprosAnonymous (102)


Mt Arthur CoalIllawarra Coal

partnershipsThe Sydney Symphony is proud of the partnerships that we have developed with our corporate sponsors. These long-term relationships continue to grow in both their scale and their importance for the Sydney Symphony’s viability and artistic success.

In addition to the support given to our core activities in Australia, the Italy Tour in 2008 was only possible thanks to the participation of a number of companies who used hospitality

opportunities around the tour to further their commercial and business goals with Italian clients and partners. The success of the tour was reflected in the evaluation of the results for our sponsors for their investment in the project.

The Sydney Symphony applauds the leadership role our partners play and their commitment to excellence, innovation and creativity as well as the role of the arts in society.

Directors’ Chairs A leadership program linking Australia’s top performers in the executive and musical worlds.

PRINCIPAL PARTNER GOVERNMENT PARTNERS

Australia Post | Austrian National Tourist Office | Beyond Technology Consulting* Bimbadgen Estate Wines | J. Boag & Son | Vittoria Coffee

Avant Card | Blue Arc Group* | Lindsay Yates and Partners 2MBS 102.5 – Sydney’s Fine Music Station

Deloitte Foundation | Delta Electricity | SunRice | Rural Land Protection Boards

PLATINUM PARTNER MAJOR PARTNERS

GOLd PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNERS

New South Wales Government

ITALIAN TOUR PARTNERS bRONzE PARTNERS

MARkETING PARTNERS

AddITIONAL REGIONAL TOUR SUPPORTERS

LOUISE JOHNSONPrincipal Harp, Mulpha Australia Chair

EMMA SHOLLAssociate Principal Flute, Mr Harcourt Gough Chair

RICHARD GILL oam

Artistic Director, Education, Sandra and Paul Salteri Chair

JONATHAN SWEENEY, Managing Director Trust, with CHRISTOPHER HARRISPrincipal Bass Trombone, Trust Foundation Chair

RONALD PRUSSING Principal Trombone, NSW Department of State and Regional Development Chair

MICHAEL DAUTH AND DENE OLDINGThe Board and Council of the Sydney Symphony supports the Concertmaster Chairs

GERALD TAPPER, Managing Director RogenSi International, withNICK BYRNE Trombone, RogenSi International Chair

ALExANDRA MITCHELL, Violin, Moon Design Chair

DIANA DOHERTYPrincipal Oboe, Andrew Kaldor and Renata Kaldor ao chair


This statement outlines the Sydney Symphony’s corporate governance practices and addresses the eight Good Practice Governance Principles published and monitored by the Major Performing Arts Board of the Australia Council for the Arts. These principles are based on the recommendations published by the ASX Corporate Governance Council. The statement sets out the extent of the Sydney Symphony’s compliance with the eight principles as at the end of the financial year. As at 31 December 2008 the Sydney Symphony has achieved substantial compliance with the recommendations. Corporate governance documentation, including the Governance Framework and Charters, are available on request.

PRINCIPLE 1: LAY SOLID FOUNDATIONS FOR MANAGEMENT AND OVERSIGHT

The Sydney Symphony’s Governance Framework incorporates Board and Board Committee Charters and a Code of Conduct. There is also a formal statement of delegated authority to management and an induction procedure for new directors.

A Board agenda is set at the start of the year and includes meetings for the Board to determine the Sydney Symphony’s strategy, three-year business plans, the program for the following season, the budget for the following year and the Sydney Symphony’s annual risk review.

PRINCIPLE 2: STRUCTURE THE BOARD TO ADD VALUE

The Board includes Directors with a range of skills including finance and accounting, business (both public companies and small business) and commercial experience, public affairs, law, performance of orchestral music and music education. This experience is set out in their biographies.

The Board is supported by a Finance, Audit and Risk Committee (refer Principle 4), a Nominating and Remuneration Committee and an Artistic Liaison Committee, each of which has an individual charter setting out its responsibilities and operating principles.

The Nominating and Remunerations Committee has a number of responsibilities including reviewing, evaluating and making recommendations to the Board with regard to the election and re-election of Members, Directors and Sydney Symphony Councillors and executive remuneration. The Committee comprises three Directors.

The Artistic Liaison Committee facilitates the exchange of views between the Board and the musicians to assist the Board by developing processes to assess, review and improve artistic quality and performance standards of the orchestra. The Committee consists of two Directors, the elected Artistic Committee of the Orchestra and, by invitation, the Managing Director and Director of Artistic Operations.

PRINCIPLE 3: PROMOTE ETHICAL AND RESPONSIBLE DECISION MAKING

The Sydney Symphony’s Governance Framework includes a Code of Conduct, Delegations of Authority, Board Committee charters, Risk Management policies as well as clearly defined roles and responsibilities for key appointments.

PRINCIPLE 4: SAFEGUARD INTEGRITY IN FINANCIAL REPORTING

The Finance Audit and Risk Committee meets at least quarterly and its functions include:

• Reviewing and reporting to the Board on monthly, quarterly and annual financial statements;

• Making recommendations regarding the appointment, evaluation and removal of the Sydney Symphony’s external auditor and reviewing and reporting to the Board on the adequacy, scope and quality of the annual statutory audit and on the integrity and reliability of the financial statements;

• Reviewing the effectiveness of the Sydney Symphony’s internal control environment, including the effectiveness of internal control procedures;

• Monitoring and reviewing the reliability of financial reporting;

• Monitoring and reviewing the compliance of the Sydney Symphony with applicable laws and regulations; and

• Monitoring the scope of the internal audit process and approving the engagement of internal auditors.

The Finance, Audit and Risk Committee meets with the external auditors at least once per year.

The Committee requires the Managing Director and Director of Finance to attest in writing that the Sydney Symphony’s financial reports present a true and fair view of the Sydney Symphony’s financial condition and operational results and are in accordance with relevant accounting standards.

This statement is requested at the time of the consideration and approval of the Statutory Accounts. It is reviewed by the Finance, Audit and Risk Committee prior to its consideration by the Board.

The Committee comprises up to four Directors and, by invitation, the Chairman of the Board, the Managing Director and the Director of Finance.

Governance StatementCorporAte

PRINCIPLE 5: RECOGNISE AND MANAGE RISK

Quarterly updates of the Sydney Symphony’s risk register are undertaken by management and presented to the Finance Audit and Risk Committee. Management undertake annual workshops to identify further risks and develop a risk management plan. The output of the workshops is reviewed by the Board.

PRINCIPLE 6: ENCOURAGE ENHANCED PERFORMANCE

The Nominating and Remuneration Committee advises the Board on the process of Board performance review, reviews the performance of the Chief Conductor, Managing Director and senior management and establishes policies for recruitment, retention and succession planning for senior management.

PRINCIPLE 7: REMUNERATE FAIRLY AND RESPONSIBLY

The Nominating and Remuneration Committee meets at least annually to review the Sydney Symphony’s remuneration strategies and policies. The Committee sets the parameters within which senior management negotiate musician and administration staff Agreements. The Committee also approves all senior management remuneration arrangements.

PRINCIPLE 8: RECOGNISE THE LEGITIMATE INTERESTS OF STAKEHOLDERS

The Sydney Symphony has numerous stakeholders and a calendar is maintained in order to monitor requirements and reporting obligations. The calendar is approved by the Board, which oversees compliance with stakeholder reporting and associated obligations.

The Sydney Symphony has a set of Occupational Health & Safety (OHS) manuals, which provide legislative and procedural guidance to ensure the Sydney Symphony’s responsibilities continue to be met. There is a comprehensive, regular training program, including first aid and OHS committee training. Company policies and procedures are reviewed in consultation with staff representatives. Company Directors are briefed on OHS policies and procedures and review the company OHS plan annually.


Financial Statements

SYDNEY SYMPHONY LIMITED AND ITS CONTROLLED ENTITIES

A.B.N. 50 121 561 528

ANNUAL FINANCIAL REPORT 31 DECEMBER 2008

Page 38 Directors’ Report

Page 41 Auditor’s Independence Declaration

Page 42 Income Statement

Page 43 Balance Sheet

Page 44 Statement of Changes in Equity

Page 46 Cash Flow Statement

Page 47 Notes to the Financial Statements

Page 64 Directors’ Declaration

Page 65 Independent Audit Report

Contents


Directors’ Report

DIRECTORS

The directors in office, at any time during or since the financial period until the date of this report, are:

John Conde ao (Chairman) Libby Christie (Managing Director) – Resigned 3 April 2009 Ewen Crouch – Appointed 1 January 2009 John Curtis Jennifer Hoy – Appointed 1 January 2009 Stephen Johns Andrew Kaldor Goetz Richter David Smithers am Gabrielle Trainor

COMPANY SECRETARY

Libby Christie Appointed 22 April 2008 Resigned 25 July 2008

John Horn Appointed 25 July 2008 David O’Kane Resigned 22 April 2008

John Conde ao (Chairman)BSc, BE (Hons), Syd; MBA (Dist), HarvChairman of Energy AustraliaChairman of BUPA Australia Health Pty LimitedChairman of Whitehaven Coal LimitedPresident of The Commonwealth Remuneration TribunalChairman Homebush Racing Authority

Libby Christie (Managing Director)BA, SydGradDip Ed, CanberraDirector Standards Australia Ltd

Ewen CrouchBEc (Hons) LLB, Syd Partner Syd and Chairman Allens Arthur RobinsonDirector of KONE Elevators Pty LtdDirector of KONE Holdings (Australia) Pty LtdDirector and Vice President of Mission Australia GroupDirector of Working Links (Employment) Ltd

John CurtisBA, ANU; LLB (Hons) ANUChairman of Allianz Australia LimitedChairman of the Bayard Group Pty LtdChairman of Merrill Lynch Australia Advisory BoardChairman of St George Bank Limited Deputy Chairman Westpac Banking Corporation Ltd

Jennifer HoyMMus, BMus (Hons), Sydney ConservatoriumViolinist, Sydney Symphony Orchestra

Stephen JohnsFCA BEc, SydDirector of the Westfield GroupDirector of Brambles LimitedChairman of Spark Infrastructure Group

Andrew KaldorBEc (Hons) Syd; MBA, WhartonChairman of Pelikan Artline Pty LtdChairman of Supertex Industries

Dr Goetz RichterBA, Syd; PhD, SydViolinistAssociate Professor and Chair, String Unit, Sydney Conservatorium

David Smithers am FCADirector of Rabobank Australia Limited GroupDirector of Sydney IVF LtdDirector of Country Education Foundation Pty LtdDirector of International Energy Services Group LimitedDirector of James N Kirby Foundation Limited

Gabrielle Trainor LLB Melb. Barrister and Solicitor Partner of John Connolly & Partners Pty LtdDirector of Sydney Harbour Foreshore AuthorityDirector Victorian Urban Development Authority

PRINCIPAL ACTIVITIES

The principal activity of the Group was the performance of symphonic music. There were no significant changes in the nature of the activities of the Group during the year.

REVIEW AND RESULTS OF OPERATIONS

The Group presented the Sydney Symphony, the Sydney Sinfonia and the Sydney Symphony Fellows in 232 performances to a total audience of more than 300,000 people during the year ended 31 December 2008 in Sydney, outer metropolitan and regional NSW performing arts centres, including a drought relief concert held in Bathurst in July. In 2008 the Group recommenced international touring with a two-week tour to eight Italian cities.

2008 Consolidated

$

2007Consolidated

$

Operating profit before additional costs due to divestment and special items 281,817 1,141,298

Additional operating costs due to divestment

Total additional costs due to divestmentInterest Income earned on prepaid government funding to offset additional costs due to divestment

(508,735)

38,724

(561,433)

159,027

Operating (loss)/profit before special items (188,194) 738,892

Special items included

75th birthday activities and recordingsInstrument Reserve donationInterest earned on Instrument Reserve donationNet Italian tour deficitMaestro Circle donations

--

54,444(459,132)315,000

(197,586)800,00032,000

--

Net (loss)/profit for the year (277,882) 1,373,306

The company’s 2008 plans were established to reflect previously made commitments to recording and greater than CPI increases in production and performer costs. The operating profit for the year before divestment costs and special items reflects the impact of these planned activities.

While the predicted downturn in single ticket sales to core concerts and commercial events was greater than expected, the impact was offset in part by savings to operating costs. Due to the ongoing cost of divestment and the cost of the 2008 Italian tour, the latter having been supported from the company’s International Touring Reserve, the operating loss in 2008 was not unexpected.

QUALIFICATIONS OF DIRECTORS

The directors present their report together with the financial report of Sydney Symphony Limited (the Group) for the year ended 31 December 2008.


Directors’ ReportCOSTS OF DIVESTMENT FROM THE ABC

The net cost of divestment of $470,011 was a significant burden for the company and was a continued cost of moving from the Commonwealth to State workers compensation schemes and increased superannuation costs. The Group will continue to incur these additional costs and will seek appropriate funding as part of the 2009 government funding review of major performing arts companies.

STATE OF AFFAIRS

Other than the above mentioned costs of divestment, in the opinion of the directors there were no other significant changes in the underlying state of affairs of the Group that occurred during the year.

LIKELY DEVELOPMENTS

The Group has scheduled performances of symphonic and other orchestral music, which it will continue to present during the next financial year. The Group’s continuing viability is dependent on maintaining its current level of funding, especially government funding. The group has the intention to continue with international touring projects in 2009.

DIVIDENDS

No dividends have been paid by the Group.

EVENTS SUBSEQUENT TO BALANCE DATE

No events have occurred subsequent to balance date and up to the date of this report that materially affect the operations of the Group, the results of those operations or the state of affairs of the Group in subsequent financial years.

ENVIRONMENTAL REGULATIONS AND PERFORMANCE

The Group is not subject to any particular or significant environmental regulation.

DIRECTORS’ INTERESTS

The company is limited by guarantee and accordingly does not issue shares.

DIRECTORS’ MEETINGS

The numbers of meetings of the Board of Directors and of Board Committees during the financial period were:

Number of Meetings Eligible (A)Number of Meetings Attended (B)

A B A B A B A B

John Conde ao 8 8 5 5 2 2

Libby Christie 8 8 5 5 2 1

John Curtis 8 4 3 1

Stephen Johns 8 7 5 4 2 2

Andrew Kaldor 8 7 5 4

Goetz Richter 8 7 3 3

David Smithers am 8 7 5 4

Gabrielle Trainor 8 7 2 2

DIRECTORS’ REMUNERATION

Directors are not paid any fees for their services as directors of the company. Details of directors’ remuneration are disclosed in Note 23.

INDEMNIFICATION AND INSURANCE OF OFFICERS

Information on the indemnification and insurance of officers can be found in Note 29.

AUDITOR’S INDEPENDENCE DECLARATION

The Auditor’s Independence Declaration is set out on page 41.

Signed in accordance with a resolution of the directors:

BOARD FiNANcE AuDit & Risk

ARtistic LiAisON

NOMiNAtiON & REMuNERAtiON

John Conde aoChairmanSydney, dated 29 April 2009


Income Statement

2008 2007 2008 2007

NOTES CONSOLIDATED CONSOLIDATED PARENT PARENT

$ $ $ $

Revenue

Funding revenue 4 12,493,431 12,143,778 12,493,431 12,143,778

Ticket sales 5 13,962,107 13,970,900 - -

Sponsorship and donations 6 4,348,684 4,128,082 - -

Other income 7 2,133,448 2,141,996 - -

Total revenue 32,937,670 32,384,756 12,493,431 12,143,778

Expenses

Employee expenses 8 17,748,891 17,191,452 - -

Artist fees and expenses 5,092,019 4,910,211 - -

Marketing expenses 3,271,626 3,193,868 - -

Production expenses 4,555,812 3,084,221 - -

Depreciation and amortisation 8 264,327 309,010 - -

Funding to subsidiary - - 12,493,431 12,143,778

Other expenses 2,287,877 2,407,497 - -

Total expenses 33,220,552 31,096,259 12,493,431 12,143,778

Net profit/(loss) for the period (282,882) 1,288,497 - -

Other revenue

Bequests 5,000 84,809 - -

Total other revenue 5,000 84,809 - -

Net profit/(loss) for the year (277,882) 1,373,306

Income Tax expense 9 - - - -

Profit/(Loss) after Income Tax (277,882) 1,373,306 - -

for the yeAr ending 31 deCember 2008

Balance SheetAS At 31 deCember 2008

2008 2007 2008 2007


$ $ $ $

Current Assets 18 16,625,883 18,242,757 - -

Cash and cash equivalents 10 60,074 47,015 - -

Other financial assets 11 879,187 1,360,529 - -

Trade and other receivables 296,176 196,035 - -

Prepayments

Total Current Assets 17,861,320 19,846,336 - -

Non-Current Assets

Property, plant and equipment 12 1,119,443 837,562 - -

Intangible assets 13 13,890 39,814 - -

Other financial assets 10 359,085 301,531 - -

Investment in subsidiary - - 8,578,559 8,578,559

Total Non-Current Assets 1,492,418 1,178,907 8,578,559 8,578,559

Total Assets 19,353,738 21,025,243 8,578,559 8,578,559

Current Liabilities

Trade and other payables 14 1,621,461 1,676,580 330 330

Prepaid revenue 15 4,159,495 5,704,016 - -

Provisions 16 3,201,010 2,951,744 - -

Total Current Liabilities 8,981,966 10,332,340 330 330

Non-Current Liabilities

Provisions 16 698,119 741,368 - -

Total Non-Current Liabilities 698,119 741,368 - -

Total Liabilities 9,680,085 11,073,708 330 330

Net Assets 9,673,653 9,951,535 8,578,229 8,587,229

Equity

Symphony Fund 19 1,689,177 2,489,177 - -

International Touring Reserve 20 1,540,868 2,000,000 - -

Instrument Reserve 21 614,973 - - -

Maestro’s Circle Reserve 22 315,000 - - -

Retained Earnings 5,513,635 5,462,358 8,578,229 8,578,229

Total Equity 9,673,653 9,951,535 8,578,229 8,578,229

The Income Statement should be read in conjunction with the notes to the financial statements. The Balance Sheet should be read in conjunction with the notes to the financial statements.


Statement of Changes in equity

ConSolIDAteD – pARt 1NOTES RETAINED

EARNINGSSYMPHONY FUND INTERNATIONAL

TOURING RESERVE

TOTAL EQUITY CARRIED

FORWARD

(NOTE 19) (NOTE 20)

$ $ $ $

As at 1 January 2007 8,578,229 - - 8,578,229

Net profit for the year 1,373,306 - - 1,373,306

Transfer to Symphony Fund 19 (2,489,177) 2,489,177 - -

Transfer to International Touring Reserve

20 (2,000,000) - 2,000,000 -

As at 31 December 2007 5,462,358 2,489,177 2,000,000 9,951,535

As at 1 January 2008 5,462,358 2,489,177 2,000,000 9,951,535

Net (loss)/profit for the year (277,882) - - (277,882)

Transfer from International Touring Reserve

20 459,132 - (459,132) -

Transfer from/( to) Instrument Reserve

21 185,027 (800,000) - (614,973)

Transfer to Maestro’s CircleReserve

22 (315,000) - - (315,000)

As at 31 December 2008 5,513,635 1,689,177 1,540,868 8,743,680

ConSolIDAteD – pARt 2 (Continued)NOTES TOTAL EQUITY

BROUGHT FORWARD

INSTRUMENT RESERVE

MAESTRO’S CIRCLE RESERVE

TOTAL EQUITY

(NOTE 21) (NOTE 22)

$ $ $ $

As at 1 January 2007 8,578,229 - - 8,578,229

Net profit for the year 1,373,306 - - 1,373,306

As at 31 December 2007 9,951,535 - - 9,951,535

As at 1 January 2008 9,951,535 - - 9,951,535

Net profit/(loss) for the year (277,882) - - (277,882)

Transfer from International Touring Reserve

20 - - - -

Transfer to Instrument Reserve

21 (614,973) 614,973 - -

Transfer to Maestro’s CircleReserve

22 (315,000) - 315,000 -

As at 31 December 2008 8,743,680 614,973 315,000 9,673,653

for the yeAr ending 31 deCember 2008

pARentRETAINED EARNINGS

TOTAL EQUITY

$ $

As at 1 January 2007 8,578,229 8,578,229

Net profit for the year - -

As at 31 December 2007 8,578,229 8,578,229

As at 1 January 2008 8,578,229 8,578,229

Net profit for the year - -

As at 31 December 2008 8,578,229 8,578,229

The Statement of Changes in Equity should be read in conjunction with the notes to the financial statements. The Statement of Changes in Equity should be read in conjunction with the notes to the financial statements.


Cash Flow Statement

2008 2007 2008 2007


$ $ $ $

Cash flows from operating activities

Cash receipts from box office and sponsors 17,943,065 18,326,862 - -

Cash receipt from donation for instruments - 800,000 - -

Cash receipts from bequests 5,000 84,809 - -

Cash receipts general donations 1,445,257 976,647 - -

Cash payments to suppliers and employees (32,905,480) (32,944,674) - -

Cash payments to subsidiary - - (10,948,910) (13,688,106)

Grants received from government funding bodies

10,948,910 13,688,106 10,948,910 13,688,106

Interest received 1,537,259 1,412,103 - -

Royalties received - 2,464 - -

Net cash provided by operating activities 18(b) (1,025,989) 2,346,317 - -

Cash flows from financing activities

Employee instrument loans granted (135,221) (71,000) - -

Proceeds from repayments on employee instrument loans

64,620 65,419 - -

Net cash flows from financing activites (70,601) (5,581) - -

Cash flows from investing activities

Proceeds on disposal of property, plant and equipment

- 20,182 - -

Payments for property, plant and equipment (515,311) (221,474) - -

Payments for intangible assets (4,973) - - -

Net cash flows used in investing activities (520,284) (201,292) - -

Net increase/(decrease) in cash held (1,616,874) 2,139,444 - -

Cash and cash equivalents at beginning of financial year

18,242,757 16,103,313 - -

Cash and cash equivalents at end of year 18(a) 16,625,883 18,242,757 - -

for the yeAr ending 31 deCember 2008 Financial StatementsnoteS to the

1. CoRpoRAte InFoRMAtIonThe financial report of Sydney Symphony Limited and its controlled entities for the year ended 31 December 2008 was authorised for issue in accordance with a resolution of the directors on 16 March 2009.

Sydney Symphony Limited (the parent) is a public company limited by guarantee, incorporated and domiciled in Australia. The address of the registered office is 35 Pitt Street, Sydney NSW 2000

The nature of the operations and principal activities of the Group are described in the Directors’ Report.

2. SuMMARY oF SIGnIFICAnt ACCountInG polICIeS

BASIS OF PREPARATION

The consolidated financial report is a general-purpose financial report, which has been prepared in accordance with the requirements of the Corporations Act 2001, Australian Accounting Standards, and Urgent Issues Group Consensus Views. The consolidated financial report has also been prepared on a historical cost basis. The consolidated financial report is prepared in Australian dollars.

STATEMENT OF COMPLIANCE

The consolidated financial report complies with Australian Accounting Standards, which include Australian equivalents to International Financial Reporting Standard (‘AIFRS’). Some AIFRS and other Australian Accounting Standards contain requirements specific to not-for-profit entities that are inconsistent with IFRS requirements.

The following Australian Accounting Standards include not-for-profit specific requirements which have been applied in preparing this financial report: AASB 116: Property, Plant and Equipment AASB 136: Impairment of Assets AASB 1004: Contributions

Certain Australian Accounting Standards and Interpretations have recently been issued or amended but are not yet effective and have not been adopted by the Group for the annual reporting period ended 31 December 2008.

The Group’s principal financial instruments comprise cash and short-term deposits, receivables and payables. The disclosures are included under the relevant notes to the financial statements.

The Group manages its exposure to key financial risks, including interest rate and currency risk in accordance with the Group’s financial risk management policy. The disclosures are included under the relevant notes to the financial statements.

BASIS OF CONSOLIDATION

The consolidated financial statements comprise the financial statements of Sydney Symphony Limited and its subsidiary as at 31 December 2008.

The financial statements of subsidiaries are prepared for the same reporting period as the parent company, using consistent accounting policies.

In preparing the consolidated financial statements, all inter company balances and transactions, income and expenses and profit and losses resulting from intra-Group transactions have been eliminated in full.

Subsidiaries are fully consolidated from the date on which control is transferred to the Group and cease to be consolidated from the date on which control is transferred out of the Group.

GOING CONCERN

The ability of the Group to maintain its operations is dependent inter alia on the continuing support of various Governments by way of grants. The Tripartite Agreement was renewed for the period 2007–2009 with Australia Council for the Arts and Arts NSW. Funding for 2010 has been confirmed, subject to the company continuing to meet the requirements of the Tripartite Agreement. Therefore the financial statements have been prepared under the going concern principle.

REVENUE RECOGNITION

Revenue is measured at the fair value of the consideration received or receivable. Amounts disclosed are net of goods and services tax (GST). Revenue is recognised for the major business activities as follows:

CONTRIBUTION INCOME

Contribution income represents the fair value of assets received in excess of the cost of the assets where there is a non reciprocal transfer and is recognised as income once the asset is controlled by the Company.

FUNDING REVENUE

Funding revenue is received from the Australia Council for the Arts (as represented by The Major Performing Arts Board) and Arts NSW. Funding is received based on payment schedules contained in a funding agreement between the funding bodies and the Company and is recognised in the calendar year for which it is intended under the terms of the agreement due to the conditional nature of the funding. Any funding not spent on the planned activities agreed between the parties at the start of each calendar year is required to be repaid.

The Cash Flow Statement should be read in conjunction with the notes to the financial statements.


Financial StatementsnoteS to the

PROPERTY, PLANT AND EQUIPMENT

All items of property, plant and equipment are stated at historical cost less accumulated depreciation and any impairment losses. Historical cost includes expenditure that is directly attributable to the acquisition of the items.

Subsequent costs are included in the asset’s carrying amount or recognised as a separate asset, as appropriate, only when it is probable that future economic benefits associated with the item will flow to the Group and the cost of the item can be reliably measured. All other repairs and maintenance are charged to the income statement during the financial period in which they are incurred.

Items of plant and equipment, leasehold improvements, computer equipment and musical instruments are depreciated using the straight-line method over their estimated useful lives. Where musical instruments are deemed to appreciate in value no depreciation is applied. Each class of asset in the current period was depreciated over the following useful lives as set out in the following table;

ASSET CLASS USEFUL LIFE

Computer equipment 3 years

Furniture and fittings Between 6 and 8 years

Plant and equipment 8 years

Musical instruments Between 5 and 15 years

Derecognition and disposal An item of property, plant and equipment is derecognised upon disposal or when no further future economic benefits are expected from its use or disposal.

Any gain or loss arising on derecognition of the asset (calculated as the difference between the net disposal proceeds and the carrying amount of the asset) is included in profit or loss in the period the asset is derecognised.

INTANGIBLE ASSETS

Software licences have a finite useful life and are carried at cost less accumulated amortisation and impairment losses. Licences are tested for impairment where an indicator of impairment exists. Amortisation is calculated using the straight line method to allocate the cost over the estimated useful life of 3 years.

IMPAIRMENT

The carrying values of plant and equipment are reviewed for impairment at each reporting date, with a recoverable amount being estimated when events or changes in circumstances indicate the carrying value may not be recoverable.

The recoverable amount of plant and equipment is the greater of fair value less costs to sell and value in use. Impairment losses are recognised in the income statement.

LEASED PLANT AND EQUIPMENT

Leases of plant and equipment are classified as operating leases as the lessors retain substantially all of the risks and benefits of ownership. Payments made under operating leases (net of any incentives received from the lessor) are charged to the income statement on a straight-line basis over the period of the lease.

TRADE AND OTHER PAYABLES

Trade payables and other payables are carried at amortised cost. Liabilities are recognised for amounts to be paid in the future for goods or services received, whether or not billed to the Group. Trade accounts payable are normally settled within 30 days.

PROVISIONS

A provision is recognised when there is a legal, equitable, constructive obligation as a result of a past event and it is probable that a future sacrifice of economic benefits will be required, to settle the obligation, the timing or amount of which is uncertain. Provisions are determined by discounting the expected future cash flows required to settle the obligation at a pre-tax rate that reflects current market assessments of the time value of money and, where appropriate, the risks specific to the liability.

Site restoration

The Group provides for costs of restoration or removal in relation to fixed assets when there is legal and constructive obligation. These costs include obligations relating to the dismantling, removal, remediation, restoration and other expenditure associated with fixed assets or site fit-outs.

Restoration provisions are initially recorded when a reliable estimate of the costs to be incurred can be determined, discounted to present value. The estimates are based upon review of contracts, legal requirements, estimates from independent valuers, historic information and expected future costs. Future restoration costs are reviewed annually and any changes are reflected in the present value of the restoration provision at the end of the reporting period.

The amount of the future restoration costs is capitalised and is depreciated in accordance with the policy set out in the note above. The unwinding of the effect of discounting on provision is recognised as a finance cost.


2. SuMMARY oF SIGnIFICAnt ACCountInG polICIeS (Continued)

TICKET SALES

Revenue from ticket sales is recognised in the Income Statement at the time of concert performance. Revenue from ticket sales in respect of productions not yet performed is included in the Balance Sheet as prepaid ticket sales under the Current Liabilities heading “Prepaid revenue”.

SPONSORSHIP AND DONATIONS REVENUE

Sponsorship – Sponsorship commitments are brought to account as income in the year in which sponsorship benefits are bestowed.

Donations – All donations are brought to account as received.

ORCHESTRAL HIRE REVENUE

Revenue from orchestral hire is recognised as these services are performed.

INTEREST INCOME

Revenue is recognised as interest accrues using the effective interest method. This is a method of calculating the amortised cost of a financial asset and allocating the interest income over the relevant period using the effective interest rate, which is the rate that exactly discounts estimated future cash receipts through the expected life of the financial asset to the net carrying amount of the financial asset.

FOREIGN CURRENCY TRANSLATION

Both the functional and presentation currencies of the Group are Australian dollars (A$). Transactions in foreign currencies are recorded initially in the functional currency at the exchange rates ruling at the date of the transaction. Monetary assets and liabilities denominated in foreign currencies are retranslated at the rate of exchange ruling at the balance sheet date.

Foreign currency gains and losses resulting from the settlement of such transactions and from the translation at year-end exchange rates of monetary assets and liabilities denominated in foreign currencies are recognised in the income statement.

INCOME TAx AND OTHER TAxES

Current tax assets and liabilities for the current and prior periods are measured at the amount expected to be recovered from or paid to the taxation authorities based on the current period’s taxable income. The tax rates and tax laws used to compute the amount are those that are enacted or substantively enacted by the balance sheet date.

Deferred income tax is provided on all temporary differences at the balance sheet date between the tax bases of assets and liabilities and their carrying amounts for financial reporting purposes except when the taxable temporary difference is associated with investments and the timing of the reversal of the temporary difference can be controlled and it is probable that the temporary difference will not reverse in the foreseeable future.

Revenues, expenses and assets are recognised net of the amount of Goods and Services Tax (GST), except where the amount of GST incurred is not recoverable from the Australian Tax Office (ATO). In these circumstances, the GST is recognised as part of the cost of acquisition of the asset or as part of an item of the expense.

Receivables and payables are stated with the amount of GST included. The net amount of GST recoverable from, or payable to, the ATO is included as a current asset or liability in the Balance Sheet. Cash flows are included in the statement of cash flows on a gross basis. The GST components of cash flows arising from investing and financing activities which are recoverable from, or payable to, the ATO are classified as operating cash flows.

ACQUISITIONS OF ASSETS

Acquired assets are accounted for at cost. Cost is measured as the fair value of assets given or liabilities incurred or assumed at the date of exchange plus cost directly attributable to the acquisition.

CASH AND CASH EQUIVALENTS

Cash and cash equivalents includes cash on hand, deposits held at call with financial institutions, other short-term, highly liquid investments with original maturities of three months or less that are readily convertible to known amounts of cash which are subject to an insignificant risk of changes in value.

For the purposes of the Cash Flow Statement, cash and cash equivalents consist of cash and cash equivalents as defined above, net of outstanding bank overdrafts.

TRADE AND OTHER RECEIVABLES

Trade receivables, which generally have 60-day terms, are recognised initially at fair value and subsequently measured at amortised cost using the effective interest method, less an allowance for any uncollectible amounts.

Collectability of trade receivables is reviewed on an ongoing basis. Debts that are known to be uncollectible are written off when identified. An allowance for provision for impairment of trade receivables is used when there is objective evidence that the Group will not be able to collect all amounts due according to the original terms of the receivables. The amount of the impairment loss is recognised in the income statement within other expenses.


4. FunDInG ReVenue2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Australia Council for the Arts

Base Funding 9,407,300 9,047,784 9,407,300 9,047,784

Orchestral Review Funding - 183,684 - 183,684

Additional Grant 50,000 - 50,000 -

Arts NSW

Base Funding 3,036,131 2,888,310 3,036,131 2,888,310

Additional Grant - 24,000 - 24,000

Total funding revenue 12,493,431 12,143,778 12,493,431 12,143,778

A significant portion of the Group’s annual revenue consists of funding from federal and state governments, through the Australia Council for the Arts and Arts NSW. As a result, the Group has an economic dependency on these entities.

The Funding Agreement with the Australia Council for the Arts and Arts NSW was renewed for the period 2007–2009, whereby amounts will be provided to Sydney Symphony Limited. As required, these amounts are transferred to Sydney Symphony Orchestra Holdings Pty Limited to fund its operations. In 2008 an additional grant was received from the Australia Council as a contribution to the group’s tour to Italy.

In 2007 Orchestral Review Funding from Australia Council for the Arts and Arts NSW was received and relates to HR support and other expense reimbursement in relation to divestment from Australian Broadcasting Corporation. The additional funding from Arts NSW relates to a regional NSW touring grant.

5. tICKet SAleS2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Subscriptions 5,361,013 5,464,399 - -

Single night 5,800,910 5,480,848 - -

Commercial Events 2,800,184 3,025,653 - -

Total ticket sales 13,962,107 13,970,900 - -

6. SponSoRSHIp AnD DonAtIonS ReVenue2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Sponsorship 2,898,427 2,137,569 - -

Instrument Fund Donation - 800,000 - -

General Donations 1,135,257 1,061,456 - -

Maestro’s Circle Donations 315,000 - - -

Other private sector income - 129,057 - -

Total sponsorship and donations 4,348,684 4,128,082 - -

2. SuMMARY oF SIGnIFICAnt ACCountInG polICIeS (Continued)

EMPLOYEE BENEFITS

Wages, salaries and annual leave Liabilities for employee benefits for wages, salaries and annual leave expected to be settled within 12 months of the reporting date represent present obligations resulting from employees’ services provided up to the reporting date. These are calculated at undiscounted amounts based on compensation rates that the consolidated entity expects to pay, including related on-costs.

Long service benefits The provision for employee benefits for long service leave represents the present value of the estimated future cash outflows to be made, resulting from employees’ services provided up to the reporting date.

The provision is calculated using expected future increases in wage and salary rates including related oncosts and expected settlement dates based on turnover history and is discounted using the rates attaching to Commonwealth government bonds at balance date which most closely match the terms of maturity of the related liabilities.

Superannuation The Group contributes to employees’ superannuation funds. Contributions are recognised as an expense as they are made.

Employee loans Some employees are lent monies which are used in turn to purchase musical instruments. These loans are secured by the instruments themselves. Amounts outstanding are recouped over time through contributions withheld from musicians’ salaries. These are recorded within other financial assets.

CHANGES IN ACCOUNTING POLICIES

All accounting policies have been applied on a consistent basis with those of the previous period.

3. SIGnIFICAnt ACCountInG JuDGeMentS, eStIMAteS AnD ASSuMptIonS

The preparation of the financial statements requires management to make judgements, estimates and assumptions that affect the reported amounts in the financial statements. Management continually evaluates its judgements and estimates in relation to assets, liabilities, contingent liabilities, revenue and expenses. The following critical accounting policies have been identified for which significant judgements, estimates and assumptions are made.

Impairment of Non-financial Assets The Group assesses impairment of its non-financial assets at each reporting date by evaluating conditions specific to the Group and to the specific asset. If an impairment trigger exists the recoverable amount of the asset is determined. Management do not consider that the triggers for impairment have been significant and these assets have not been tested for impairment in this financial period.

Make Good Provision A provision has been made for the present value of anticipated costs associated with the future restoration of the leased office premises. The estimate is periodically reviewed and updated. The related carrying amounts are disclosed in note 16.

Estimate of Useful Lives The estimation of useful lives of assets is based on historical experience. The condition of assets are assessed periodically and considered in relation to the remaining useful life of the asset and adjustments made to useful lives as appropriate.




7. otHeR InCoMe2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Orchestral hire income 361,635 531,227 - -

Interest 1,537,259 1,410,689 - -

Other income 234,554 200,080 - -

Total other revenue 2,133,448 2,141,996 - -

8. eXpenSeS2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Funding to subsidiary - - 12,493,431 12,167,578

Depreciation:

Plant and equipment 13,051 12,130 - -

Furniture and fittings 90,670 92,944 - -

Musical instruments 50,202 44,531 - -

Computers 79,507 74,248 - -

Total Depreciation 233,430 223,853 - -

Amortisation of intangible assets 30,897 85,157 - -

Total Depreciation and Amortisation 264,327 309,010 - -

Operating lease rental expense 321,554 295,203 - -

Employee expenses:

Salaries and wages 14,142,405 13,647,882 - -

Superannuation 2,158,379 2,180,560 - -

Workers compensation 287,313 293,526 - -

Other employee expenses 1,160,794 1,069,484 - -

Total employee expenses 17,748,891 17,191,452 - -

9. InCoMe tAX2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Accounting profit/(loss) (277,882) 1,373,306 - -

At group’s statutory tax rate (30%) (83,365) 411,992 - -

Less non taxable items 83,365 (411,992) - -

Income Tax expense - - - -

The company’s subsidiary Sydney Symphony Orchestra Holdings Pty Ltd is exempt from income tax, capital gains tax and payroll tax by virtue of being a cultural organisation established for the encouragement of music and a charitable institution.

10. otHeR FInAnCIAl ASSetS2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Current Asset

Employee Instrument Loans 60,074 47,015 - -

Non Current Asset

Employee Instrument Loans 359,085 301,531 - -

Income Tax expense 419,159 348,546 - -

11. tRADe AnD otHeR ReCeIVABleS (A) TRADE AND OTHER RECEIVABLES

2008 CONSOLIDATED

2007 CONSOLIDATED

2008 PARENT

2007 PARENT

$ $ $ $

Current

Trade debtors 277,667 1,158,374 - -

Other receivables 437,389 - - -

Accrued income 164,131 202,155 - -

Total trade and other receivables 879,187 1,360,529 - -




11. tRADe AnD otHeR ReCeIVABleS (continued)

(B) PAST DUE BUT NOT IMPAIRED The debtors over 60 days are past due but not impaired, as there is no objective evidence at reporting date that the Group will not be able to collect all amounts due.

2008 CONSOLIDATED

2007 CONSOLIDATED

2008 PARENT

2007 PARENT

$ $ $ $

Trade Debtors ageing

0 to 60 days 98,175 1,106,085 - -

61 to 90 days 138,645 22,176 - -

Over 90 days 40,847 30,113 - -

Total trade debtors 277,667 1,158,374 - -

As at 31 December 2008, trade debtors of $179,492 were past due but not impaired. The other classes within trade and other receivables do not contain impaired assets and are not past due.

12. pRopeRtY, plAnt AnD eQuIpMent – ConsolidatedPLANT AND

EQUIPMENTFIxTURES

AND FITTINGS

MUSICAL INSTRUMENTS

ACQUIRED THROUGH THE

INSTRUMENTRESERVE

MUSICAL INSTRUMENTS

ACQUIRED FROM RETAINED

EARNINGS

COMPUTER EQUIPMENT

TOTAL

$ $ $ $ $ $

YEAR ENDED 31 DECEMBER 2008

At 1 January 2008, net of accumulated depreciation and impairment

64,615 271,063 - 370,767 131,117 837,562

Additions 18,101 71,483 271,471 58,647 95,609 515,311

Disposals at cost - - - - - -

Disposal accumulated depreciation - - - - - -

Depreciation charge for the year (13,051) (90,670) - (50,202) (79,507) (233,430)

As at 31 December 2008, net of accumulated depreciation and impairment

69,665 251,876 271,471 379,212 147,219 1,119,443

AT 1 JANUARY 2008

Cost or fair value 198,386 762,247 - 858,760 628,518 2,447,911

Accumulated depreciation (133,771) (491,184) - (487,993) (497,401) (1,610,349)

NET CARRYING AMOUNT 64,615 271,063 - 370,767 131,117 837,562

AT 31 DECEMBER 2008

Cost or fair value 216,487 833,730 271,471 917,407 724,127 2,963,222

Accumulated depreciation (146,822) (581,854) - (538,195) (576,908) (1,843,779)

NET CARRYING AMOUNT 69,665 251,876 271,471 379,212 147,219 1,119,443

12. pRopeRtY, plAnt AnD eQuIpMent – Consolidated (Continued) PLANT AND

EQUIPMENTFIxTURES AND

FITTINGSMUSICAL

INSTRUMENTSCOMPUTER EQUIPMENT

TOTAL

$ $ $ $ $


At 1 January 2007, net of accumulated depreciation and impairment

62,733 347,180 333,601 96,427 839,941

Additions 14,012 16,827 81,697 108,938 221,474

Disposals at cost - - (37,436) - (37,436)

Disposal accumulated depreciation - - 37,436 - 37,436

Depreciation charge for the year (12,130) (92,944) (44,531) (74,248) (223,853)

As at 31 December 2007, net of accumulated depreciation and impairment

64,615 271,063 370,767 131,117 837,562

AT 1 JANUARY 2007

Cost or fair value 184,374 745,420 814,499 519,580 2,263,873

Accumulated depreciation (121,641) (398,240) (480,898) (423,153) (1,423,932)

NET CARRYING AMOUNT 62,733 347,180 333,601 96,427 839,941

AT 31 DECEMBER 2007

Cost or fair value 198,386 762,247 858,760 628,518 2,447,911

Accumulated depreciation (133,771) (491,184) (487,993) (497,401) (1,610,349)

NET CARRYING AMOUNT 64,615 271,063 370,767 131,117 837,562




13. IntAnGIBle ASSetS – ConsolidatedSOFTWARE LICENCES

$


At 1 January 2008, net of accumulated amortisation and impairment 39,814

Additions 4,973

Disposals -

Amortisation charge for the year (30,897)

As at 31 December, net of accumulated amortisation and impairment 13,890

At 31 December 2008

Cost or fair value 161,661

Accumulated amortisation (147,771)

NET CARRYING AMOUNT 13,890

SOFTWARE LICENCES

$


At 1 January 2007, net of accumulated amortisation and impairment 125,241

Additions -

Disposals (270)

Amortisation charge for the year (85,157)

As at 31 December, net of accumulated amortisation and impairment 39,814

At 31 December 2007

Cost or fair value 156,688

Accumulated amortisation (116,874)

NET CARRYING AMOUNT 39,814

The parent company does not hold any intangible assets so only the consolidated intangible assets are shown.

14. tRADe AnD otHeR pAYABleS2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Accruals 902,283 825,279 - -

Trade creditors 667,377 851,301 330 330

Other payables 51,801 - - -

Total trade and other payables 1,621,461 1,676,580 330 330

Total trade and other payables ageing

0 to 60 days 1,598,893 1,405,566 330 330

61 to 90 days 22,568 4,444 - -

Over 90 days - 266,570 - -

Total trade and other payables 1,621,461 1,676,580 330 330

The fair value of financial liabilities is equivalent to the carrying amount at balance date as disclosed in the balance sheet and related notes. This is because either the carrying amounts approximate to the fair value or because of their short term to maturity.

15. pRepAID ReVenue2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Prepaid funding - 1,444,155 - -

Prepaid ticket sales 4,134,991 4,174,914 - -

Prepaid other 24,504 84,947 - -

Total prepaid revenue 4,159,495 5,704,016 - -

16. pRoVISIonS2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Current provision for employee benefits 3,201,010 2,951,744 - -

Non-current provision for employee benefits 548,101 591,368 - -

Non-current other provisions 150,018 150,000 - -

Total Non-current provisions 698,119 741,368 - -

Total provisions 3,899,129 3,693,112 - -




17. GuARAnteeEach Member undertakes to contribute to the property of the Company if the Company is wound up while he, she or it is a Member or within 1 year after he, she or it ceases to be a Member, for payment of the Company’s debts and liabilities contracted before he, she or it ceases to be a Member and of the costs, charges and expenses of winding up and for the adjustment of the rights of the contributories among themselves, such amount as may be required, but not exceeding $20.00.

18. StAteMent oF CASH FloWSA) RECONCILIATION OF CASH For the purposes of the cash flow statement, cash and cash equivalents includes cash on hand and at bank and short-term deposits at call within 3 months. Cash and cash equivalents as at the end of the financial period as shown in the cash flow statement are as follows:

2008 CONSOLIDATED

2007 CONSOLIDATED

2008 PARENT

2007 PARENT

$ $ $ $

Cash 1,107,834 4,058,176 - -

Short-term deposits 15,518,049 14,184,581 - -

Total cash and cash deposits 16,625,883 18,242,757 - -

B) RECONCILIATION OF NET PROFIT TO NET CASH PROVIDED BY OPERATING ACTIVITIES

2008 CONSOLIDATED

2007 CONSOLIDATED

2008 PARENT

2007 PARENT

$ $ $ $

Net profit/(loss) (277,882) 1,373,306 - -

Profit on sale of assets - (20,182) - -

Add non-cash depreciation 233,430 223,853 - -

Add non-cash amortisation 30,897 85,157 - -

Net cash provided by operating activities before change in assets and liabilities

(13,555) 1,662,134 - -

Changes in assets and liabilities

Decrease/(Increase) in receivables 481,342 54,804 - -

Decrease/(increase) in other assets (100,153) 249,657 - -

Increase/(decrease) in payables (55,119) (256,862) - -

Increase/(decrease) in prepaid revenue (1,544,521) 218,188 - -

Increase in provisions 206,017 418,396 - -

Changes in assets and liabilities (1,012,434) 684,183 - -

Net cash provided by operating activities (1,025,989) 2,346,317 - -

19. SYMpHonY FunD – ConsolidatedNOTE 2008 2007

$ $

Accumulated funds at 1 January 2,489,177 -

Transfer from retained earnings in relation to:

Retained earnings - 1,604,368

Current year bequest - 84,809

Instrument fund donation - 800,000

Transfer to Instrument Reserve (800,000) -

Accumulated funds at 31 December 1,689,177 2,489,177

The Symphony Fund was established under protocols agreed by the Board to raise and accumulate capital to support the aims of the company and its long-term financial security.

In 2007 an anonymous donation of $800,000 was received to establish a special purpose fund to acquire fine string instruments for orchestral musicians to improve the quality of the string section of the orchestra. In 2008 this amount, plus interest earned thereon has been transferred to a separate Instrument Reserve.

20. InteRnAtIonAl touRInG ReSeRVe – Consolidated2008 2007

$ $

Accumulated funds at 1 January 2,000,000 2,000,000

Transfer to retained earnings in relation to:

Net Deficit from Italian tour (459,132) -

Accumulated funds at 31 December 1,540,868 2,000,000

21. InStRuMent ReSeRVe – Consolidated2008 2007

$ $

Accumulated funds at 1 January - -

Transfer from Retained Earnings for interest earned 86,444 -

Transfer from Symphony Fund in relation to:

Instrument Fund Donation 800,000 -

Transfer to Retained Earnings for instruments acquired (271,471) -

Accumulated funds at 31 December 614,973 -

In 2007 an anonymous donation of $800,000 was received to establish a special purpose fund to acquire fine string instruments for orchestral musicians to improve the quality of the string section of the orchestra. In 2008 this amount plus interest earned thereon has been transferred to a separate Instrument Reserve.

The assets purchased in 2008 using Instrument Reserve funds are included in the Property Plant and Equipment – Musical Instruments and total $271,471, see note 12.




22. MAeStRo’S CIRCle ReSeRVe – Consolidated2008 2007

$ $

Accumulated funds at 1 January - -

Transfer from Retained Earnings in relation to:

Maestro’s Circle Donations 315,000 -

Accumulated funds at 31 December 315,000 -

The Maestro’s Circle Reserve was created in 2008 to assist with the costs associated with special activities planned by the incoming Principal Conductor and Artistic Advisor, Vladimir Ashkenazy.

23. DIReCtoRS AnD eXeCutIVe DISCloSuReS

A) DETAILS OF KEY MANAGEMENT PERSONNEL The names of each person holding the position of director or executive of the Company during the financial period are listed on page 38 in the Directors’ Report. Unless otherwise stated in the Directors’ Report, the directors have been in office for the financial period.

B) COMPENSATION OF KEY MANAGEMENT PERSONNEL

2008 CONSOLIDATED

2007 CONSOLIDATED

2008 PARENT

2007 PARENT

$ $ $ $

Short term 193,808 259,950 - -

Other employment benefits 61,755 24,253 - -

Amounts received or due and receivable 255,563 284,203 - -

Payments made to directors are for their contributions as employees, where relevant, and not for their services as directors of the Group for which no fee is paid. Non-executive directors are not paid any fees for their services as directors of the Group.

24. RelAteD pARtIeS

A) DIRECTORS

Transactions with Directors Mr Ewen Crouch, a director of the company is also a partner with Allens Arthur Robinson. During the course of the period, his firm provided professional services to the Group on a pro bono basis.

Mr Stephen Johns a director of the company is also a director of Brambles Limited. During the course of the year, Recall, part of the Brambles Group, provided information management services to the Group under normal terms and conditions.

Mr John Curtis, a director of the company is also Chairman of St George Bank Ltd. During the course of the year St George Bank Ltd provided banking facilities and leasehold office space to the group under normal terms and conditions.

Transactions between the parent Company and entities in which directors have declared an interest, are transacted under normal terms and conditions. There were no contracts involving directors’ interests subsisting at period end excepting sponsorship agreements under normal terms and conditions of business. Sponsorship from director-related entities is on terms and conditions no more favourable than those offered to other sponsors.

B) SUBSIDIARY

The consolidated financial statements as at 31 December 2008 include the parent Company’s one subsidiary in which it had 100% interest, Sydney Symphony Orchestra Pty Ltd which is incorporated in Australia and has the same balance date as that of the parent entity. The carrying value of the investment is $8,578,569 (at 31 December 2007: $8,578,569).

C) ULTIMATE PARENT

Sydney Symphony Limited is the ultimate parent entity.

25. AuDItoR’S ReMuneRAtIon2008

CONSOLIDATED2007

CONSOLIDATED2008

PARENT2007

PARENT

$ $ $ $

Amounts received or due and receivable by Ernst & Young :

• an audit of the financial report of the entity 27,000 25,000 - -

• other services in relation to the entity - - - -

Amounts received or due and receivable 27,000 25,000 - -

No amounts are paid to the auditor by the parent entity. All amounts are paid by its subsidiary, Sydney Symphony Orchestra Holdings Pty Ltd.




26. CoMMItMentS AnD ContInGenCIeSA) OPERATING LEASE (NON CANCELLABLE)

2008 CONSOLIDATED

2007 CONSOLIDATED

2008 PARENT

2007 PARENT

$ $ $ $

Not later than one year 348,499 335,755 - -

Later than one year and not later than five years 377,680 726,179 - -

Later than five years - - - -

Total lease commitments 726,179 1,061,934 - -

The Group has operating leases for office accommodation and photocopier rental.

B) ARTIST FEES CONTRACTED FOR BUT NOT PROVIDED FOR AND PAYABLE

2008 CONSOLIDATED

2007 CONSOLIDATED

2008 PARENT

2007 PARENT

$ $ $ $

Not later than one year 1,499,388 3,277,268 - -

Later than one year and not later than five years 3,869,506 2,278,688 - -

Later than five years - - - -

Total artist fee commitments 5,368,894 5,555,956 - -

The Group has entered into contracts for performances scheduled to take place during 2009 and subsequent years. These amounts include the expenditure required to satisfy the contracts with the artists.

27. SeGMent InFoRMAtIonThe Group operates predominantly in one business segment being the performing arts industry, specifically the staging of symphonic music within one geographic segment being Australia.

28. FInAnCIAl InStRuMentS – Consolidateda) Interest rate risk exposures - Consolidated The following table summarises the interest rate risk for the Group, together with effective interest rates as at balance date.

31 DECEMBER 2008 WEIGHTEDAVERAGE EFFECTIVE

INTEREST RATE

NON INTEREST BEARING

FLOATING INTEREST

RATE

FIxED RATELESS THAN

1 YEAR

FIxED RATE1–2 YEARS

FIxED RATE;2–3 YEARS

TOTAL

$ $ $ $ $ $

Financial Assets

Cash 3.88% - 1,107,834 - - - 1,107,834

Short-term deposits 5.85% - - 15,518,049 - - 15,518,049

Employee instrument loans 7.85% - 419,519 - - - 419,519

Trade and other receivables - 879,187 - - - - 879,187

Financial Liabilities - - - - - - -

Trade and other payables - (1,621,461) - - - - (1,621,461)

NET - (742,274) 1,527,353 15,518,049 - - 16,303,128

28. FInAnCIAl InStRuMentS – Consolidated (continued)31 DECEMBER 2007 WEIGHTED

AVERAGE EFFECTIVE INTEREST RATE

NON INTEREST BEARING

FLOATING INTEREST

RATE

FIxED RATELESS THAN

1 YEAR

FIxED RATE1–2 YEARS

FIxED RATE;2–3 YEARS

TOTAL

$ $ $ $ $ $

Financial Assets

Cash 6.29% - 4,058,176 - - - 4,058,176

Short-term deposits 7.30% - - 14,184,581 - - 14,184,581

Employee instrument loans 6.52% - 348,546 - - - 348,546

Trade and other receivables - 1,360,529 - - - - 1,360,529

Financial Liabilities - - - - - - -

Trade and other payables - (1,676,580) - - - - (1,676,580)

NET - (316,051) 4,406,722 14,184,581 - - 18,275,252

A) INTEREST RATE RISK ExPOSURES

The parent company does not hold any cash or financial assets or liabilities so only the consolidated position is shown.

B) NET FAIR VALUE

The net fair value of financial assets and liabilities is equivalent to the carrying amount at balance date as disclosed in the balance sheet and related notes. This is because either the carrying amounts approximate net fair value or because of their short term to maturity.

C) CREDIT RISK ExPOSURE

The Group’s maximum exposure to credit risk at the balance sheet date in relation to each class of recognised financial assets is the carrying amount of those assets as indicated in the balance sheet and related notes.

D) LIQUIDITY STATEMENT

Short term deposits consist of a number of term deposits held with different maturity dates less than one year. These funds are available at call should they be required, subject to minor early withdrawal penalties.

E) SENSITIVITY ANALYSIS

A Sensitivity Analysis of the effect of interest rate and foreign currency movements on assets and liabilities was not undertaken as the prospective impacts were not considered material at balance date.

29. InDeMnIFICAtIon AnD InSuRAnCe oF oFFICeRS

Insurance and indemnity arrangements established in previous years concerning officers of the consolidated entity were renewed and continued during 2008. Sydney Symphony Orchestra Holdings Pty Ltd paid the premium on a contract insuring each of the Directors of the consolidated entity, named earlier in this report, and each of the full-time executive officers of the consolidated entity, against all liabilities and expenses arising as a result of work performed in their respective capacities, to the extent permitted by law.




Directors’ DeclarationIn the opinion of the directors of Sydney Symphony Limited and its controlled entities:

(a) the consolidated financial statements and notes, set out on pages 42 to 63, are in accordance with the Corporations Act 2001, including:

(i) giving a true and fair view of the financial position of the Group and of the Company as at 31 December 2008 and of their performance, as represented by the results of their operations for the financial year ended 31 December 2008; and

(ii) complying with Accounting Standards and the Corporations Regulations 2001; and

(b) there are reasonable grounds to believe that the Group will be able to pay its debts as and when they become due and payable.

Signed in accordance with a resolution of the directors:

John Conde aoChairman

Sydney, dated 29 April 2009

Stephen JohnsDirector

Sydney, dated 29 April 2009


THE SYDNEY SYMPHONY COUNCIL SUPPORTS THE ORCHESTRA IN THREE KEY AREAS:

1. Development and fundraising

2. Advocacy

3. Audience and community development initiatives

The Sydney Symphony is fortunate to have the commitment of such an energised group of individuals.

MEMBERSHIP AS AT 31 DECEMBER 2008

Geoff AinsworthAndrew Andersons ao

Michael Baume ao

Christine BishopDeeta ColvinGreg Daniel am

John Della Bosca mlc

Alan FangErin FlahertyDr Stephen FreibergRichard Gill oam

Donald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonJudy JoyeYvonne Kenny am

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald mlc

Joan MacKenzieSir Charles Mackerras ch ac cbe

David MaloneyDavid MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

John MorschelGreg ParamorDr Timothy Pascoe am

Stephen PearseJerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsJulianna SchaefferLeo Schofield am

Ivan UngarJohn van OgtropJustus VeeneklaasPeter Weiss am

Anthony Whelan mbe

Rosemary WhiteKim Williams am

CouncilSydney Symphony

Behind the scenes the Sydney Symphony is supported by a brilliant and hardworking team of more than 150 volunteers. Our volunteers help in a wide range of activities from selling raffle tickets at the annual Symphony in the Domain to assisting our administration team with mail-outs and other activities vital to the Orchestra’s success.

A VERY SPECIAL GROUP OF 38 VOLUNTEERS REGULARLY ASSISTS THE SYDNEY SYMPHONY:

Ms Helmi AlbrechtMs Valerie AllsopMrs Joy AnnandMrs Barbara BallmentMs Caroline BarkerMrs Judy BelcherMr Ron BellMrs Jan BiberMs Estelle BillingMrs Jenny BurnettMs Valmai CameronMrs Tessa ConnettMs Bernice CrichtonMrs Pamela CudlippMs Anthoula DanilatosMiss Elizabeth DolierMs Patricia FletcherMrs Helen FlynnMrs B HorrocksMrs Diane JohnsonMs Catherine KennyMrs Anita LevyMrs Nila LewisMrs Joan Mac ReaMr David A MartinMr Reginald McCabeMs Elfreda McMullenMrs Tempe MerewetherMrs Marisa MitterhuemerMs Y MocherMrs June NixonMrs Jill PainMs Janet TimbergMr Damien StapletonMrs Lee D. TredinnickMs Heather WilsonMr Peter WolfeMs Connie Wright

VolunteersSydney Symphony

SYDNEY SYMPHONY STAFF AS AT 31 DECEMBER 2008

MANAGING DIRECTOR

Libby Christie

EXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON MANAGER

Ilmar Leetberg

ADMINISTRATION ASSISTANT

Catherine Wyburn

Education ProgramsEDUCATION MANAGER

Margaret Moore

ARTIST DEVELOPMENT MANAGER

Bernie Heard

EDUCATION ASSISTANT

Rebecca Whittington

LibraryLIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

BOx OFFICE

MANAGER OF TICKETING & CUSTOMER SERVICE

Lynn McLaughlin†

ACTING MANAGER OF TICKETING & CUSTOMER SERVICE

Paul Hanson

BOX OFFICE COORDINATOR

Peter Gahan

CUSTOMER SERVICE REPRESENTATIVES

Michael Dowling Erich Gockel Natasha Purkiss

ExTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Commercial EnterprisesCOMMERCIAL ENTERPRISES MANAGER

David Pratt

RECORDING ENTERPRISES EXECUTIVE

Philip Powers

DevelopmentHEAD OF CORPORATE RELATIONS

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Julia Owens

CORPORATE RELATIONS EXECUTIVE

Seleena Semos

HEAD OF PHILANTHROPY

Caroline Sharpen

DEVELOPMENT EXECUTIVE

Kylie Anania

EVENTS COORDINATOR

Lisa Davies-Galli

PublicationsPUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

Public RelationsPUBLIC RELATIONS MANAGER

Yvonne Zammit

PUBLICIST

Stuart Fyfe

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTS ASSISTANT

Li Li

PAYROLL OFFICER

Usef Hoosney

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTIONS

Rebecca MacFarling

MARKETING MANAGER, CLASSICAL SALES

Simon Crossley-Meates

MARKETING MANAGER, COMMERCIAL SALES

Penny Evans

NETWORK GROUP SALES MANAGER

Lucia Cascone

ONLINE MANAGER

Kate Taylor

MARKETING & MEDIA ASSOCIATE

Antonia Farrugia

GRAPHIC DESIGNER

Christie Hutchinson

DATA ANALYST

Varsha Karnik

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

DEPUTY ORCHESTRA MANAGER

Lisa Mullineux†

ACTING DEPUTY ORCHESTRA MANAGER

Greg Low

ACTING ORCHESTRAL COORDINATOR

Stephanie Mirow

OPERATIONS MANAGER

Kerry-Anne Cook

TECHNICAL MANAGER

Derek Coutts

PRODUCTION COORDINATOR

Tim Dayman

PRODUCTION COORDINATOR

Ian Spence

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

StaffSydney Symphony

† Maternity leave

2008...6 2008 Annual Report sydneysymphony.com 7 • The Sydney Symphony presented 100 concerts in...

Documents

Transcript of 2008...6 2008 Annual Report sydneysymphony.com 7 • The Sydney Symphony presented 100 concerts in...