SYDNEY SYMPHONY ON TOUR - … · that the Sydney Symphony ... taken on weekends to all the jazz...

We have great pleasure in welcoming you to a truly exceptional evening ofgreat musical artistry with Nigel Kennedy and the Sydney Symphony.

Since the foundation of our great champagne House in 1772, Veuve ClicquotPonsardin has become synonymous with elegance, seduction and celebration.

Creating truly great champagne is the collaboration of many individuals, alongwith the finest vintage wines, which together produce a singular sensation for thesenses – much like the incredible talents and dedication of the members of theSydney Symphony.

Champagne always adds a certain je ne sais quoi, a touch of luxury to every occasion.

We hope that you enjoy this evening’s performance, and indulge in a glass of purepleasure, Veuve Clicquot Yellow Label, to enhance this superb musical experience.

A votre santé!

Allia RizviBrand Manager – Veuve Clicquot Ponsardin

SEASON 2008

SYDNEY SYMPHONY ON TOUR

KENNEDY PLAYS MOZART AND BEETHOVEN

Saturday 2 February | 8pm

Sunday 3 February | 2pm

Queensland Performing Arts Centre, Brisbane

Wednesday 6 February | 8pm

Civic Theatre Newcastle

Nigel Kennedy violin-director

WOLFGANG AMADEUS MOZART (1756–1791)

Violin Concerto No.4 in D, K218

AllegroAndante cantabileRondeau (Andante grazioso – Allegro ma non troppo,

alternating)

INTERVAL

LUDWIG VAN BEETHOVEN (1770–1827)

Violin Concerto in D, Op.61

Allegro ma non troppoLarghetto –Rondo (Allegro)

Estimated timings:26 minutes, 20-minute interval, 42 minutesThe performance will conclude at approximately 10pm (4pm on Sunday)

TOURING PARTNER

Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and offering a common platform forvaried cultures and communities to come together. It is for these reasonsthat the Sydney Symphony – a first class orchestra in one of the world’smost diverse and beautiful cities – is an ideal partner for Emirates Airline.

With more than 300 major international awards for excellence, Emirateshas developed an international reputation for providing a standard ofservice and an inflight experience to which other airlines aspire.

And like the Sydney Symphony, Emirates reaches out to a truly globalaudience, flying to every continent in the world from its hub in Dubai. We also have a long term growth strategy for Emirates in Australia.Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of 2009. This will include a third daily flight from Sydney, makingconnections to our expanding network across Europe, Middle East,Africa, Asia and the Americas easier for local travellers.

Emirates continues to take great pleasure in supporting the SydneySymphony and fostering the growth of arts in the community.

We look forward to an exciting and memorable 2008.

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP

SEASON 2008

EMIRATES METRO SERIES


Friday 8 February | 8pm

Sydney Opera House Concert Hall





alternating)

INTERVAL




This concert will be recorded forbroadcast across Australia on ABC Classic FM 92.9.

Pre-concert talk by Rosalind Horton45 minutes before the performance, in the Northern Foyer. Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

Estimated timings:26 minutes, 20-minute interval, 42 minutesThe performance will conclude atapproximately 10pm

We have great pleasure in welcoming you to a truly exceptional evening ofgreat musical artistry with Nigel Kennedy and the Sydney Symphony.

Since the foundation of our great champagne House in 1772, Veuve ClicquotPonsardin has become synonymous with elegance, seduction and celebration.

Creating truly great champagne is the collaboration of many individuals, alongwith the finest vintage wines, which together produce a singular sensation for thesenses – much like the incredible talents and dedication of the members of theSydney Symphony.

Champagne always adds a certain je ne sais quoi, a touch of luxury to every occasion.

We hope that you enjoy this evening’s performance, and indulge in a glass of purepleasure, Veuve Clicquot Yellow Label, to enhance this superb musical experience.

A votre santé!

Allia RizviBrand Manager – Veuve Clicquot Ponsardin

PRESENTING PARTNER

SEASON 2008

THE VEUVE CLICQUOT SERIES


Saturday 9 February | 8pm

Monday 11 February | 7pm

Sydney Opera House Concert Hall





alternating)

INTERVAL




This concert will be recorded forbroadcast across Australia on ABC Classic FM 92.9.

Pre-concert talk by Rosalind Horton 45 minutes before the performance, in the Northern Foyer.Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

Estimated timings:26 minutes, 20-minute interval, 42 minutes

The performance will conclude at approximately 10pm (9pm on Monday)

5 | Sydney Symphony

INTRODUCTION

Nigel Kennedy plays Mozart and Beethoven

Nigel Kennedy shot to fame in 1989 with a landmarkrecording of The Four Seasons. And when you hear himplay Vivaldi, the high energy and collaborative spirit ofthe performances is a reminder that baroque music hasmore vigour and spontaneity than it’s sometimes givencredit for.

In this concert the music is just a bit younger: one of Mozart’s violin concertos and the only one thatBeethoven ever wrote. For Nigel Kennedy, this programrepresents a ‘line of progress’, as he said in a recentinterview, from the ‘succinct statements’ of Mozart’sClassical language to the extension of musical ideas inBeethoven and the emerging Romantic style.

The differences aren’t merely stylistic but practical: the first movement of Beethoven’s concerto occupies as much time as all of Mozart’s. And in many ways theBeethoven Violin Concerto is almost like a symphonywith the solo violin taking a principal part. There’s no empty display here, instead Beethoven uses theexpansive structure to highlight the inherent drama ofthe themes.

There was a time when Nigel Kennedy said he’d ‘givenup’ on some of the great concertos, that he didn’t wantto play them. Fortunately for us he’s changed his mind.And in the meantime he’s been exploring the improvisedcadenza, the creative loophole that carried baroquespontaneity into the 19th century, and in Kennedy’shands on into our own.

7 | Sydney Symphony

That was then, this is now

Rita Williams profiles Nigel Kennedy

Nigel Kennedy was about 13 when he saw the wall comedown: his violin teacher, Yehudi Menuhin, appeared on the Michael Parkinson show with Stephane Grappelli toplay George Gershwin’s Lady Be Good. The program waspromoted as the first meeting of two great musical minds:the classical virtuoso Menuhin and the gypsy fiddlerGrappelli. Not only did it bring them together but it alsobrought Grappelli into Menuhin’s school for gifted youngmusicians, where Kennedy had been studying since he wasseven. Within a short time, the young protégé was beingtaken on weekends to all the jazz clubs in London.

Late in his life, Menuhin spoke about that Parkyprogram with some regret: ‘I committed my part tomemory and then played it as well as I could – andresponded to Grappelli of course. But I didn’t actuallyimprovise. That was beyond me. I could have given one eye tooth, as they say, to have been able to [do it], but weeach have our sphere and at least I’ve bridged the gap. And I’ve each time [in concert with Grappelli] felt as onewould feel having received some kind of pep injection. Just the feeling as though every note was an event, had ameaning, a savour that the shop-worn and the packagedand the frozen cannot have.’

Nigel Kennedy has kept his eye teeth, but he has alsoworked hard to experience what Menuhin never knew.After his version of Vivaldi’s Four Seasons broke salesrecords, Britain’s most famous violinist could easily havebecome a shop-worn one-hit wonder. But the same musethat inspired that original version of ‘Viv’, as Kennedycalled the composer, wanted to visit the farthest reaches of creativity – to not only stand and deliver the music oftime, but to stand at its birthplace. And in the 20thcentury, that volcanic moment where music meets timehas most immediately been felt by people like Grappelli,who play jazz.

It wasn’t always the case that classical music gave noroom for improvisation. In fact, Mozart was celebrated first and foremost for his invention at the piano, followedby his skills as a performer and then composer. And whenhe composed music, such as the virtuosic and statelyconcerto on tonight’s program, he often left room for theperformer to join in the act of creation. To use the wordsof Mozart scholar, pianist (and improviser) Robert Levin,

PROFILE

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Nigel Kennedy has

often said he regards

each gig as if it’s his

last, and from an early

age he has seized the

day and trusted his

musical instincts.

8 | Sydney Symphony

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9 | Sydney Symphony

these ‘contrived chasms’ gave the performer an outlet for‘impulsive audacity’.

‘Mozart left many passages in sketched or schematicform, relying on the whims of live performance to fill inthe specific expressive content anew at each performance,’wrote Levin.

Beethoven’s approach was much the same, but itwas with Beethoven that the rot set in – as his hearingdiminished and his own playing career wound down. His Emperor Concerto was the first concerto to specifythe cadenza and to instruct the performer to play nothing else.He set a trend, and by the dawn of the 20th century,composition had become a separate act from performance.The unified musical soul didn’t re-emerge fully in the West until the birth of jazz.

Living in the moment has long been Kennedy’s motto.He has often said he regards each gig as if it’s his last, andfrom an early age he has seized the day and trusted hismusical instincts. When Grappelli invited Kennedy to joinhim on stage for a gig at Carnegie Hall, Kennedy’s teacherat the Juilliard School in New York suggested it wouldn’tbe a good look for someone who wanted to be takenseriously as a classical musician.

But the present meant more to Kennedy than the future, as he told Britain’s Classic FM last May: ‘I ended up,after, like, half a bottle of whiskey, deciding to play withStephane at Carnegie Hall because it was something, like,totally normal for me. I’d been playing in clubs all overEngland with Stephane – it was part of my normal life. I thought, well, why should I give that up? But after havinggone and played with him, which was a historic day in mylife…some CBS executives told my teacher, “Well, he’llnever be on CBS”, which was a classical label at that pointbefore it became Sony. She was correct, it was going tomess up my classical career, but you shouldn’t reallycompromise what you are as a musician in order just toget a professional opportunity.’

And like a rolling stone, Nigel Kennedy has followed hisown direction ever since. Reading his discography, onegets the sense that the old divisions between classical andjazz just didn’t make sense to his musical mind. It’s as if hehas stood in the musical lolly shop and ordered whateverhis wide ears wanted: ‘I’ll have a handful of Ellingtontunes, an Elgar concerto, four Vivaldi seasons, two blocks of jazz, a super-duper Jimi Hendrix, a bubble burst ofThe Doors, and lots of those Bach ones at the back.’

Kennedy’s reluctance

to fit in to the classical

tradition has ruffled

some feathers…

10 | Sydney Symphony

About nine years ago, he sucked on the music of Mozartand Beethoven and spat them out. ‘I have given up onsome of those violin concertos,’ he told Britain’s ClassicFM. ‘I don’t see a lot in them and I don’t want to playthem.’ Now he does want to play them. Sholto Byrnes, areporter for the Independent newspaper, found out why inApril last year, writing:

He doesn’t have anything more to prove to the classical world, but the challenges are still there: writing cadenzas for theBeethoven and Mozart violin concertos, for instance, a task inwhich he is immeasurably aided by his jazz skills. ‘Classicalmusicians used to be taught to improvise,’ he says, ‘but it’s rare to find that now.’ He has also been mellowed by, and learntfrom, experience. ‘The first time I thought I should do my owncadenzas was about 20 years ago,’ he tells me. ‘I ended thecadenza of the Mozart G major concerto in completely the wrongkey. For a couple of bars it sounded like Debussy.’ So this time he’s going to write down a scheme. ‘I can’t butcher that f***eragain,’ he says.

Art Tatum, the pianist who Rachmaninov hailed as thegreatest of any persuasion, regarded ‘wrong keys’ as thebeginning of another end. In Kennedy’s case, they werepart of the trip to other musical flavours: Jimi Hendrixand The Doors, and his own creations with the NigelKennedy Jazz Quintet that led to the recording in late 2005of his first album on the prestigious jazz label, Blue Note.This year that trip brings him back to the Mozart andBeethoven concertos, to the premiere of his Jazz Concertofor orchestra and jazz quintet in June, and his return to theElgar Concerto in March.

Kennedy’s reluctance to fit in to the classical tradition

His enthusiasm

reaches out and lights

the darkness of foreign

musical worlds…

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has ruffled some feathers – he was famously derided bythe late BBC music programmer Sir John Drummond for wearing long coats and lurid clothes – but it has beenmerely collateral damage to his pursuit of authenticityand full acceptance of his musical calling. It’s as if heunderstood early what the spiritual writer Robert A.Johnson said of balancing heaven and earth: ‘The mysteryis this: There is one right thing to do at every moment. We can either follow or resist.’ And Kennedy has alwaystried to follow.

Sydney Symphony Concertmaster Michael Dauth firstplayed with Kennedy about five years ago and said that thebiggest thing he learnt was to look outside the square. ‘He’s not afraid of doing what he does, and I don’t think hecares much about what other people say. He just follows itthrough and sticks to his guns.’

Dauth continued to say that, as a result of this attitude,even the shop-worn concertos become a surprise inKennedy’s hands. ‘We have played Vivaldi concerti grossiand things like that [together] and the concerts were never boring. You never knew what was coming next eachnight. It was challenging and exciting. His ideas are verydifferent from a lot of other soloists’. They [the ideas] are unorthodox, and a lot of musicians are taken aback atfirst. But after a very short time, everybody is convincedand feels the same. He’s a great motivator and overall agreat musician. I think he’s a great person, I really lovehim.’

And that’s another benefit of following his deepestcalling. Orchestra members and audiences alike havewarmed to Kennedy the performer because wherever he is, there he can be found – injecting some ‘pep’ into life asmusic reveals itself through him. His enthusiasm reachesout and lights the darkness of foreign musical worlds asstridently and persuasively as the colours of his favouritefootball team, Aston Villa, projected around concert venueson this tour.

‘If you’re a musician,’ he told ABC Radio in Perth two yearsago, ‘you can find out that “now” is pretty much the meaningof everything and the most important moment in your life– all the time. “Now” can be almost an endless moment.’

RITA WILLIAMS ©2008

Rita Williams has worked as an editor, journalist and sub-editor for overa decade. She studied composition and musicology at the University of Sydney and journalism at UTS.

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Wolfgang Amadeus Mozart


AllegroAndante cantabileRondeau (Andante grazioso – Allegro ma non troppo, alternating)

Nigel Kennedy violincadenzas by the soloist

Mozart’s father once suggested to him that the best way tointroduce himself in a place where he wasn’t known was to playa violin concerto. It is easy to take for granted how masterlyare Mozart’s violin concertos, because they are not as great asthe best of his piano concertos. We think of Mozart as a pianist,and the most that many people know about his violin playingcomes from letters written to him by his father Leopold, oneof the leading violin teachers of the time, exhorting him notto give up practising, and claiming that he could be, if heworked at it, the finest violinist in Europe. Mozart composedall but the first of his five violin concertos, including thisone, in a sustained burst in 1775 when he was 19. They havesometimes been regarded as attempts to please his fatherrather than himself. Yet none of the piano concertos Mozarthad written up to this time show the maturity of conceptionof the last three of these violin concertos, the ones in G(K216), in D (K218), and in A (K219). It was after Mozart leftSalzburg for Vienna, which he called ‘the land of the piano’,that his concerto energies flowed exclusively into keyboardworks. He wrote no further violin concertos.

Of the countless violin concertos composed in the 18thcentury, the standard modern ‘symphony concert’ repertoireretains only a few of Vivaldi’s, those of JS Bach, and Mozart’s.Mozart’s violin concertos are standard because they are verygood music. Listening illustrates this better than words, butpart of it is that the musical ideas are so strong, and there are so many of them. Mozart, even at this age, can organisehis many ideas concisely and convincingly. Composingopera, his main preoccupation, has already taught him howto make the soloist the protagonist in a drama.

The solo violin parts of these concertos put musicalsubstance and idiomatic writing for the instrument ahead of virtuoso display. This wasn’t because Mozart’s own violintechnique was limited. The concertos were also played by hisSalzburg colleague Antonio Brunetti (first violin and soloistin the Court Orchestra), and Brunetti himself said, ‘Mozartcould play anything.’ In some of Mozart’s serenades, whichhe did play, the solo violin parts are more brilliant than

Keynotes

MOZART

Born Salzburg, 1756Died Vienna, 1791

Before he moved to Vienna

in 1781, Mozart worked in

Salzburg, alongside his father

and other musicians at the

court of the Prince-Archbishop

Colloredo. He seems to have

found the environment

stifling, certainly he didn’t like

his status as a court servant.

But even so he composed

prolifically in all the genres

for which he’s famous today:

symphonies, concertos,

chamber music and operas,

as well as church music and

serenades. In fact, all the

violin concertos were written

in Salzburg, between about

1773 and 1775.

VIOLIN CONCERTO IN D, K218

Leopold Mozart was a

violinist, and his son grew up

with the sounds of the leading

violinist-composers from the

home of the violin itself, Italy.

Leopold’s teaching gave

Mozart virtuoso skill and the

Italian style gave him baroque

complexity as well as rococo

elegance. This particular

concerto makes a bold

beginning that signals its

scale and substance as well

as conveying its brilliant

character. (D major was

traditionally associated with

martial and festive music.)

As its title suggests, the

second movement is intended

to sing (cantabile). In the

finale Mozart swings between

two wildly contrasting moods

and, complicating things

further, interrupts himself

with the bagpipe effects of a

rustic-sounding episode.



anything in the concertos. The style of the concertos was a matter of preference – a direct, uncluttered mode ofexpression in writing for the violin.

Listening Guide

Concerto No.4, in D major, is similar to its immediatepredecessor composed a few weeks earlier, No.3 in G. Itis also more brilliant and sonorous, as one might expectfrom the brighter key. Indeed it opens with fanfare figuressuggesting trumpets and drums, though the orchestracontains neither. The horns and oboes are used moreassertively. Mozart has so many ideas that he can afford tothrow some away: the theme of the opening tutti, although it is repeated by the soloist, does not appear again, either indevelopment or recapitulation. The soloist’s part is almostcontinuous, without the interchanges with the orchestrawhich mark the previous concerto. The most memorable ofthe many themes is the sinuous one presented by the soloistin the lower register, with its sudden forte. The impressionleft by this movement is of delightfully unpredictableregrouping of the material, rather than regular sonata form.

The slow movement, in A major, has the soloist playingalmost throughout. The opening theme is of the kind whichused to be called ‘hymn-like’ when the more reposeful ofHandel’s opera arias, which this rather resembles, were consideredreligious melodies. The loveliest passage has the oboe echoingthe solo violin over tiptoeing figures from the strings.

For many years it was believed that this concerto mightbe the one referred to by Mozart and his father as ‘theStrassburger’ concerto. Then in 1956 the original ‘Strassburgtune’ – a folk melody – was identified and matched to a themein the finale of the concerto in G major (K216). But the finale

of this D major concerto also contains fascinating episodesof a popular cast. The alternation of metres, tempos andcharacter is so rapid, yet so sure, that the effect is charminglycapricious rather than odd. The folk flavour is confirmedwhere a drone bass is produced by the oboe doubling thesoloist’s long sustained low note. This episode is like a musette,in a movement appropriately given the French title Rondeau.

© DAVID GARRETT

The orchestra for Mozart’s violin concerto K218 comprises two oboes,two horns, and strings.

The first Sydney Symphony performance on record for this concertowas in 1940 with violinist Nora Williamson and Percy Code conducting.Most recently the Orchestra performed it in the 2001 Mozart series withMichael Dauth directing from the violin.

A portrait of Mozart in his regalia as

a Knight of the Golden Spur, made in

1777, two years after he composed his

violin concertos. (Anonymous artist)

Mozart has so many

ideas that he can afford

to throw some away.

Mozart’s violin concertos

have sometimes been

regarded as attempts to

please his father rather

than himself.


Ludwig van Beethoven (1770–1827)



Nigel Kennedy violincadenzas by Fritz Kreisler (1st movement) and the soloist (3rd movement)

Beethoven wrote only a small number of concertos, but his fivepiano concertos and the violin concerto have become, every oneof them, standards of the repertoire. Beethoven’s only violinconcerto was preceded by a partially complete first movementfor violin and orchestra from his youth in Bonn, and the tworomances for violin and orchestra, from 1795 and 1800–02 (and also by the first nine of his ten sonatas for violin andpiano, including the Kreutzer Sonata). These were Beethoven’spreparation for the great concerto he was to write, apparentlywith speed and certainty, in 1806. The soloist for whom he wroteit, Franz Clement (1780–1842), had been a child prodigy whomade his debut aged nine, and was by then the popular leader of the orchestra at the Theater an der Wien.

Nothing had been written for the violin on this scalebefore, no work in which the soloist and orchestra shared in so elaborate and symphonic a discourse. Evennow, when the greatness of Beethoven’s Violin Concertois not in question, it remains a supreme challenge forviolinists. At first the audience and critics in Vienna failedto understand the concerto, perhaps not surprisinglygiven the circumstances in which it was first performedin 1806. Franz Clement played the first movement in thefirst part of the program, and the slow movement andfinale in the second. In between he played a sonata ofhis own, on one string with the violin held upside down. The concerto can hardly have been adequately rehearsed,since Beethoven was late with the manuscript, andClement virtually had to read it at sight (although notentirely, because he had probably advised the composeron the technicalities of the solo part).

Beethoven, making a dreadful pun, offered it as a‘concerto per clemenza pour Clement’, meaning eitherthat he presented it with apologies, or that he had mercy (‘clemency’) on the violinist! Beethoven’s ViolinConcerto established itself as a supreme masterpiece only when later soloists, from Joseph Joachim in the mid-

Keynotes

BEETHOVEN

Born Bonn, 1770Died Vienna, 1727

Beethoven moved to Vienna

as a young man and found

fame as a pianist. He also

acquired a reputation as an

innovative composer whose

musical genius offset the

rough edges of his

personality. By the time the

violinist Franz Clement

commissioned a concerto

from him, Beethoven had

completed three symphonies

and three piano concertos

and the two men had already

shared the stage: at the

premiere of Beethoven’s

Eroica Symphony, Clement

performed his own violin

concerto.

VIOLIN CONCERTO

Beethoven’s only violin

concerto also stands alone

as the only major concerto

for the instrument between

those of Mozart from 1775

and Mendelssohn’s of 1844.

It’s a mighty work: its first

movement is as long as the

complete Mozart concerto

from the first half of this

concert. This is a virtuoso

work of symphonic

proportions. The opening

features four timpani taps

(there’s a fifth, which you’ll

hear if you listen closely) and

this becomes a crucial motif

for the whole first movement.

The second and third

movements are linked by a

cadenza-like transition that

leads from the moving

variations of the Larghetto to

the dazzling ‘hunting rondo’ of

the finale. Clement premiered

the concerto in 1806.


19th century onwards, made its case with the thoroughpreparation it deserved.

Listening Guide

There are affinities in this concerto with Beethoven’s Fifthand Seventh Symphonies. The opening contains a motifwhich runs right through the movement: the four quietdrum taps which are heard before the woodwind enter with the first theme. (Actually there are five taps: the fifth is heard under the first wind note.) The figure recurs both in its four-note form (in which it seems to move themusic on), and as five notes, with the fifth emphasised as it sounds the first beat of the next bar, giving a feelingof finality.

The three themes which follow are each derived fromthe basic idea of a rising scale. The solo violin’s wonderfulfirst entry comes, in contrast, in a rising arpeggio, eachnote preceded by a grace note an octave below. Beethovenis in an expansive mood: even when the music is at itsmost forceful, it is serene, ordered and of elevated beauty.This is in contrast with the concentrated power anddynamism of – say – the Fifth Symphony of 1807–08.Perhaps the most typical passage of the first movement ofthe Violin Concerto comes just before the recapitulation,where an episode in G minor, in the words of oneadmirer, ‘distils the quintessence of the concerto’ssubjective poetry’.

In the recapitulation itself, the subtlety of Beethoven’sorchestration, especially for the bassoons and horns, canbe appreciated as it could not in the exposition, when the listener’s attention was on the themes themselves.Beethoven did not compose a cadenza himself, but manygreat violinists, including Joachim and Kreisler, haveremedied the deficiency. The coda which follows presentsthe theme in all its simplicity, played by the soloistover plucked strings, then wafts it to the heights, bothliterally and metaphorically, in increasingly rhapsodicarabesques.

The secret of the stillness Beethoven achieves in theslow movement is exposed with superb insight by SirDonald Tovey: the use of varied repetition to express asublime inaction. The muting of the strings and the softinterventions of the orchestra, particularly the bassoonsand horns, put the improvisatory musings of the soloviolin in timbral high relief.

At first the audience

and critics in Vienna

failed to understand the

concerto

A portrait of Beethoven made in 1806.


As in so many of his works, Beethoven leads directlyfrom the slow movement through a cadential passage tothe finale. At first this is a complete contrast to what hasgone before, with a boisterous, good-humoured themeleaping through wide intervals whereas most of theconcerto’s melodies up to then had moved step by step.But the episodes, in this Rondo poised on the edge ofjocularity, have the breadth and lyricism of the earlierparts of the concerto – thus Beethoven maintains themood of this supremely well-balanced work.

DAVID GARRETT © 1999

The orchestra for this concerto comprises flute, pairs of oboes,clarinets, bassoons, horns and trumpets; timpani and strings.

Beethoven’s Violin Concerto received its premiere in Vienna on 23 December 1806 in a benefit concert for the soloist, FranzClement. The Sydney Symphony first performed Beethoven’s Violin Concerto in 1938 with George Szell conducting and TossySpivakovsky as soloist, and most recently in 2002 with StéphaneDenève and violinist Viviane Hagner.

The excellent violinistKlement also played…aviolin Concerto by Beethofen,which on account of itsoriginality and manybeautiful passages, wasreceived with muchapprobation. Klement’sgenuine art andgracefulness, his power andperfect command of theviolin – which is his slave –were greeted with deafeningapplause. As regardsBeethofen’s Concerto, theverdict of the experts isunanimous; while theyacknowledge that it containssome fine things, they agreethat the continuity oftenseems to be completelydisrupted, and that theendless repetition of a fewcommonplace passagescould easily provewearisome.

JOHANN NEPOMUK MÖSERREPORTS ON THE 1806 PREMIEREFOR A VIENNESE THEATRICALJOURNAL

Violinist Franz Clement as an 8-year-old prodigy.


GLOSSARY

CADENTIAL – referring to ‘cadence’, which hasa similar meaning in music as it does inspeech or poetry. In most classical musicparticular progressions of chords (cadentialformulas, cadential passages) are used tosignal the end of a phrase, section, or work.Beethoven made an art of prolonging hiscadences to monumental proportions.

CADENZA – a virtuoso passage for the soloistalone, traditionally inserted towards the endof a sonata-form concerto movement andmarking the final ‘cadence’. Originallycadenzas were improvised by the performerand this is what Mozart would have expected,but with Beethoven’s Emperor Piano Concertocomposers began writing out the cadenzas.Occasionally a cadenza might involveparticipation from one or two members ofthe orchestra as well. For example, whenBeethoven arranged his Violin Concerto forpiano and orchestra, he wrote a cadenza thatfeatured the timpani.

CONCERTO – a work for solo instrument andorchestra, most commonly in three movements(fast, slow, fast) and including extendedvirtuoso passages for the soloist to play alone.

FORTE – loud, usually abbreviated in sheetmusic as f.

METRE – a way of describing the organisationof musical rhythm and pulse. March timefor example is commonly indicated as 4/4: a four-beat pulse, or quadruple metre; waltztime is 3/4: a three-beat pulse, or triple metre.

MUSETTE – this term has been given toseveral musical instruments with a rusticcharacter (a simple bagpipe in the 17th and18th centuries, a basic oboe in the mid-19thcentury); it can also refer to an 18th-centurydance piece with a pastoral mood, usuallyevoking the sound of the bagpipe-musetteby use of a drone bass.

ORCHESTRATION – the way in which anorchestral work employs the differentinstruments and sections of the ensemble.

RONDEAU – the French spelling for the word‘RONDO’: a musical form in which a main idea(refrain) alternates with a series of musicalepisodes. Classical composers such as Mozartcommonly adopted rondo form for thefinales to their concertos and symphonies.

SONATA FORM – this term was conceived inthe 19th century to describe the harmonicallybased structure most Classical composershad adopted for the first movements oftheir sonatas and symphonies. It involvesthe EXPOSITION, or presentation of themesand subjects: the first in the tonic or homekey, the second in a contrasting key. Thetension between the two keys is intensifiedin the DEVELOPMENT, where the themes aremanipulated and varied as the music movesfurther and further away from the ultimategoal of the home key. Tension is resolved in the RECAPITULATION, where both subjectsare restated in the tonic. Sometimes a CODA

(‘tail’) is added to enhance the sense offinality.

TUTTI – all together, the full ensemble.

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

Allegro – fastAllegro ma non troppo – fast but not too

muchAndante cantabile – at a walking pace, in a

singing styleAndante grazioso – at a walking pace,

gracefullyLarghetto – slow, broad, but not so slow as

Largo

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


INTERLUDE

Mozart, Beethoven and their violinists

Mozart was an all-round musician of the 18th century: he composed and directed his own music, he was anacclaimed piano virtuoso and he was also anaccomplished violinist. We know that Mozart performedhis own violin concertos – not just the five that arelabelled that way, but also the miniature concertosembedded in some of his serenades. And we know heplayed them very well. Once, after performing his‘Strassburger’ concerto (K216), he proudly wrote homethat it had ‘flowed like oil’ and that everyone hadcomplimented him on his pure and beautiful tone.

The first of Mozart’s violin concertos was written for a specific performer, a ‘Herr Kolb’, but the remainingones present a mystery. Although Mozart performedthem himself, there’s no evidence that this was hismotivation for composing them – unlike the pianoconcertos. There’s no obvious candidate among theviolinists in Salzburg at the time – although it’s possiblethey were written for an amateur, Count Johann RudolphCzernin – and while at least some of them were laterplayed by Antonio Brunetti, he didn’t arrive at theSalzburg court until 1776, after the concertos had beenwritten.

But what is evident – in the music – is that theseexquisite concertos belong to the world of the all-roundmusician. Neither too hard for the accomplishedamateurs, nor too easy for the professionals – they are the fruit of an all-round genius.

Beethoven was an all-round musician too. Until hishearing made it impossible, he was active as a virtuosopianist, and he was usually the conductor when his ownworks were introduced to the public. He did play violinafter a fashion (in 2006 two of his violin sonatas wererecorded on one of his instruments), but it’s hard toimagine him playing his own concerto as Mozart did.

That’s partly because the Beethoven Violin Concerto is so much more demanding and substantial thananything Mozart conceived for the instrument – even the virtuoso who gave the premiere felt its challenges.

That virtuoso was an Austrian, Franz Clement(1780–1842). He first gained renown as a child prodigy. By 1806 he was the leader of an orchestra and had been a professional performer for more than half his life.


He was famous for his astonishing memory, and his style was characterised by clarity and elegance. It wasClement who commissioned the concerto fromBeethoven, intending it as the mainstay of a benefitconcert.

Clement probably gave Beethoven advice on technicalmatters – just as Joseph Joachim was to do for Brahmsand Ferdinand David for Mendelssohn. But he mayhave provided other inspiration too: Clement had writtenhis own violin concerto, also in D major, which waspremiered in 1805, sharing the program with Beethoven’snew Eroica Symphony; and tradition has it that Clementsupplied the leaping theme for the ‘hunting rondo’ thatconcludes Beethoven’s concerto. This theme is playedfirst all on the G string, bringing to mind Clement’sfavourite party trick: performing a piece of his own,on one string, while holding the instrument upsidedown!

YVONNE FRINDLESYDNEY SYMPHONY © 2008


MORE MUSIC

Selected Discography

NIGEL KENNEDY

Mozart and Beethoven

New in 2008, a recording of Beethoven’s ViolinConcerto with the Polish Chamber Orchestra; coupled with Mozart’s K218 concerto.EMI 395 3732

Beethoven Violin Concerto

A live recording from 1992 with Klaus Tennstedt andthe North German Radio Symphony Orchestra.EMI CLASSICS 54574

Brahms Violin Concerto

With Klaus Tennstedt and the London PhilharmonicOrchestra.EMI CLASSICS 54187

Elgar Violin Concerto

Nigel Kennedy’s acclaimed interpretation of the Elgar Violin Concerto has been recorded twice and is available in a number of releases including:

With Vernon Handley and the London PhilharmonicOrchestra (1984).EMI GREAT RECORDINGS OF THE CENTURY 45793

With Simon Rattle and the City of BirminghamSymphony Orchestra (1997), also including VaughanWilliams’ The Lark Ascending.EMI CLASSICS 56413

Vivaldi’s Four Seasons

This disc became the best-selling classical work of all time, recorded with the English Chamber Orchestrain 1989.EMI CLASSICS 56253

More recently a pair of releases with members of theBerlin Philharmonic and guest soloists placed TheFour Seasons alongside other Vivaldi concertos:

Vivaldi I (incl. The Four Seasons) EMI CLASSICS 57666

Vivaldi IIEMI CLASSICS 57859

Polish Spirit

Concertos by Emil Mlynarski and MieczyslawKarlowicz with the Polish Chamber Orchestraconducted by Jacek Kaspszyk, and arrangements ofChopin nocturnes.EMI CLASSICS 79934

FEBRUARY

14 February, 8pm

RAVEL’S ROMANCES

Gianluigi Gelmetti conductorCantillation chorusRapsodie espagnole, La Valse, Daphnis et Chloé suites

15 February, 1pm

STRAVINSKY’S FIREBIRD (2001)

Charles Dutoit conductor

22 February, 8pm

RAVEL’S BOLERO

Gianluigi Gelmetti conductorincluding Le Tombeau de Couperin, Mother Goose suite and Bolero

25 February, 1pm

SAINT-SAËNS ORGAN SYMPHONY (2003)

Edo de Waart conductor

Broadcast Diary

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

February webcast:RAVEL’S ROMANCES (OPENING GALA CONCERT)

Live on Thursday 14 February at 8pm.Available On Demand from late February

sydneysymphony.com

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

2MBS-FM 102.5

SYDNEY SYMPHONY 2008

Tue 12 February, 6pm

What’s on in concerts, with interviews and music.Guests: Lee Bracegirdle and Scott Kinmont

Webcast Diary


ABOUT THE ARTIST

Nigel Kennedy violin

EMIC

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SNigel Kennedy’s virtuosic technique, unique talent andmass appeal have brought fresh perspectives to both theclassical and contemporary repertoire, and he is the best-selling classical violinist worldwide.

As a child he studied first at the Menuhin School beforemoving to New York’s Juilliard School of Music to studyunder the celebrated teacher, Dorothy DeLay.

He has performed with the world’s major orchestras and conductors, from Europe to the United States andAustralia. Major debuts have included his 1977 LondonRoyal Festival Hall performance, the Berlin Philharmonicin 1980, his New York orchestral debut in 1987 and his2004 French debut. He has given numerous Royalcommand performances, and his many awards includeOutstanding Contribution to British Music and MaleArtist of the Year at the UK Brit Awards.

He has been an exclusive EMI artist since the beginningof his career. His acclaimed recordings include Elgar’sViolin Concerto (voted 1985 Record of the Year byGramophone), Brahms and Beethoven violin concertos, andhis landmark recording of Vivaldi’s Four Seasons, whichearned a place in the Guinness Book of Records as the best-selling classical work of all time. He has also recordedconcertos by Bach, Beethoven, Berg, Brahms, Bruch,Mendelssohn, Sibelius, Tchaikovsky and Walton, as well as chamber music and recital discs. His passion for jazzresulted in the 2006 album Blue Note Sessions, produced byGrammy award-winning Jay Newland and featuring a bandof jazz giants including Ron Carter and Jack DeJohnette.

In 2002 Nigel Kennedy was appointed Artistic Directorof the Polish Chamber Orchestra, a role his teacher andmentor, the late Yehudi Menuhin, once held. With thisorchestra he has rediscovered a stunning late RomanticPolish concerto, Emil Mlynarski’s Violin Concerto No.2.His recording of this work, coupled with MieczyslawKarlowicz’s Violin Concerto in A, was released last year.

Nigel Kennedy is passionate about football and has longbeen a devotee of Aston Villa, attending as many matchesas his schedule allows. He is married to his long-timepartner; he has one son, and they divide their timebetween homes in Krakow, London and Malvern.

Nigel Kennedy’s most recent appearance with the SydneySymphony was in 2006 in a program of Vivaldi concertos.


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities. Last year the Orchestracelebrated its 75th anniversary and themilestone achievements during itsdistinguished history.

Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.

Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon,Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, aposition he holds in tandem with that ofMusic Director at Rome Opera. MaestroGelmetti’s particularly strong rapportwith French and German repertoire iscomplemented by his innovativeprogramming in the Shock of the Newconcerts.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonyalso maintains an active commissioningprogram promoting the work of Australiancomposers, and recent premieres haveincluded major works by Ross Edwards and Brett Dean, as well as Liza Lim, whowas composer-in-residence from 2004 to2006.

In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.

JOH

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


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate ConcertmasterKirsty HiltonAssistant Concertmaster

03 Fiona Ziegler04 Julie Batty05 Gu Chen06 Amber Gunther07 Rosalind Horton08 Jennifer Hoy09 Jennifer Johnson10 Georges Lentz11 Nicola Lewis12 Alexandra Mitchell

Moon Design Chair of Violin13 Léone Ziegler

Sophie Cole

Second Violins

01 Marina MarsdenPrincipal

02 Emma WestAssociate Principal

02 Susan DobbiePrincipal Emeritus

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

Guest Musicians

Emily QinFirst Violin#

Michele O’YoungFirst Violin

Martin Silverton First Violin

Robin Wilson First Violin

Alexander Norton Second Violin#

Thomas Dundas Second Violin

Elizabeth Gormley Second Violin

Narine MelconianSecond Violin

Jennifer Curl Viola#

Rowena Crouch Cello#

Ngaire de Korte Oboe

Robert Llewellyn Bassoon#

Andrew Evans Trumpet

# = Contract Musician

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council


08Cellos

09 10 11 01 02 03

01Violas

02 03 04 05 06 07

04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

Harp01 Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

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

Cellos

01 Catherine Hewgill Principal

02 Nathan Waks Principal

03 Leah LynnAssistant Principal

04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Neil BrawleyPrincipal Emeritus

04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Gordon Hill(contract, courtesy Auckland Philharmonic)

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

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

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamaraRobert Llewellyn(contract)

Contrabassoon

Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee BracegirdleEuan Harvey

05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet

03 John Foster04 Anthony Heinrichs

Trombone

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

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipalAdam JeffreyAssistant Principal Timpani/Tutti Percussion

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


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

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

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

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contact Alan Watt on (02) 8215 4619.


01 02 03 04 05 06

07 08 09 10 11 12

DIRECTORS’ CHAIRS

01Mulpha Australia Chair ofPrincipal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

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

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

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

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

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

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

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

10Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

11Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict

12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild

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Rev H & Mrs M Herbert °*Dr & Mrs Michael Hunter §Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Professor Faith M Jones §Ms Judy JoyeMr Noel Keen *Mrs Margaret Keogh °*Iven & Sylvia Klineberg *Dr Barry LandaMrs Joan Langley °Dr & Mrs Leo Leader °Ms A Le Marchant *Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthy *Mr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesKate & Peter Mason °Justice Jane Matthews §Ms J Millard *‡Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A OppenMrs Roslyn Packer AO °Mrs Jill Pain ‡Dr Kevin Pedemont *Mr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol

Reid §Mr Brian Russell & Mrs Irina

SinglemanMr M D Salamon §In memory of H St P Scarlett °*Mr John Scott °Ms Ann Sherry AO °Dr Agnes E SinclairDr John Sivewright & Ms

Kerrie Kemp ‡Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mrs Merle Turkington °Ronald Walledge °Louise Walsh & David JordanMrs Christine WenkartDr Richard Wing §Mr Robert Woods *Jill WranMrs Lucille Wrath ‡Mrs R Yabsley °§Anonymous (14)

PLAYING YOUR PART

Maestri

Brian Abel & the late Ben Gannon AO °

Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§Mr John Curtis §Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*Mr Harcourt Gough §Mr David Greatorex AO &

Mrs Deirdre Greatorex §The Hansen Family §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mr E J Merewether &

Mrs T Merewether OAM *Mr B G O’Conor °§The Paramor Family *The Ian Potter FoundationDr John Roarty in memory of

Mrs June RoartyMr Paul & Mrs Sandra Salteri°Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (1) *

Virtuosi

Mrs Antoinette Albert §Mr Roger Allen & Mrs Maggie

GrayMr Robert & Mrs L Alison Carr §Mr Greg Daniel Ian Dickson & Reg Holloway°Mr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °Ms Ann Lewis AM

Helen Lynch AM & Helen Bauer °

Mr & Mrs David Milman §Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Rodney Rosenblum AM &

Sylvia Rosenblum *Mrs Helen Selle §David Smithers AM & Family °§Ms Gabrielle Trainor °Dr William & Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (2)

SoliMr Anthony Berg AMMs Jan Bowen °§Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mr James & Mrs Elsie Moore °Mr Geoff Wood & Ms Melissa

Waites Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (3)

Tutti

Mr C R Adamson §Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J Bell *‡Mr Alexander & Mrs Vera

Boyarsky §Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &

Mrs Margaret Cunningham °§Lisa & Miro Davis *Mrs Ashley Dawson-Damer °Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof Neville

Wills §Mrs Dorit & Mr William

Franken °§Mr Arshak & Ms Sophie

Galstaun §In memory of Hetty Gordon §Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski°Mr Philip Isaacs OAM °§Mr & Mrs E Katz §Miss Anna-Lisa Klettenberg §Mr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §Dr Paul A L Lancaster &

Dr Raema ProwseDr Garth Leslie °*

Mrs Belinda Lim & Mr Arti Ortis §

Mr Gary Linnane §Ms Karen Loblay §Mr Bob Longwell Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAMMr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic °§Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Mrs Mora Maxwell °§Wendy McCarthy AO °Mrs Barbara McNulty OBE °§Ms Margaret Moore & Dr Paul

Hutchins *Mr Robert Orrell °Timothy & Eva Pascoe §Ms Patricia Payn °§Mr Adrian & Mrs Dairneen

Pilton Ms Robin Potter §Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Ms Juliana Schaeffer §Derek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Mr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Kathleen Tutton °Ms Mary Vallentine AO §Henry & Ruth Weinberg §Audrey & Michael Wilson °Anonymous (10)

Supporters over $500

Richard Ackland °PTW Architects §Mr Chris & Mrs Mary Barrett °Doug & Alison Battersby °Mr Phil Bennett Gabrielle Blackstock °‡Mr G D Bolton °Dr & Mrs Hannes Boshoff §A I Butchart °*Marty Cameron §Mr B & Mrs M ColesMrs Catherine Gaskin

Cornberg§Mr Stan Costigan AO &

Mrs Mary Costigan °*Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Mr Russell Farr Mr and Mrs David Feetham Mr Steve GillettIn memory of Angelica Green §Anthony Gregg & Deanne

Whittleston ‡Dr & Mrs C Goldschmidt §Beth Harpley *

Patron Annual

Donations Levels

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

To discuss givingopportunities, please callAlan Watt on (02) 8215 4619.

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

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


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

Sydney Symphony Council

Andrew Andersons AO

Michael Baume AO

Deeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE

Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC

Joan MacKenzieSir Charles Mackerras CH AC CBE

David Maloney

David MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Matthews AO

Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy PascoeJerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna SchaefferLeo Schofield AMIvan UngarJohn Van OgtropJustus VeeneklaasAnthony Whelan MBE


Sydney Symphony Staff

MANAGING DIRECTOR

Libby ChristieEXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff WilsonARTIST LIAISON

Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR

Lisa Davies-GalliADMINISTRATION ASSISTANT

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret MooreEDUCATION COORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

Recording Enterprises

RECORDING ENTERPRISES MANAGER

Aimee Paret

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Development

CORPORATE RELATIONS MANAGER

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Seleena SemosPHILANTHROPY MANAGER

Alan WattDEVELOPMENT EXECUTIVE

Kylie Anania

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

Public Relations

PUBLIC RELATIONS MANAGER

Yvonne ZammitPUBLICIST

Stuart Fyfe

Public Affairs

PUBLIC AFFAIRS MANAGER

Claire Duffy

SALES AND MARKETING

Customer Relations

MARKETING MANAGER – CRM

Rebecca MacFarlingDATA & ONLINE TECHNOLOGYMANAGER

Marko Lång

Marketing Communications

MARKETING MANAGER – TRADITIONALMARKETS

Simon Crossley-MeatesMARKETING COORDINATOR

Antonia Farrugia

Box Office

BOX OFFICE MANAGER

Lynn McLaughlinBOX OFFICE COORDINATOR

Peter GahanCUSTOMER SERVICEREPRESENTATIVES

Wendy AugustineMichael DowlingErich Gockel

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRAMANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Greg LowORCHESTRAL & EDUCATION ASSISTANT

Angela ChilcottOPERATIONS MANAGER

John GlennTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION ASSISTANT

Ian SpenceSTAGE MANAGER

Marrianne Carter

BUSINESS SERVICES

DIRECTOR OF FINANCE & COMPANYSECRETARY

David O’KaneFINANCE MANAGER

Janet LeungACCOUNTS PAYABLE & OFFICEADMINISTRATOR

Anne-Marie IbrahimPAYROLL OFFICER

Caroline HallINFORMATION TECHNOLOGY MANAGER

Tim Graham

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

This publication is sold subject to the condition that itshall not, by way of trade or otherwise, be lent, resold,hired out or otherwise circulated without the publisher’sconsent in writing. It is a further condition that thispublication shall not be circulated in any form ofbinding or cover other than that in which it waspublished.

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Operating in Sydney, Melbourne, Canberra,

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ADVERTISEMENT DIRECTOR

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MANAGING DIRECTOR

Michael Nebenzahl

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Jocelyn Nebenzahl

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SYMPHONY AUSTRALIA

LIMITED

Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007

GPO Box 9994, Sydney NSW 2001

Telephone (02) 8333 1651Facsimile (02) 8333 1678

www.symphony.net.au

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

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

www.sydneysymphony.com

All rights reserved, no part of this publicationmay be reproduced or transmitted in any formor by any means, electronic or mechanical,including photocopy, recording or anyinformation storage or retrieval system,without permission in writing.

The opinions expressed in this publication donot necessarily reflect the beliefs of the editor,publisher or any distributor of the programs.

While every effort has been made to ensureaccuracy of statements in this publication, wecannot accept responsibility for any errors oromissions, or for matters arising from clericalor printers’ errors.

Every effort has been made to securepermission for copyright material prior toprinting.

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

SYDNEY OPERA HOUSE TRUST

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

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

ACTING CHIEF EXECUTIVESue Nattrass AO

DIRECTOR, FACILITIESPaul Akhurst

DIRECTOR, FINANCE & SYSTEMSDavid Antaw

DIRECTOR, MARKETING & DEVELOPMENTNaomi Grabel

DIRECTOR, PERFORMING ARTSRachel Healy

DIRECTOR, PEOPLE & CULTURERick Browning

DIRECTOR, INFORMATION SYSTEMSClaire Swaffield

DIRECTOR, TOURISM & VISITOR OPERATIONSMaria Sykes

SYDNEY OPERA HOUSE

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

QUEENSLAND PERFORMING

ARTS CENTREPO Box 3567, South Bank, Queensland 4101Tel: (07) 3840 7444 W: www.qpac.com.au

CHAIRMAN Henry SmerdonDEPUTY CHAIRMAN Bill Grant

TRUSTEESJane Bertelsen, Ray Bolwell, SimonGallaher, Helene George, Paul Piticco, Jim Raptis OBE, Rhonda White

EXECUTIVE STAFFCHIEF EXECUTIVE Craig McGovernARTISTIC DIRECTOR John Kotzas

ACKNOWLEDGMENTThe Queensland Performing Arts Trust is aStatutory Authority of the State of Queenslandand is partially funded by the QueenslandGovernmentThe Honourable Rod Welford MPMinister for Education and Training and Minister for the Arts

DIRECTOR-GENERAL FOR EDUCATION,TRAINING AND THE ARTSRachel HunterDEPUTY DIRECTOR-GENERAL, ARTSQUEENSLANDLeigh Tabrett

Patrons are advised that the Performing Arts Centrehas EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm,look for the closest EXIT sign in GREEN, listen toand comply with directions given by the inhousetrained attendants and move in an orderly fashionto the open spaces outside the Centre.

CIVIC THEATRE NEWCASTLE

375 Hunter Street,Newcastle NSW 2300

Box Office: (02) 4929 1977

www.civicprecinctnewcastle.com.au

SYDNEY SYMPHONY ON TOUR - … · that the Sydney Symphony ... taken on weekends to all the jazz...

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