THE LENINGRAD SYMPHONY -...

2011 SEASON

THU 18 AUGUST 1.30PMFRI 19 AUGUST 8PMSAT 20 AUGUST 2PM

EMIRATES METRO SERIES

GREAT CLASSICS

THURSDAY AFTERNOON SYMPHONY

THE LENINGRADSYMPHONYWar and Peace

WELCOME TO THE EMIRATES METRO SERIES

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVEEMIRATES AIRLINE AND GROUP

The Sydney Symphony is a fi rst-class orchestra based in one of the world’s most beautiful cities, and Emirates, as a world-class airline, is proud to continue as the orchestra’s Principal Partner in 2011.

A fi rst-class experience is always a memorable one. Whether it be exiting your personal Emirates chauffeur driven car at the airport, ready to be whisked away to the Emirates lounge, or entering a concert hall for an unforgettable night of music, the feeling of luxury and pleasure is the same.

Emirates views sponsorships such as the Sydney Symphony not just as an alignment of values, but also as a way of extending commitments to the destinations the airline serves around the world. Emirates has been a partner of the Symphony since 2000, the same year the airline launched fl ights to Sydney.

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We look forward to working with the Sydney Symphony throughout 2011, to showcase the fi nest in both music and luxury travel.

2011 SEASON

THURSDAY AFTERNOON SYMPHONYThursday 18 August | 1.30pm

EMIRATES METRO SERIESFriday 19 August | 8pm

GREAT CLASSICSSaturday 20 August | 2pm

Sydney Opera House Concert Hall

THE LENINGRAD SYMPHONY: WAR AND PEACEVasily Petrenko conductorKaren Gomyo violinAlban Gerhardt cello

JOHANNES BRAHMS (1833–1897)Concerto in A minor for violin, cello and orchestra, Op.102

AllegroAndanteVivace non troppo

INTERVAL

DMITRI SHOSTAKOVICH (1906–1975)Symphony No.7, Op.60, Leningrad

AllegrettoModerato (poco allegretto)Adagio – Moderato risoluto – Adagio –Allegro non troppo – Moderato

The third and fourth movements are played without pause.

Friday’s performance will be recorded for later broadcast across Australia on ABC Classic FM.

Pre-concert talk by Raff Wilson in the Northern Foyer, 45 minutes before each concert.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 33 minutes, 20-minute interval, 70 minutes

The concert will conclude at approximately 3.45pm (Thu), 10.15pm (Fri), 4.15pm (Sat).

6 | Sydney Symphony

In the print edition of this program we reproduced the cover of

the 20 July 1942 issue of Time magazine.

This cover can be viewed online in the Time archives:

http://ti.me/Shostakovich-Time

7 | Sydney Symphony

War and Peace

In July 1942 Shostakovich appeared on the cover of Time wearing a steel fi reman’s helmet. The illustrator gave ‘Fireman Shostakovich’ a background of burning buildings – ‘Amid bombs bursting in Leningrad he heard the chords of victory.’ These chords belonged to Shostakovich’s Leningrad Symphony (No.7), which was receiving its North American premiere that week in New York – smuggled to the West following its premiere near Moscow, in March.

With World War II raging, this was more than topical, it was political. The symphony’s international reach, through performances and broadcasts, was enormous. As the Shostakovich scholar Manashir Iakubov has written:Taken by millions all over the world as a direct call to active resistance and the fi ght against Nazism, the Leningrad Symphony was a powerful factor in the consolidation of the anti-Nazi front. For the fi rst time in history, a symphonic work had become a real infl uence in public life…

The composition itself was an act of defi ance. Shostakovich had begun work in July 1941, weeks after Hitler had invaded the Soviet Union. In a besieged Leningrad, the symphony became a musical declaration that ‘life in our city goes on as usual’. But it didn’t go on quite as usual. Shostakovich is wearing a helmet because he had a second job as a volunteer fi refi ghter. At one point he was on duty on the roof of the Conservatoire – he took the score of the symphony-in-progress with him because he ‘could not be parted from it’.

The Leningrad Symphony was, as the composer said, ‘how I hear the war’. Seven decades on, we can hear this war through Shostakovich’s ears.

Brahms’s Double Concerto is perhaps as clear a contrast as any programmer could come up with. This music is deeply personal rather than overtly political. And it was composed as a peace off ering – a way, through music, for Brahms to extend a hand to an estranged friend, the violinist Joseph Joachim. As such, the concerto is full of intimate gestures – in the interactions between the solo violin and cello and in the private references to musical works and styles connected with Joachim himself.

INTRODUCTION

8 | Sydney Symphony

Johannes BrahmsConcerto in A minor for violin, cello and orchestra, Op.102

AllegroAndanteVivace non troppo

Karen Gomyo violinAlban Gerhardt cello

In 1887 Brahms told a conductor-friend that he’d had ‘the strange notion of writing a concerto for violin and cello’. Although the idea of concertos for multiple instruments had once been popular – in 18th-century Paris it was practically a fad – it was no longer fashionable. Brahms knew that what he had in mind was out of the ordinary.

Brahms intended the Double Concerto – as it’s commonly known – to be a ‘conciliatory peace mission’ to his friend, the violinist Joseph Joachim. Nearly a decade earlier, Brahms had composed his violin concerto for Joachim, and the violinist had advised him on technique – the result was a masterpiece and a happy relationship. But in 1881 Joachim became convinced that his wife, Amalie, was having an aff air. Brahms chivalrously vouched for her innocence at the cost of the friendship. A few years later the couple had divorced, and in the summer of 1887 Brahms was hoping his double concerto would rekindle the old friendship. His postcard to Joachim read: ‘I should like to send some news of an artistic nature which I heartily hope might interest you a little.’

Joachim’s response was enthusiastic, and Brahms wrote several times thereafter for advice on technical aspects of the work. The two men came together to rehearse the fi nished music. The cellist was Robert Hausmann, who played in a string quartet with Joachim, and Brahms would have accompanied them at the piano, later conducting.

So it was that in September 1887 Brahms and Joachim spoke to each other for the fi rst time in years. Perhaps this is the message behind the very beginning of the concerto: after the cello (representing Brahms?) plays a long solo, it’s the violinist’s turn (Joachim), except the cello joins in almost straight away, and so begins a musical journey. It’s a journey with the intimacy of chamber music as well as the breadth of an orchestral sound.

The story of reconciliation isn’t just a sentimental interpretation; it explains some of the themes and musical gestures in the concerto. Brahms included references that

ABOUT THE MUSIC

Keynotes

BRAHMS

Born Hamburg, 1833Died Vienna, 1897

Brahms is often thought reactionary: he valued classical forms, admired composers of the past, and his choral music is rooted in the traditions of the baroque period. Yet his musical language and manner of using the orchestra clearly represents mid-19th-century romanticism in all its richness and emotive power.

It took Brahms 15 years to compose his fi rst symphony; he was keenly aware of the looming shadow of Beethoven. But the second symphony followed four months later in 1877, and the violin concerto soon after. Although he continued to write chamber music, his last orchestral work was the Double Concerto, completed in 1887.

DOUBLE CONCERTO

The Double Concerto was written during a summer holiday at Thun in the Swiss mountains and was intended as a peace offering to his estranged friend, the violinist Joseph Joachim, for whom he’d written his violin concerto. The challenges presented by the unusual combination of violin and cello with orchestra resulted in a distinctive ‘chamber music’ character: often delicate and intimate in effect.

The concerto is in three movements, the last evoking a Hungarian ‘gypsy’ spirit. It was premiered on 15 October 1887, with Brahms conducting and Joachim and Robert Hausmann, the cellist from Joachim’s string quartet, as soloists.

9 | Sydney Symphony

Brahms (seated) and Joachim, 1855

he knew Joachim would recognise. In the fi rst movement (Allegro), for example, he hints at a violin concerto by Giovanni Battista Viotti, a longer-living contemporary of Mozart. The concerto was No.22 in A minor; Joachim had been responsible for resurrecting it and it was one of his favourite concert pieces. Brahms admired the concerto too, calling it his ‘special delight’, and he’d already referred to it in the violin concerto he’d written for Joachim. In the Double Concerto, Brahms takes the rhythmic gestures with distinctive pairs of notes from the beginning of Viotti’s concerto and gives them new harmonic and melodic shape.

In another gesture that Joachim would have recognised, there are fl eeting appearances in the fi rst and third movements of a fragment of melody – just three notes, F–A–E – which acted as a musical code for Joachim’s

…a ‘conciliatory peace mission’…BRAHMS DESCRIBES THE DOUBLE CONCERTO

10 | Sydney Symphony


personal motto ‘Frei, aber einsam’ (free but lonely). And the fi nale has a Hungarian fl avour – again, probably a deliberate choice on Brahms’s part for a violinist who had grown up in Pest. Here the cello takes the lead, with a languorous gypsy-like melody, and the violin answers with piquant fl ippancy.

In between the two fast movements is the Andante – music that conveys the tranquillity and intimacy of two musicians reconciled through the healing power of music, united to build (in the words of Donald Tovey) ‘one of the broadest melodies ever written’.

The surface mastery of the concerto tends to conceal the many challenges Brahms faced. How do you give equal prominence to the cello (an instrument inherently less penetrating than the violin)? How do you balance their diff erences in range? And how do you apportion the thematic material between the soloists and orchestral forces?

Brahms’s deep knowledge of the music of the past helped him to fi nd a personal solution – one owing more to the 18th-century concerto grosso than to the typical virtuoso solo concerto of his own time. One of his strategies involves the contrasting of solid blocks of orchestral sound with passages of great transparency. This is most evident in the fi nale, but also shapes the fi rst movement in which full-bodied orchestral passages alternate with discreet accompaniment when the soloists display virtuoso skill; yet the fabric of the music is delicate and intimate.

The result is a distinctive chamber-music quality. Yes, there’s an orchestra on stage, but it’s easy to imagine that fi rst rehearsal: Brahms at the piano making a trio with his two friends playing violin and cello.

ADAPTED FROM NOTES BY YVONNE FRINDLE ©2008 AND SYMPHONY AUSTRALIA ©1994

The orchestra for Brahms’s Double Concerto calls for a modest orchestra comprising pairs of fl utes, oboes, clarinets and bassoons; four horns and two trumpets; timpani and strings.

The Sydney Symphony fi rst performed the Double Concerto in 1950 in a concert conducted by Eugene Goossens. The soloists were violinist Ernest Llewellyn (after whom Llewellyn Hall at the Canberra School of Music is named) and cellist John Kennedy (father of Nigel Kennedy). The most recent performance was in 2004: violinist Salvatore Accardo and cellist Mario Brunello were the soloists, with Gianluigi Gelmetti conducting.

Johannes Brahms, 1880s


Keynotes

SHOSTAKOVICH

Born St Petersburg, 1906Died Moscow, 1975

One of the great symphonic composers of the 20th century, Shostakovich was also a controversial and enigmatic personality who lived through the Bolshevik Revolution, the Stalinist purges and World War II. His music is often searched for cryptic messages: criticism of the Stalinist regime disguised in music that, it was hoped, would be found acceptable by authorities. But Shostakovich’s compromises only went so far and his music was nonetheless subject to censure, usually on stylistic or ‘moral’ grounds, and it was offi cially denounced on two occasions (in 1936 and 1948).

LENINGRAD SYMPHONY

The Leningrad Symphony was described as the composer’s reaction to the heroism of the people of his native city under siege, and Shostakovich himself provided a descriptive commentary. The fi rst movement of the four movements, for example, ends with a ‘a deeply tragic episode, a mass requiem’, while he described the last movement as an ‘ode to freedom, joy and victory won’. When the symphony was fi rst performed in Russia in 1942, victory was far from assured, but the music contained the messages that wartime audiences wanted to fi nd: ‘heroism, defi ance, and love of life of ordinary people.’

Dmitri Shostakovich Symphony No.7, Op.60 Leningrad

AllegrettoModerato (poco allegretto)Adagio – Moderato risoluto – Adagio –Allegro non troppo – Moderato

The third and fourth movements are played without pause.

It is a sad irony that the most hellish time imaginable for Shostakovich, Leningrad, the Soviet Union and Europe virtually ensured the spectacular public success of the Leningrad Symphony.

In 1941, Leningrad (now St Petersburg) was under siege from the advancing German army; Shostakovich was at work on his Seventh Symphony. On 17 September 1941 he said in a radio broadcast:

I speak to you from Leningrad at a time when brutal battle rages at its very gates…Two hours ago I fi nished the fi rst two movements of a symphonic work. If I succeed in writing this composition well, if I manage to fi nish the third and fourth movements, then I may call it my Seventh Symphony. Why do I announce this? I announce this so that those listening to me now may know that life in our city goes on as usual…

Shostakovich was evacuated from Leningrad to Moscow, where he composed the third and fourth movements; the premiere took place on 5 March 1942 in Kuibishev, east of Moscow. Its Leningrad premiere, conducted by Karl Eliasberg , took place on 9 August 1942 while the city was still under siege. The performance was given by an orchestra depleted by war and illness, in a hall with a bomb-damaged roof, with a special order given to the Leningrad artillery to knock out as many of their German counterparts as possible immediately before the performance.

The story of the symphony’s fi rst performance in the United States is well known: the NBC had been persuaded by Leopold Stokowski to purchase rights to the score, and a microfi lmed copy was conveyed by road, via Teheran and Cairo, and air to the USA. Arturo Toscanini, however, had enough clout to secure this famous premiere for himself. His letters to Stokowski on the subject – from a conductor trading heavily on his anti-fascist credentials, in a country which had only just decided to join the war – make interesting reading:

Don’t you think, my dear Stokowski, that it would be very interesting for everybody, and yourself, too, to hear…one of the


fi rst artists who strenuously fought against fascism… play this work of a young Russian anti-Nazi composer?

Shostakovich initially gave titles to the movements (War, Reminiscences, Russia’s Vastness, and Victory), which were later withdrawn. The fi rst movement opens sturdily, with a theme given out by the strings in octaves, punctuated by the timpani and trumpets. This yields to a more lyrical section, eventually fading down in a piccolo and violin solo.

The patter of a snare drum begins probably the most notorious single passage in all of Shostakovich’s music: a march built upon a single melody and a pervasive accompanying rhythm, undergoing a crescendo from the pianissimo softness of a single instrument to the fortissimo of the full orchestra. There is an obvious similarity here to Ravel’s Bolero – as Shostakovich reportedly said to Isaak Glikman at the time: ‘Idle critics will surely rebuke me for imitating Bolero. Well, let them; that is how I hear the war.’

It is not long before ‘wrong notes’ in the cellos and basses begin to colour the innocently diatonic opening. Dissonance and slithering chromaticism continue to accumulate; eventually a whole extra brass section (held in reserve until this point) is brought in, with a startling change of key. Finally the march rhythm comes to a halt; the symphony’s opening music returns, this time in the minor key, in what Richard Taruskin has described as a ‘horripilating climax’.

Dmitri Shostakovich, 1943

‘Idle critics will surely rebuke me for imitating Bolero. Well, let them; that is how I hear the war.’SHOSTAKOVICH


EVGENY KISSIN

One of the greatest pianists of our time in his Australian debut performance

*Selected performances. Booking fees of $7-$8.95 may apply. Free programs and pre-concert talks 45 mins before selected concerts.Listen to audio clips and read programs at sydneysymphony.com Sydney symphony concerts on demand at bigpond/sydneysymphony

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Vladimir Ashkenazy describes Evgeny Kissin as “a born musician and a born great pianist.” Find out why when Kissin plays Chopin, Grieg and Liszt.

THREE PERFORMANCES ONLY AT THE SYDNEY OPERA HOUSE

15 SEP 8PM – KISSIN IN RECITAL All-Liszt program featuring the Sonata in B minor

22 SEP 8PM – KISSIN PLAYS GRIEG BRAHMS Symphony No.1 GRIEG Piano Concerto in A minor Vladimir Ashkenazy Conductor

24 SEP 8PM – KISSIN PLAYS CHOPIN CHOPIN Piano Concerto No.1 RACHMANINOFF Symphony No.2 Vladimir Ashkenazy Conductor


Perhaps the real climax of the movement, however, is not a sound but a silence: after several pages of fortissimo struggle between the march theme and the opening music of the symphony, there are two one-beat rests for the whole orchestra. After these, the struggle abruptly ceases, dying down into the more lyrical music heard before. A distant reminder of the march concludes the movement.

At the time, the march episode was held to represent specifi cally the siege of Leningrad. Some years after the event, the conductor Yevgeny Mravinsky saw the march as ‘a universalised image of stupidity and crass tastelessness’, while another Soviet critic saw it as a ‘generalised image of evil’, albeit with ‘German colouring’.

The remaining movements do not feature such concrete imagery, and so have been unfortunately neglected, despite containing some of Shostakovich’s most deeply felt music. Shostakovich described the second movement as an ‘intermezzo’, and the opening certainly fi ts this description, with a gentle melody in the strings alone, yielding to a lyrical oboe solo. The contrasting middle section is initiated by the E fl at piccolo clarinet in its highest register; it eventually subsides into the return of the opening music, with the oboe solo on bass clarinet, before the strings conclude. The third movement is dominated by a chorale from the winds, and a recitative-like section from the violins; again the middle section supplies a dramatic contrast.

The fi nale follows without a break, and returns to the grander scale of the fi rst movement. A Beethovenian climb out of its suspenseful beginning passes through a variety of textures, culminating in the reappearance of the music which opened the symphony. As in Shostakovich’s Fifth Symphony, the fi nal climax is spectacular; it is also far from unequivocal, with some searing chromaticism on the high trumpets clouding the harmony to unsettling and ambivalent eff ect.

Within a few years of its premiere, the furore surrounding the Leningrad Symphony had begun to die down, and a backlash commenced. Performances were comparatively infrequent until the appearance in 1979 of Testimony, Shostakovich’s purported memoirs. We read there:

The ‘invasion theme’ has nothing to do with the attack. I was thinking of other enemies of humanity…I feel eternal pain for those who were killed by Hitler, but I feel no less pain for those who were killed on Stalin’s orders. Thus the symphony began to be rehabilitated. The same

notes which had been dismissed as tired platitudes when

Perhaps the real climax of the fi rst movement is not a sound but a silence.

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seen as a tool of heroic anti-Hitler propaganda found a new (if no less musically dubious) lease of life as a tool of heroic anti-Stalin propaganda.

Right from its appearance, controversy has raged over the literal authenticity of Testimony, although even those who doubt the literal authenticity of these ‘memoirs’ acknowledge that there seems to be much truth behind them.

The issue does, however, bring to the foreground one disturbing feature of the reception of Shostakovich’s music: we seem to prefer to be told ‘what the music means’. As with most music of any enduring interest, there is no simple answer. And as the history of the Leningrad Symphony demonstrates, once an ‘answer’ has been found the work loses much of its interest: it is the continuing reassessment of the layers of meaning that has given this work a comparatively secure place on the concert platform. We can never know what Shostakovich specifi cally had in mind when he composed the symphony, and this is emphatically not something to be regretted. Indeed it is a large part of why we still listen to it today.

CARL ROSMAN ©2000

One of the practical reasons the Leningrad Symphony is not performed more frequently is that it calls for an unusually large brass section. The orchestra comprises four fl utes (two doubling piccolo), two oboes, cor anglais, three clarinets (one doubling E fl at clarinet), bass clarinet, two bassoons and contrabassoon; eight horns, six trumpets, six trombones and tuba; timpani and a large percussion section (xylophone, up to three side-drums, triangle, tambourine, tam tam, cymbals, bass drum); two harps, piano and strings.

The Sydney Symphony gave the Australian premiere of this symphony as part of a War Funds concert conducted by Bernard Heinze on 24 August 1943, less than 18 months after the world premiere. The orchestra’s most recent performance of the work was in 2004, conducted by Alexander Lazarev.


Shostakovich 7 in Leningrad

Shostakovich’s Seventh Symphony was completed after he’d been evacuated to Kuibishev, where it was premiered on 5 March 1942. Samuil Samosud conducted the Bolshoi Theatre Orchestra, and again in Moscow later in the month. Other Soviet performances followed and the score was smuggled abroad – as valuable as any piece of intelligence. Henry Wood gave the broadcast premiere with the London Philharmonic Orchestra on 22 June. Toscanini conducted the NBC Symphony Orchestra for the North American premiere on 19 July.

But the premiere of greatest signifi cance was the fi rst performance in Leningrad itself on 9 August. The city was still under siege and the Leningrad Philharmonic had been evacuated, leaving the depleted Radio Orchestra of just 14 musicians. The conductor Karl Eliasberg called on retired musicians, and soldiers with musical training were released to perform – all were issued with extra rations. The playwright Alexander Kron, writing in 1967, recalled the emotional reaction: ‘People who no longer knew how to shed tears of sorrow and misery now cried from sheer joy.’

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Karl Eliasberg rehearses the Leningrad Radio Orchestra for the Leningrad premiere (9 August 1942).

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Shostakovich was a volunteer fi refi ghter during the siege of Leningrad in World War II. This posed photograph was taken

on the roof of the Conservatoire.

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Soviet soldier buying a ticket to the Leningrad premiere.


CONDUC T A SYMPHONY AT YOUR PL ACE

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CHAMBER MUSIC – music for small ensembles in which there is one musician assigned to each instrumental part, e.g. a string quartet or wind quintet. The tradition of chamber music suggests small spaces and intimate gatherings, where the participants might move freely between performing and listening. In modern practice, chamber music is mostly heard in the formal setting of a concert hall.

CHORALE – a hymn tune for congregational singing; or instrumental music with a hymn-like character.

CHROMATICISM – in tonal music, the use of foreign notes and harmonies that do not belong to the key, together with frequent modulation to other keys. The impression is one of harmonic richness and while chromaticism has been used as an expressive eff ect since the 16th century, it is most strongly associated with the Romantic style of the 19th century.

CONCERTO GROSSO – a genre of concerto that fl ourished in the Baroque period, featuring a group of solo instruments (concertino) in concert and in contrast with a larger ensemble (ripieno). By contrast, the SOLO CONCERTO features a single soloist in contrast with an orchestra. The SINFONIA CONCERTANTE, also featuring more than one solo instrument, is the classical counterpart of the Baroque concerto grosso.

CRESCENDO – gradually becoming louder.

DIATONIC – term referring to the system of major and minor keys on which Western tonal music is based.

DISSONANCE – a combination of two or more notes that sounds ‘harsh’ and ‘unsettled’ – either clashing with each other or with the harmonic context in which they are heard. Dissonance is a relative concept: the overall ‘harmonic tension’ in a work determines whether a combination of notes seems

dissonant or not, and this has changed over time.

FORTISSIMO – very loud, usually abbreviated in sheet music as ff .

INTERMEZZO – ‘in the middle’; in the 18th century an intermezzo was a short comic opera inserted between the acts of a serious opera. In symphonic music, it can refer to a section or movement within a larger work (Bartók’s Concerto for Orchestra is a rare example).

OCTAVES – a technique in composition where the melody is doubled (played simultaneously) in diff erent octaves or registers. This gives increased power and emphasis to the melodic line.

PIANISSIMO – very soft, usually abbreviated in sheet music as pp.

RECITATIVE – in vocal music a recitative is a kind of ‘sung speech’; transferred to instrumental music, it refers to passages in which the melody and rhythms mimic the infl ections of speech.

In much of the classical repertoire, names of movements and major sections of music are taken from the Italian words that indicate the tempo and mood. Examples of terms from this program are included here.

Adagio – slow Allegretto – lively, not so fast as AllegroAllegro – fastAllegro non troppo – not too fastAndante – an easy walking paceModerato – moderatelyModerato risoluto – moderately, resolutely Poco allegretto – a little livelyVivace non troppo – lively , not too much

This glossary is intended only as a quick and easy guide, not as a set of comprehensive and absolute defi nitions. Most of these terms have many subtle shades of meaning which cannot be included for reasons of space.

GLOSSARY

20 | Sydney Symphony20 | Sydney Symphony

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BRAHMS DOUBLEFor a classic pairing of Brahms’s Double Concerto and Beethoven’s Triple, you can’t go past the EMI Great Recordings of the Century release featuring violinist David Oistrakh, cellist Mstislav Rostropovich and pianist Sviatoslav Richter. The Berlin Philharmonic and Herbert von Karajan accompany the Beethoven; the Cleveland Orchestra with George Szell accompany the Brahms. EMI 31768

LENINGRAD SYMPHONYIf you don’t want to wait for Vasily Petrenko’s own recording of the Leningrad Symphony to come out, consider recordings by one of his mentors and teachers. The admired recording by Mariss Jansons and the Royal Concertgebouw is available on that orchestra’s own label.RCO LIVE 6002

Or look for the acclaimed 2-CD release from Leonard Bernstein and the Chicago Symphony Orchestra, pairing the Leningrad with Shostakovich’s First Symphony.DEUTSCHE GRAMMOPHON 4777587

PETRENKO CONDUCTS SHOSTAKOVICH Vasily Petrenko is currently recording the complete symphonies of Shostakovich with the Royal Liverpool Philharmonic Orchestra. Seven symphonies have been released so far:NAXOS 8572396 (No.1 & 3)NAXOS 8572461 (No.10)NAXOS 8572392 (No.8)NAXOS 8572167 (No.5 & 9)NAXOS 8572082 (No.11)

Also with the RLPO, Petrenko has also recorded two vocal-theatre pieces: The Gamblers and Shostakovich’s version of Rothschild’s Violin, completed when its composer Venjamin Fleishman was killed early in World War II.AVIE 2121

KAREN GOMYOKaren Gomyo has recorded the little-known violin concerto by Bo Linde , with the Gavle Symphony Orchestra conducted by Petter Sundkvist. Together with its companion on the disc (a cello concerto with Maria Kliegel as soloist), it’s an attractive representative of the neo-classical style.NAXOS 8557855

Selected Discography

Selected Sydney Symphony concerts are webcast live on BigPond and made available for viewing On Demand. Visit: bigpondmusic.com/sydneysymphony

Webcasts

2MBS-FM 102.5SYDNEY SYMPHONY 2011

Tuesday 13 September, 6pm Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Broadcast Diary

SEPTEMBER

Saturday 3 September, 2pm

YOUNG PERFORMERS AWARDS GRAND FINAL

Edvard Tchivzhel conductorQueensland Symphony OrchestraThe winners of the strings, piano and other instruments fi nals compete in the Stage IV fi nal for the title of Young Performer of the Year.

Catch up on the Stage III category fi nals at 8pm on Wednesday 31 August (Piano, with the WASO), Thursday 1 September (Strings, TSO) and Friday 2 September (Other Instruments, ASO).

ALBAN GERHARDTIn June, Alban Gerhardt released a disc of Casals Encores – original cello works and arrangements by an irresistible selection of composers. Cecile Licad plays piano.HYPERION 67831

Also worth seeking out is Gerhardt’s recording of Prokofi ev’s Cello Concerto and the composer’s revised version of the work, the Symphony-Concerto. The Bergen Philharmonic Orchestra is conducted by Andrew Litton.HYPERION 67705


ABOUT THE ARTISTS

Vasily Petrenko was born in 1976 and studied at the St Petersburg Capella Boys Music School – the oldest music school in Russia – before attending the St Petersburg Conservatoire and participating in masterclasses with Ilya Musin, Mariss Jansons, Yuri Temirkanov and Esa-Pekka Salonen.

He was Resident Conductor at the St Petersburg State Opera and Ballet Theatre in the Mussorgsky Memorial Theatre (1994–1997) and, following success in international conducting competitions, he was appointed Chief Conductor of the State Academy Orchestra of St Petersburg (2004–2007). He has since conducted many key orchestras in Russia, including the St Petersburg Philharmonic and the Moscow Philharmonic.

In 2006 he was appointed Principal Conductor of the Royal Liverpool Philharmonic Orchestra, and in 2009 he assumed the title of Chief Conductor. That same year, he was appointed Principal Conductor of the National Youth Orchestra of Great Britain. In 2013 he will take up the position of Chief Conductor of the Oslo Philharmonic Orchestra.

In recent seasons, Vasily Petrenko has appeared with, among others, the London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia Orchestra, Russian National Orchestra, Orchestre National de France, Finnish Radio Symphony Orchestra, Netherlands Radio Philharmonic and Budapest Festival Orchestra, and he has appeared at the BBC Proms with both the RLPO and NYO. His North American appearances have included the Los Angeles Philharmonic, San Francisco Symphony, Boston Symphony Orchestra, and the orchestras in Dallas, Baltimore, Minnesota and St Louis. In Asia he has conducted the NHK Symphony Orchestra, Tokyo.

Equally at home in the opera house, he has conducted at Glyndebourne Festival Opera, Opéra de Paris (Eugene Onegin), Hamburg State Opera (Tchaikovsky’s Queen of Spades) and several productions for Netherlands Reisopera.

His recordings with the RLPO include a double bill of Rothschild’s Violin (Fleishman) and The Gamblers (Shostakovich), and Tchaikovsky’s Manfred Symphony (2009 Gramophone Award for Best Orchestral Recording). He is currently recording a Shostakovich symphony cycle.

In 2007 he was named Young Artist of the Year at the annual Gramophone Awards and in 2009 he was awarded honorary doctorates by the University of Liverpool and Liverpool Hope University.

This is Vasily Petrenko’s Sydney Symphony debut.

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Vasily Petrenko conductor


Karen Gomyo violin

Karen Gomyo was born in Tokyo and grew up in Montreal and New York, where she studied at the Juilliard School. She subsequently studied at the University of Indiana Bloomington and the New England Conservatory of Music, and in 1998 became, at the age of 16, the youngest artist to be presented in the Young Concert Artists Series in New York. In 2008 she was the recipient of the prestigious Avery Fisher Career Grant.

She has appeared with the leading North American orchestras, including the Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Minnesota Orchestra, San Francisco Symphony, National Symphony Orchestra and Saint Louis Symphony Orchestra, as well as the orchestras in Montreal, Toronto and Vancouver. In Asia, she has performed with the Tokyo Symphony Orchestra and the Hong Kong Philharmonic, and in Europe with the City of Birmingham Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, Royal Scottish National Orchestra, Scottish Chamber Orchestra, Orchestre National de Lille, Bergen Philharmonic and the Residentie Orchestra, among others.

She has worked with such conductors as Leonard Slatkin, Neeme Järvi, Andrew Litton, David Robertson, David Zinman, Yannick Nézet-Séguin, Andrey Boreyko, Hans Graf, Louis Langrée, James Gaffi gan, Pinchas Zukerman, Kirill Karabits, Robin Ticciati, Pietari Inkinen, Jakub Hr °uša and Vasily Petrenko.

As a recitalist and chamber musician, she has performed in festivals in America (Aspen, Ravinia, Caramoor, Mostly Mozart), Canada, Austria, Germany, France, Norway, Ukraine, Holland, Spain, Italy and Japan, collaborating with such artists as Heinrich Schiff , Lynn Harrell, Alisa Weilerstein, Christian Poltéra, Donald Weilerstein, Isabelle van Keulen, Antoine Tamestit, Kathryn Stott and Anton Kuerti.

In 2008 she performed at the First Symposium for the Victims of Terrorism, held at the headquarters of United Nations in New York, and in 2009 was the guest soloist for the New York Philharmonic’s Memorial Day concert at the Cathedral of St John the Divine.

Karen Gomyo is deeply interested in the Nuevo Tango music of Astor Piazzolla, and in 2012 she will tour a program of Piazzolla and the classical composers who infl uenced him, accompanied by Piazzolla cohorts and classical pianist Alessio Bax.

This is Karen Gomyo’s Sydney Symphony debut.

Karen Gomyo plays on the 1714 ‘Ex Foulis’ Stradivarius violin, bought for her exclusive use by a private sponsor.


Alban Gerhardt cello

Alban Gerhardt was born in 1969 in Berlin. Since his debut with the Berlin Philharmonic Orchestra under Semyon Bychkov, he has performed with more than 170 orchestras worldwide, collaborating with many leading conductors, including Kurt Masur, Christoph von Dohnányi, Christoph Eschenbach, Neville Marriner, Marek Janowski, Colin Davis, Leonard Slatkin, Michael Tilson-Thomas, Fabio Luisi, Sakari Oramo, Paavo Järvi and Neeme Järvi, Christian Thielemann, Esa-Pekka Salonen and Andris Nelsons.

He has performed with, among others, the Berlin Philharmonic, Royal Concertgebouw Orchestra, Czech Philharmonic, BBC Symphony Orchestra, Leipzig Gewandhaus Orchestra, Orchestre de la Suisse Romande, Chamber Orchestra of Europe, Netherlands Radio Philharmonic, Bavarian Radio Symphony Orchestra, Philharmonia Orchestra, Orchestre National de France and Zurich Tonhalle.

Recent highlights have included performances with the NHK Symphony Orchestra, Cleveland Orchestra, Hallé Orchestra, BBC Philharmonic, London Philharmonic Orchestra and Berlin Radio Symphony Orchestra. He gave the premiere of the Unsuk Chin Cello Concerto, composed for him, at the 2009 BBC Proms and since then has performed the work with orchestras in Europe, Korea and the United States, including the Residentie Orchestra and the Boston Symphony Orchestra.

Alban Gerhardt’s repertoire includes nearly 60 concertos and he enjoys rescuing lesser-known works from undeserved obscurity. He is committed to enlarging the cello repertoire, collaborating with composers such as Peteris Vasks, Brett Dean, Osvaldo Golijov and Matthias Pintscher as well as Unsuk Chin.

As a chamber musician he appears frequently at the BBC Proms, Edinburgh Festival and leading venues such as the Wigmore Hall, Berlin Philharmonie, Suntory Hall Tokyo and the Châtelet in Paris. His chamber music partners include Steven Osborne, Lars Vogt, Christian Teztlaff , Arabella Steinbacher, Tabea Zimmermann, Thomas Larcher and Emmanuel Pahud among others.

His recordings have won three ECHO Classic Awards, most recently for an all-Reger release (2009), and his discography includes the Romantic Cello Concertos series as well as a pairing of Prokofi ev’s Symphony-Concerto and Cello Concerto in E minor with the Bergen Philharmonic and Andrew Litton.

Alban Gerhardt’s previous appearance with the Sydney Symphony was in 2009, when he performed Saint-Saëns’ Cello Concerto No.1.

Alban Gerhardt plays an instrument by Venetian maker Matteo Gofriller (1569–1742).

Read his blog at www.albangerhardt.com


MUSICIANS

To see photographs of the full roster of permanent musicians and fi nd out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians fl yer.

Performing in this concert…

To see photographs of the full roster of permanent musicians and fi nd out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians fl yer.

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse

FIRST VIOLINS Michael Dauth Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Katherine Lukey Assistant Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler

SECOND VIOLINS Marina Marsden Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Shuti Huang Stan W Kornel Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D’Elia#Claire Herrick*Emma Jardine*Emily Qin#

VIOLASTobias Breider Anne-Louise Comerford Robyn Brookfi eld Sandro CostantinoGraham Hennings Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Jacqueline Cronin#Rosemary Curtin#Maike-Karoline Drabe*David Wicks#

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauFenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#Mee Na Lojewski*

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Kirsty McCahon*

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOESShefali PryorDavid Papp Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco Celata Craig Wernicke Principal Bass Clarinet

Lisa McCowage* Rowena Watts†

BASSOONSRoger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSBen Jacks Robert Johnson Geoffrey O’Reilly Principal 3rd

Lee BracegirdleEuan HarveyMarnie Sebire Julia Brooke*Katy Grisdale†Francesco Lo Surdo*

TRUMPETSDaniel Mendelow Paul Goodchild Anthony Heinrichs Andrew Evans*Adam Malone*Craig Ross*

TROMBONESRonald Prussing Scott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

Ben Lovell-Greene*Mitchell Nissen*

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Colin Piper Mark Robinson John Douglas*Kevin Man*Brian Nixon*

HARP Genevieve Lang*Clare McDonogh*

PIANOCatherine Davis*

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


THE SYDNEY SYMPHONYPRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR Vladimir Ashkenazy PATRON Her Excellency Professor Marie Bashir AC CVO

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Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdeněk Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle, Gordon Kerry and Georges Lentz, and a recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

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


SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

PREMIER PARTNER

PLATINUM PARTNERS MAJOR PARTNERS

GOLD PARTNERS

EmanateBTA Vantage

2MBS 102.5 Sydney’s Fine Music Station

BRONZE PARTNER MARKETING PARTNER

REGIONAL TOUR PARTNERS

SILVER PARTNERS

Television - Audio


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff Ainsworth AM & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTerrey Arcus AM & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AORobert & Janet ConstableIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegThe Estate of Mrs E HerrmanJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AOD & I KallinikosJustice Jane Mathews AOMrs Roslyn Packer AODr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AMMrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAMMr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopThe Estate of Ruth M DavidsonPaul R. EspieFerris Family FoundationDr Bruno & Mrs Rhonda GiuffreRoss GrantMr David Greatorex AO & Mrs Deirdre GreatorexHelen Lynch AM & Helen BauerMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAMMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Robert BrakspearMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie ClampettMrs Gretchen M DechertIan Dickson & Reg HollowayJames & Leonie FurberMichelle HiltonStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneMr David LivingstoneWilliam McIlrath Charitable FoundationEva & Timothy PascoeRodney Rosenblum AM & Sylvia Rosenblum

Sherry-Hogan FoundationDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustDr Richard WingateJill WranAnonymous (2)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleHoward ConnorsEwen & Catherine CrouchDr Michael FieldMr Erich GockelMr James Graham AM & Mrs Helen GrahamKylie GreenJanette HamiltonAnn HobanIrwin Imhof in memory of Herta ImhofR & S Maple-BrownMora MaxwellJ A McKernanJustice George Palmer AM QCJames & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsAndrew Andersons AOMr Henri W Aram OAMClaire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesMichael Baume AO & Toni BaumePhil & Elese BennettNicole BergerMrs Jan BiberJulie BlighColin Draper & Mary Jane BrodribbM BulmerMr Stephen BurleyEric & Rosemary CampbellDr John H CaseyDr Diana Choquette & Mr Robert MillinerJoan Connery OAM & Maxwell Connery OAMDebby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyJohn FavaloroMr Edward FedermanMr Ian Fenwicke & Prof N R WillsFirehold Pty LtdMr James Graham AM & Mrs Helen GrahamWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of the late Dora & Oscar Grynberg

Janette HamiltonMrs Jennifer HershonBarbara & John HirstPaul & Susan HotzBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterDr Michael Joel AM & Mrs Anna JoelThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergJustin LamWendy LapointeMacquarie Group FoundationMr Robert & Mrs Renee MarkovicKevin & Deidre McCannRobert McDougallIan & Pam McGawMatthew McInnesMrs Barbara McNulty OBEHarry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMiss An NhanMrs Rachel O’ConorMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeeKenneth R. ReedPatricia H Reid Endowment Pty LtdMr M D SalamonJohn SaundersJuliana SchaefferMr & Mrs Jean-Marie SimartCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully QCMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonIn memory of Dr Reg WalkerHenry & Ruth WeinbergThe Hon. Justice A G WhealyMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMr Peter J ArmstrongMs Baiba B. Berzins & Dr Peter LovedayDr & Mrs Hannes Boshoff Minnie BriggsDr Miles BurgessPat & Jenny BurnettIta Buttrose AO OBEStephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellMrs Catherine J ClarkMr Charles Curran AC & Mrs Eva CurranGreta DavisElizabeth DonatiDr & Dr Nita DurhamGreg Earl & Debbie CameronMr & Mrs FarrellRobert Gelling

Dr & Mrs C GoldschmidtVivienne GoldschmidtMr Robert GreenMr Richard Griffi n AMJules & Tanya HallMr Hugh HallardRoger HenningRev Harry & Mrs Meg HerbertSue HewittDorothy Hoddinott AOMr Joerg HofmannDominique Hogan-DoranAlex HoughtonBill & Pam HughesGeoff & Susie IsraelIven & Sylvia KlinebergMr & Mrs Gilles T KrygerDr & Mrs Leo LeaderMargaret LedermanMartine LettsAnita & Chris LevyErna & Gerry Levy AMDr Winston LiauwMrs Helen LittleSydney & Airdrie LloydMrs A LohanCarolyn & Peter Lowry OAMDr David LuisMrs M MacRae OAMMelvyn MadiganDr Jean MalcolmAlan & Joy MartinGeoff & Jane McClellanMrs Helen MeddingsMrs Inara MerrickDavid & Andree MilmanKenneth N MitchellHelen MorganChris Morgan-HunnMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AMA Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersAgnes RossIn memory of H.St.P ScarlettDr Mark & Mrs Gillian SelikowitzCaroline SharpenMrs Diane Shteinman AMRobyn SmilesDoug & Judy SotherenMrs Elsie StaffordMr D M SwanMr Norman TaylorDr Heng & Mrs Cilla TeyMs Wendy ThompsonKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopMr Robert & Mrs Rosemary WalshRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonDr Richard WingMr Robert WoodsMr & Mrs Glenn WyssAnonymous (17)

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

28 | Sydney Symphony28 | Sydney Symphony

MAESTRO’S CIRCLE

Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AORoslyn Packer AOPenelope Seidler AMMr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO, Credit Suisse, AustraliaAlan Fang, Chairman, Tianda GroupMacquarie Group Foundation

John Morschel, Chairman, ANZAndrew Kaldor, Chairman, Pelikan ArtlineLynn Krause, Sydney Offi ce Managing Partner, Ernst & Young

We also gratefully acknowledge the following patrons: Ruth & Bob Magid – supporting the position of Elizabeth Neville, cello Justice Jane Mathews AO – supporting the position of Colin Piper, percussion.

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

01Richard Gill OAMArtistic Director Education Sandra and Paul Salteri Chair

02Jane HazelwoodViolaVeolia Environmental Services Chair

03Nick ByrneTromboneRogenSi Chair

04Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

05Shefali Pryor Associate Principal OboeRose Herceg Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet Constable Chair

09 Lawrence DobellPrincipal ClarinetAnne & Terrey Arcus Chair

DIRECTORS’ CHAIRS03 04 01

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BEHIND THE SCENES

Geoff AinsworthAndrew Andersons AOMichael Baume AO*Christine BishopIta Buttrose AO OBEPeter CudlippJohn Curtis AMGreg Daniel AMJohn Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AMSimon Johnson

Yvonne Kenny AMGary LinnaneAmanda LoveHelen Lynch AMIan Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AOJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AOJane Morschel

Greg ParamorDr Timothy Pascoe AMProf. Ron Penny AOJerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AMFred Stein OAMGabrielle TrainorIvan UngarJohn van Ogtrop*Peter Weiss AMAnthony Whelan MBERosemary White

Sydney Symphony Council

* Regional Touring Committee member

Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AMEwen CrouchRoss GrantJennifer HoyRory Jeffes

Andrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

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

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

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas (Tom) Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

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Sydney Symphony Staff

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