It is my great pleasure to welcome you to this concert in the 2011 Tea & Symphony series.
This morning’s program presents a 20th-century classic, Bartók’s Concerto for Orchestra, composed towards the end of his life, in 1943. This powerful and virtuosic music was a success from the beginning and has won the hearts of generations of music lovers since, not least because it gives a great orchestra like the Sydney Symphony the chance to truly shine.
To begin, we’ll hear music by an Australian composer, an exact contemporary of Bartók’s. Both men shared a lifelong interest in folk music and folk-inspired melody as well as a boundless imagination for the possibilities of orchestral sound. And when Percy Grainger brings these two inspirations together in music such as In a Nutshell, completed in 1916, the result is brilliant and colourful.
Kambly has epitomised the Swiss tradition of the fi nest biscuits for three generations. Each masterpiece from the Emmental Valley is a small thank you for life; a declaration of love for the very best; the peak of fi ne, elegant taste.
Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fi tting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people’s love of live symphonic music.
Kambly is proud to be in its fourth year as sponsor of the Tea & Symphony series. We hope you enjoy this morning’s program and look forward to welcoming you to future concerts in the series throughout 2011.
Oscar A. KamblyChairmanKambly of Switzerland
WELCOME TO TEA & SYMPHONY
Biscuits at Tea & Symphony concertskindly provided by Kambly
PRESENTING PARTNER
2011 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY
Friday 27 May | 11amSydney Opera House Concert Hall
SYMPHONIC SPOTLIGHT Nicholas Carter conductor
PERCY GRAINGER (1882–1961)In a Nutshell
Arrival Platform HumletGay but Wistful PastoralGum-suckers’ March
BÉLA BARTÓK (1881–1945)Concerto for Orchestra
Introduction (Andante non troppo – Allegro vivace)Game of Pairs (Allegro scherzando)Elegy (Andante non troppo)Interrupted Intermezzo (Allegretto)Finale (Pesante – Presto)
Music from this program has been recorded for broadcast on ABC Classic FM on Saturday 11 June at 1pm.
Estimated durations: 17 minutes, 36 minutes
The concert will conclude at approximately 12.05pm.
Conductor Benjamin Northey has had to withdraw from this week’s concerts for personal reasons. We are grateful to Nicholas Carter for stepping in at very short notice.
4 | Sydney Symphony
ABOUT THE MUSIC
GRAINGER In a Nutshell
In September 1914, Grainger and his mother Rose arrived in
New York from London. Launching what was to be a 47-year
American career, he signed contracts with the publisher
Schirmer and the Duo-Art piano roll company and scored
successes as piano recitalist and concerto soloist. In support
of the Allied war eff ort, he gave recitals with Nellie Melba
and embarked on a 40-concert American tour.
In June 1916, Grainger was invited to compose a piece for
the Norfolk Festival of Music in neighbouring Connecticut.
He collected and orchestrated four unrelated pieces whose
origins stretched back to 1905. As was usual for him, the
piano fi gured as a central instrument in each, buttressed
by a large percussion section, including the tuned Swiss
staff bells, and a steel marimba. The premiere was a huge
success, despite some demurrings over the ‘vulgarity’ of
the fi nal movement. ‘If it wasn’t vulgar,’ Rose retorted, ‘it
wouldn’t be Percy!’
The fi rst movement, Arrival Platform Humlet, also
exists as a single piece in a generous array of other versions:
for piano solo, piano four-hands, for solo ‘resonaphone’
(marimba), solo violin, solo viola, or solo oboe (or multiples
of those instruments). Like nearly all his music from this
time, the piece is dedicated to Rose; the English translation
of the Maori dedication reads: ‘For the darling of my heart,
for the object of my aff ections.’
Unique amongst Grainger’s pieces, this short snapshot
is devoid of harmony. A single melodic line bustles along,
recalling the Japanese miyaboshi scale. Elsewhere, Grainger,
who had a great interest in oriental and other non-Western
music, described it as ‘the sort of thing one hums to oneself
as an accompaniment to one’s tramping feet as one happily,
excitedly, paces up and down arrival platforms, great fun!’
Similarly, the second movement, Gay but Wistful, exists in versions for piano(s) and/or orchestra, and
Grainger’s own transcriptions for recorder solo. It conveys
echoes of London dance halls at the end of the 19th century,
perhaps also evoking the American South that resonates
through the music of Grainger’s closest composer friend,
Frederick Delius.
The bland title of the third movement, Pastoral, provides no indication that its nine minutes entail one
of Grainger’s longest and most progressive orchestral
movements. Marked ‘Restful and Dreamy, but wayward in
time’, it is launched by a lilting oboe solo and builds to a
climax that some commentators have suggested points to
Grainger was born and grew up in Melbourne. After studying in Germany, he moved with his mother to England in 1901, where he became one of the leading contributors to what is known as the English folk song revival. He was among the fi rst to take a phonograph into the fi elds to record and later transcribe the traditional music of rural England. Many of the folksongs he collected were arranged for orchestra (and other combinations, including brass and military band) in beautiful, imaginative scorings.
5 | Sydney Symphony
PERCY GRAINGER Australian composer (1882–1961)
Grainger’s interest in ‘unwritten’ music extended beyond his own musical tradition: to the music of Rarotongan islanders, or the songs of Arrernte tribes-people from Central Australia, which he transcribed from wax cylinder recordings made by Melbourne University professor, Baldwin Spencer. His insatiable curiosity fed an innovative mind.
Messiaen’s Turangalîla-symphonie three decades later. A more
likely comparison might be made with the music of Charles
Ives, who lived barely an hour away from Grainger in the
US (though they never met).
The fourth movement, Gum-suckers’ March, is ‘a
huge romp of gaiety’ whose chief melody is the same as
that in his Colonial Song and Australian Up-Country Song.
In all these nostalgia-drenched pieces, Grainger refl ects
on the ‘sentimental wistfulness’ of his native Australia.
Here, though, Grainger may be recalling his Melbourne
childhood: ‘Gum-suckers’ was the name given by other
Australians to Victorians!
ADAPTED FROM NOTES BY VINCENT PLUSH AND GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©2011
In addition to the percussion and a prominent piano part, the orchestra for In A Nutshell comprises two fl utes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani, harp, celesta and strings.
In a Nutshell was last performed by the Sydney Symphony in 1988, conducted by Benjamin Northey’s former conducting teacher, John Hopkins.
6 | Sydney Symphony
BARTÓK Concerto for Orchestra
Bartók was 59 years old when he immigrated to the
United States with his second wife and former pupil, Ditta
Pásztory-Bartók. His adjustment to the new environment
was made diffi cult, even traumatic, by several factors.
Bartók, who had been the foremost musical celebrity
in his native Hungary, became an émigré composer
who, although not entirely unknown in the Western
Hemisphere, was far from being a household name and
had to relaunch his career.
Bartók was ill-equipped for such a struggle. He was
not prepared to make any compromises. He was not
interested in university positions because he did not
believe in teaching composition. He did concertise a little
as a pianist, mainly in a two-piano duo with his wife and a
few times as soloist in his Second Piano Concerto, yet his
main ambition throughout this period was to continue
his research in ethnomusicology. Having learned about
Milman Parry’s collection of recordings from Yugoslavia,
preserved at Columbia University, he devoted many hours
to transcribing these recordings. He received a grant to do
this work, but the grant ran out before Bartók could fi nish
the project. It was also at this time – late in 1942 – that
Bartók’s health fi rst began to deteriorate, with fevers, pain,
and weakness, but with no immediate diagnosis (the fi rst
signs of the leukæmia that would claim his life in 1945).
The situation was grave indeed when Bartók, lying in
a New York hospital, received an unexpected visit from
Serge Koussevitzky, the conductor of the Boston
Symphony Orchestra. Koussevitzky commissioned a
new orchestral work in memory of his wife and left a
cheque for half the amount of the commission on the
composer’s bedside table. He and everybody else took great
pains to conceal from Bartók the fact that the idea of the
commission had come from two of the composer’s friends,
violinist Joseph Szigeti and conductor Fritz Reiner; had
Bartók known this, the commission would have seemed
to him a form of charity that he might even have turned
down.
The commission quite literally gave Bartók, who had
composed virtually nothing for the last two years, a new
lease on life. As Agatha Fassett, a close personal friend,
wrote in her fascinating book on Bartók’s American years
(The Naked Face of Genius, Boston 1958):
Perhaps it was instantly, in this moment of excitement, that the
restraint so heavily crusted within him began to dissolve and
The commission quite literally gave Bartók…a new lease on life.
7 | Sydney Symphony
melt away, for only a day later, when he was home again and
relating the story to us, an enormous change seemed to have
taken place in him already – a change that nobody could fail
to see. It seemed as if the obstructed forces within him were
released at last, and the entire centre of his being had been
restored and reawakened, even though he was still lying limp
on his bed, hardly any stronger than he was before he went to
the hospital.
Work on the score proceeded rapidly, thanks in part
to the American Society of Composers, Authors And
Publishers (ASCAP), which arranged for Bartók to spend
the summer months of 1943 at a private sanatorium in
Lake Saranac, New York. Bartók’s health improved, he
gained some weight (going from barely 40 kilograms to
48), and the full score of the Concerto for Orchestra was
completed by October.
BÉLA BARTÓK Hungarian composer (1881–1945)
8 | Sydney Symphony
Bartók’s ‘Explanation’, written for the fi rst performance
The title of this symphony-like instrumental work is explained by its tendency to treat the single instrument groups in a ‘concertant’ or soloistic manner. The ‘virtuoso’ treatment appears, for instance, in the fugato sections of the development of the fi rst movement (brass instruments), or in the ‘perpetuum mobile’-like passages of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments appear consecutively with brilliant passages.
As for the structure of the work, the fi rst and fi fth movements are written in a more or less regular sonata form. The development of the fi rst movement contains fugato sections for brass; the exposition in the fi nale is somewhat extended, and its development consists of a fugue built on the last theme of the exposition.
Less traditional forms are found in the second and third movements. The main part of the second movement consists of a chain of independent short sections, by wind instruments consecutively introduced in fi ve pairs (bassoons, oboes, clarinets, fl utes, and muted trumpets). Thematically, the fi ve sections have nothing in common and could be symbolised by the letters a, b, c, d, e. A kind of ‘trio’ – a short chorale for brass instruments and side-drum – follows, after which the fi ve sections are recapitulated in a more elaborate instrumentation.
The structure of the third movement likewise is chain-like; three themes appear successively. These constitute the core of the movement, which is enframed by a misty texture of rudimentary motives. Most of the thematic material of this movement derives from the ‘Introduction’ to the fi rst movement. The form of the fourth movement – ‘Intermezzo interrotto’ – could be rendered by the letter symbols ‘A B A – interruption – B A.’
The general mood of the work represents – apart from the jesting second movement – a gradual transition from the sternness of the fi rst movement and the lugubrious death-song of the third, to the life-assertion of the last one.
9 | Sydney Symphony
Listening Guide
In opting for a fi ve-movement form with a central slow
movement and two quasi-scherzos in second and fourth
place respectively, Bartók returned to a compositional
design he had fi rst discovered in his early Suite No.1 for
orchestra 40 years earlier and used again in his String
Quartet No.4 (1928). It was one of several symmetrical
structures he favoured in his large-scale works, one that
aff orded a great deal of diversity in character organized
around a single governing principle.
The fi rst movement (Introduzione) opens with a slow
introduction whose chains of ascending fourths, played by
cellos and basses, create the impression of a world being
born out of primeval chaos. The fi rst ‘concertante’ solo, for
fl ute, still has something indecisive to it, but the second,
for three trumpets, is a fully-formed idea that borrows
its formal structure (though not its actual melody) from
Hungarian folksong. The tempo gradually increases and
reaches Allegro vivace; the fast section is dominated by two
themes, both of which, like the theme of the introduction,
are built on ascending fourths. This energetic music is
only temporarily interrupted by a lyrical interlude in
which the oboe and the harp seem to carry on an intimate
conversation.
The second movement (Giuoco delle coppie or ‘Game of Pairs’) opens and closes with a brief snare drum solo.
The fi ve pairs of wind instruments Bartók mentioned in
his outline play their themes in parallel intervals; we hear,
in turn, two bassoons in sixths, two oboes in thirds, two
clarinets in sevenths, two fl utes in fi fths, and fi nally, two
muted trumpets in major seconds.
As Bartók explains in his own program note, the third-movement (Elegia) opens with some ascending fourths
that clearly allude to the fi rst movement’s slow introduction.
The glissandos on the harp and the soft woodwind
fi guration recall a moment in Bartók’s opera Bluebeard’s
Castle, when the opera’s heroine, Judith, sees the Lake of
Tears behind the sixth door of the castle. The middle
section of the Elegy is based on the same quasi-folksong
we heard in the introduction to the fi rst movement. Played
this time by the full orchestra, it sounds much more tragic
than before. The movement ends with a haunting piccolo
solo, after which the boisterous string unisons of the fourth
movement come as quite a jolt.
Bartók told his pupil, pianist György Sándor, a little story
he had associated with the fourth-movement (Intermezzo
‘The general mood of the work represents – apart from the jesting second movement – a gradual transition from the sternness of the fi rst movement and the lugubrious death-song of the third, to the life-assertion of the last one.’BÉLA BARTÓK
10 | Sydney Symphony
interotto or ‘Interrupted Intermezzo’). A young man
serenades his sweetheart. He is surprised by a gang of
drunkards who smash his instrument. Despite the pain he
feels, he continues his serenade.
There are some clues in the movement, however, that
reveal a meaning running deeper than the story would
suggest. Many people think that the beautiful cantabile
melody played by the violas is a rhythmically modifi ed
version of a popular Hungarian operetta melody: ‘Hungary,
you are beautiful...’ – and it is quite obvious that the real
subject of the movement is Bartók’s nostalgia for his native
land. And since the time was 1943, it is equally obvious
what caused the disruption of the idyll. This disruption
has caused a great deal of commentary because Bartók
appeared to be parodying a prominent passage from
Shostakovich’s Seventh (Leningrad) Symphony, which had
recently created a major sensation in the United States. In
his recent book My Father, Bartók’s younger son Peter tells
the story of how Bartók listened to the radio broadcast
of Shostakovich’s Seventh and objected to what seemed
endless repetitions of the same theme. (The similarity to
the song ‘Da geh ich zu Maxim’ from Franz Lehár’s operetta
The Merry Widow was probably not intended by either
Bartók or Shostakovich.)
It should be noted that the Shostakovich melody,
variously referred to as the theme of war or fascism, had
its own sarcastic overtones that Bartók either missed or
ignored. Moreover, its function in the symphony was
to ‘interrupt’ peaceful life, just as its Bartókian parody
interrupted a peaceful serenade.
The Finale belongs to the type of movement inspired by
the spirit of folk dance that Bartók used at the end of many
of his major works. After the opening horn fanfare, the
violins start a perpetual motion in rapid semiquavers that
runs through almost the entire movement. In the central
section, a large-scale fugato (a section based on imitative
counterpoint) unfolds. After a recapitulation which
includes a brief lyrical episode in a slower tempo, the work
ends with a powerful climax.
PETER LAKI ©2006
Pet er Laki is the editor of Bartók and his World (1995).
11 | Sydney Symphony
ABOUT THE CONDUCTOR
Nicholas Carter conductorAssociate Conductor, supported by Symphony Services International
and Premier Partner Credit Suisse
Earlier this year, Nicholas Carter was appointed Associate
Conductor of the Sydney Symphony, following two years
as Assistant Conductor, during which time he conducted
performances with the Sydney Symphony and the Sydney
Sinfonia, and assisted Vladimir Ashkenazy, Donald Runnicles,
Yannick Nézet-Séguin and Simone Young, among others.
He is a graduate of the University of Melbourne (voice
and piano) and was a member of the inaugural Victorian
Opera Artist Development Program, in which he conducted
productions including Così fan tutte and Don Giovanni. For
OzOpera, he conducted productions of Brundibar and The
Beggar’s Opera.
He has also conducted performances with Orchestra
Victoria and the West Australian, Adelaide and Melbourne
symphony orchestras, and ChamberMade Opera’s production
of The Children’s Bach. He was co-chorusmaster for the
Melbourne Symphony Orchestra performances of The Flying
Dutchman and Shostakovich’s Symphony No.13, and was
assistant conductor for the world premiere of Brett Dean’s
Bliss (Opera Australia).
This year Nicholas Carter also conducts the Melbourne,
Adelaide and Queensland symphony orchestras, and the
Melbourne Chamber Orchestra. In July he will be the
Associate Conductor of the Grand Tetons Music Festival
(Wyoming) and in September he takes up the position of
Assistant Conductor at the Hamburg Opera. This year for the
Sydney Symphony he has conducted the orchestra in concerts
and educational programs on the Riverina tour and will
conduct Viennese-themed concerts in Wollongong and at the
Sydney Town Hall in June.
© P
IA J
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12 | Sydney Symphony
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…
FIRST VIOLINS Sun Yi Associate Concertmaster
Kirsten Williams Associate Concertmaster
Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Freya Franzen†
Claire Herrick*Alexander Norton*
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#
Victoria Jacono-Gilmovich*Emily Qin#
VIOLASRoger BenedictAnne-Louise Comerford Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Leonid Volovelsky Jacqueline Cronin#
Amy Diefes*Tara Houghton†
David Wicks#
CELLOSCatherine Hewgill Leah Lynn Assistant Principal
Kristy ConrauElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#
Patrick Suthers*Adam Szabo†
Rachael Tobin#
DOUBLE BASSESKees Boersma Neil BrawleyPrincipal Emeritus
David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward Mark Lipski*
FLUTES Emma Sholl Rosamund Plummer Principal Piccolo
Katie Zagorski†
OBOESDiana Doherty David Papp Alexandre Oguey Principal Cor Anglais
CLARINETSFrancesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet
BASSOONSRoger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon
HORNSBen Jacks Geoffrey O’Reilly Lee BracegirdleEuan HarveyKaty Grisdale†
TRUMPETSDaniel Mendelow John FosterAnthony Heinrichs
TROMBONESRonald Prussing Nick Byrne Christopher Harris Principal Bass Trombone
TUBASteve Rossé
TIMPANIMark Robinson Assistant Principal
PERCUSSIONRebecca Lagos Colin Piper Joshua Hill*Kevin Man*Chiron Meller*Brian Nixon*Alison Pratt*Philip South*
HARP Louise Johnson Natalie Wong*
KEYBOARDS Josephine Allan# Principal
Catherine Davis*
Bold = PrincipalItalic = Associate Principal* = Guest Musician # = Contract Musician† = Sydney Symphony Fellow
Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates ©
KEI
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Michael DauthConcertmaster ©
KEI
TH S
AU
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Dene OldingConcertmaster ©
KEI
TH S
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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse
13 | Sydney Symphony
THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR
PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
© K
EITH
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Sydney Symphony Board
CHAIRMAN John C Conde AO
Terrey Arcus AM Jennifer Hoy Irene Lee David Smithers AM
Ewen Crouch Rory Jeffes David Livingston Gabrielle TrainorRoss Grant Andrew Kaldor Goetz Richter
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 Sydney Opera House, the
Sydney Symphony also performs in venues
throughout Sydney and NSW. International
tours have earned the orchestra worldwide
recognition for artistic excellence, most
recently in a European tour that included
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, Zdenek Mácal, Stuart
Challender, Edo de Waart and 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 symphonic
music, and the orchestra promotes the
work of Australian composers through
performances, recordings and commissions.
The Sydney Symphony Live label has
captured performances with Alexander
Lazarev, Gianluigi Gelmetti, Sir Charles
Mackerras and Vladimir Ashkenazy. The
orchestra has also released recordings with
Ashkenazy on the Exton/Triton labels, and
numerous recordings for ABC Classics.
14 | Sydney Symphony
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15 | Sydney Symphony
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Mrs Catherine J Clark Joan Connery OAM & Maxwell Connery OAM Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie Cameron Robert Gelling Dr & Mrs C Goldschmidt Mr Robert Green Mr Richard Griffin AM Jules & Tanya Hall Mr Hugh Hallard Dr Heng & Mrs Cilla Tey Roger Henning Rev Harry & Mrs Meg Herbert Michelle Hilton-Vernon Mr Joerg Hofmann Dominique Hogan-Doran Mr Brian Horsfield Greta James Iven & Sylvia Klineberg Dr & Mrs Leo Leader Margaret Lederman Martine Letts Erna & Gerry Levy AM Dr Winston Liauw Sydney & Airdrie Lloyd Carolyn & Peter Lowry OAM Dr David Luis Mrs M MacRae OAM Mrs Silvana Mantellato Geoff & Jane McClellan Ian & Pam McGraw Mrs Inara Merrick Kenneth N Mitchell Helen Morgan Mrs Margaret Newton Sandy Nightingale Mr Graham North Dr M C O’Connor AM Mrs Rachel O’Conor A Willmers & R Pal Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont Lois & Ken Rae Pamela Rogers Dr Mark & Mrs Gillian Selikowitz Mrs Diane Shteinman AM Robyn Smiles Rev Doug & Mrs Judith Sotheren John & Alix Sullivan Mr D M Swan Ms Wendy Thompson Prof Gordon E Wall Ronald Walledge David & Katrina Williams Audrey & Michael Wilson Mr Robert Woods Mr & Mrs Glenn Wyss Anonymous (11)
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SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine BrennerRev Dr Arthur Bridge AM
Mr Wesley EnochMs 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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