If you’re reading this
you can help us…
After the first six months of free programs at Sydney
Symphony concerts, we’re interested in your
thoughts. Does the program add to your enjoyment
of the concert, what features do you value, and
what features would you like to see?
Whether you’re new to our programs or have been
reading them for years, we value your opinion.
Participate in our
research study – the
first 400 respondents
will receive a free
CD of highlights
from Swan Lake
and one issue of
limelight magazine.
Keep this program handy and log on to our survey
at www.insidestory.com.au/surveys/1961.asp
If you prefer, you can pick up a hard copy of the
survey from the customer survey desk in the foyer.
Swan Lake highlights CD provided courtesy of Universal Music
It is my great pleasure to welcome you to tonight’s concert in the
EnergyAustralia Master Series – Symphony Fantastique.
We are delighted to welcome back conductor Tugan Sokhiev, who
made such an impression on Sydney audiences at his debut in 2005.
Tonight he will lead the Sydney Symphony in Berlioz’s Symphony
fantastique, widely regarded as one of the most important and
representative pieces of the early Romantic period, and still very
popular with symphonic audiences worldwide. Performing the
exhilarating showpiece, Prokofiev’s Third Piano Concerto, will be
Russian pianist Boris Berezovsky, regarded for his dazzling virtuosity
and formidable power.
With one of the most recognised brands in the energy industry, we
are proud to be associated with the Sydney Symphony, and we’re
very excited to be linked to the Symphony’s flagship Master Series,
a showcase for great music performed by the world’s finest soloists
and conductors.
EnergyAustralia is one of Australia’s leading energy companies, with
more than 1.8 million customers in NSW, Victoria, the ACT, South
Australia, and Queensland.
I hope you enjoy tonight’s performance and have a chance to experience
future concerts in the EnergyAustralia Master Series in 2007.
George Maltabarow
Managing Director
SEASON 2007
ENERGYAUSTRALIA MASTER SERIES
SYMPHONIE FANTASTIQUE
Wednesday 22 August | 8pm
Friday 24 August
| 8pm
Saturday 25 August | 8pm
Sydney Opera House Concert Hall
Tugan Sokhiev conductor
Boris Berezovsky piano
SERGEI PROKOFIEV (1891–1953)
Piano Concerto No.3 in C, Op.26
Andante – Allegro
Theme (Andantino) with variations
Allegro non troppo
Saturday evening’s performance
will be broadcast live across
Australia on ABC Classic FM 92.9.
INTERVAL
This program will be webcast by
BigPond. View live online on
Saturday 25 August at 8pm and
On Demand from September. Visit:
sydneysymphony.bigpondmusic.com
HECTOR BERLIOZ (1803–1869)
Symphonie fantastique, Op.14
Reveries – Passions
A Ball (Waltz)
Scene in the Country
March to the Scaffold
Dream of a Witches’ Sabbath
Pre-concert talk by Yvonne Frindle
at 7.15pm in the Northern Foyer.
Estimated timings:
27 minutes, 20-minute interval,
50 minutes.
The performance will conclude at
approximately 9.45pm.
Cover images: see page 30 for
captions
Program notes begin on page 5
Artist biographies begin on page 20
PRESENTING PARTNER
INTRODUCTION
Fantastic Symphony
Tugan Sokhiev made his Australian debut in 2005 when
he ‘jumped’ – as they say – for Lorin Maazel, replacing
him at short notice and flying to Sydney to conduct a
program that featured Rimsky-Korsakov’s Scheherazade
and Stravinsky’s Firebird suite. These concerts, with music
of his choosing, revealed an affinity for Russian repertoire
but also a dramatic instinct that lends itself to musical
story-telling. On this return visit those strengths are
again at the forefront of his programming.
This week he conducts two separate programs – a
wealth of music for anyone who can attend both. One
program offers a Russian take on the Romeo and Juliet
story, but tonight’s concert has Berlioz’s Symphonie
fantastique as its orchestral highlight, matched with one
of the most exciting of Russian piano concertos.
The Symphonie fantastique embodies the Romantic
spirit: subjective, vividly coloured, dramatic, and
extravagant in its emotional and musical effect. It’s an
example of program music – instrumental music with a
narrative or scenario. Program music wasn’t exactly new
in the 19th century but something that Berlioz did was:
he adopts an idée fixe – an ‘obsession’ – a motto theme
that threads its way through the music. (And Berlioz’s
obsession in this case was a woman – apparently
unattainable, although the success of this symphony
about the drug-induced dreams of a young Artist went
some way to winning Berlioz his heart’s desire!) It’s
through devices such as this that Berlioz’s ‘fantastic
symphony’ harnesses musical imagination in the service
of musical drama.
But there is another kind of drama in music – the
purely musical kind, in which harmonies, rhythms and
colours are the characters and their interaction provides
the narrative drive. The concerto genre is its best
example, perhaps because the apparent ‘conflict’ between
soloist and orchestra is clear to the eye as well as to the
ear. Its representative in this concert is Prokofiev’s Third
Piano Concerto – a powerful work that satisfies on all
levels: it is impressively virtuosic and it shares its modern
wit and misleading melodies with unashamed
Romanticism.
5 | Sydney Symphony
ABOUT THE MUSIC
Sergei Prokofiev
Piano Concerto No.3 in C, Op.26
Keynotes
Andante – Allegro
Theme (Andantino) with variations
Allegro non troppo
Born Sontsvka (Ukraine), 1891
Died Moscow, 1953
Boris Berezovsky piano
Prokofiev was a virtuoso pianist, who made an
authoritative recording of his own Third Concerto.
One of his most successful and popular concert works,
the concerto shows the most typical aspects of his
mature musical style in ideal balance: a mixture of rather
Romantic passages with incisive, humorous, sometimes
even grotesque episodes. This is obvious right at the
start: the opening Andante melody for clarinet is lyrical,
almost wistful, and Russian-sounding. But immediately
the piano comes in, the music becomes very busy, incisive,
almost icy. The lyricism of the opening will return in
place of a ‘development’ section in the middle of the first
movement.
Prokofiev conceived musical materials for his first
three concertos in the years before he left Russia at the
time of the 1917 Revolution. The first two concertos, in
their driving rhythms and crunching discords, illustrate
Prokofiev’s not altogether unwelcome casting as the
‘enfant terrible’ of Russian music, and evoked a
corresponding critical reaction (‘cats on a roof make
better music,’ wrote one Russian critic of the Second
Concerto). No.3, on the other hand, shows much more
of the tunefulness and accessibility which it is wrong to
regard as having entered Prokofiev’s music only after he
returned to Russia in the early 1930s. The lyrical opening
of this piano concerto, completed in 1921, recalls that
of the First Violin Concerto of 1916–17. Even earlier,
the great Russian impresario Diaghilev had perceived
Prokofiev’s true musical nature: ‘Few composers today have
Prokofiev’s gift of inventing personal melodies, and even
fewer have a genuine flair for a fresh use of simple tonal
harmonies…he doesn’t need to hide behind inane theories
and absurd noises.’
The Third Piano Concerto reflects Prokofiev’s worldtravelling existence around the time of its creation. He had
been collecting its themes for over ten years by the time
he put them together in 1921. Prokofiev rarely threw away
anything that might come in handy later on. He began the
7 | Sydney Symphony
PROKOFIEV
Early in his career Prokofiev
developed a compositional
style that balanced four
distinct characteristics:
classical, motoric, modern
or ‘grotesque’, and lyrical.
Thus armed, he pushed the
boundaries of the Russian
Romantic tradition to its
limits. He was one of many
Russian artists who left after
the October Revolution of
1917, but the only composer
to eventually return, in the
mid-1930s.
PIANO CONCERTO NO.3
This is Prokofiev’s most
popular piano concerto as
well as his most rewardingly
virtuosic, and it became
his calling card as a pianistcomposer. Many of its themes
had been collected over a
period of ten years – Prokofiev
was not one to waste a good
idea – and the finale includes
an earlier experiment with
what he called ‘diatonic’
writing, using only the ‘white
notes’ of the piano keyboard.
The first movement sets
nostalgic and lyrical moments
against fire-and-ice virtuosity;
the second is an antiquesounding theme with five
variations; and the third
works its way from a sparse
but blustering opening to a
powerful and eventually
Romantic climax, with some
caustic wit along the way.
It was completed in France in
1921 and dedicated to the poet
Konstantin Balmont who had
written a sonnet in its honour.
concerto in Russia in 1917, completed it in France in 1921,
and gave the premiere later that year in Chicago, where
his opera The Love for Three Oranges was premiered. An
American critic wrote of the concerto, ‘It is greatly a
matter of slewed harmony, neither adventurous enough
to win the affection nor modernist enough to be
annoying.’ You can’t win! A New York critic was wrong,
but more perceptive, when he wrote, ‘It is hard to imagine
any other pianist than Mr Prokofiev playing it.’ Prokofiev’s
own playing pioneered a new kind of piano virtuosity.
A rewarding piece for any virtuoso, this concerto is
formally clear and satisfying, full of memorable tunes
harmonised and orchestrated with a peculiarly personal
piquancy, and sufficiently of our time to be bracing and
refreshing.
The second movement is a set of five variations on a
theme Prokofiev had composed in 1913, intending it even
then for variation treatment. This theme has an old-world,
rather gavotte-like character, which in the first variation
is treated solo by the piano in what Prokofiev describes
as ‘quasi-sentimental fashion’. Then the tempo changes
to a furious allegro, one of the abrupt contrasts in which
the concerto abounds. After a quiet, meditative fourth
variation, and an energetic fifth one, the theme returns
on flutes and clarinets in its original form and at its old
speed, while the piano continues at top speed but more
quietly. This has been compared to a sprinter viewed from
the window of a train.
Exultant leaping flame of crimson flower
A keyboard of words plays with sparkling fires
That suddenly dart out with flaming tongues.
A river leaping forth of molten ore.
The moments dance a waltz, ages gavotte,
Suddenly a wild bull, ensnared by foes,
Has burst his chains and stands with threatening horns
But tender sounds again call from afar
And children fashion castles from small shells,
An opal balcony, subtle and fair.
Then, gushing fierce, a flood dispels it all.
Prokofiev! Music and youth in bloom,
In you the orchestra craves bright summer
And mighty Scythian strikes the sun’s great drum.
BALMONT’s poetic response to Prokofiev’s Third Piano Concerto
(Translation by David Nice)
8 | Sydney Symphony
Sergei Prokofiev, late 1930s
Prokofiev’s own program note describes the finale
as beginning with a staccato theme for bassoons and
pizzicato strings, interrupted by the blustering entry of
the piano:
The orchestra holds its own with the opening theme,
however, and there is a good deal of argument, with frequent
differences of opinion as regards key. Eventually the piano
takes up the first theme and develops it to a climax. With a
reduction of tone and slackening of tempo, an alternative
theme is introduced in the woodwinds. The piano replies with
a theme that is more in keeping with the caustic humour of
the work.
The unabashedly Romantic ‘alternative theme’ is worked
up to an emotional pitch that shows Prokofiev as having
more in common with Rachmaninov than is usually
suspected, and both as owing much to Tchaikovsky.
Then the opening returns in a brilliant coda.
DAVID GARRETT © 2003
The orchestra for Prokofiev’s
Third Piano Concerto
comprises two flutes (one
doubling piccolo) and pairs of
oboes, clarinets and bassoons;
four horns, two trumpets and
three trombones, timpani and
percussion, and strings.
The Sydney Symphony first
performed Prokofiev’s Third
Piano Concerto in 1944 with
Edgar Bainton and soloist
Raymond Lambert, and most
recently in the 2004
International Piano Competition
with János Fürst and pianist
Ayano Shimada.
Hector Berlioz
Symphonie fantastique, Op.14
Keynotes
Reveries (Largo) – Passions (Allegro agitato e appassionato
assai)
Born La Côte-Saint-André,
1803
Died Paris, 1869
A Ball (Valse. Allegro non troppo)
Scene in the Country (Adagio)
March to the Scaffold (Allegretto non troppo)
Dream of a Witches’ Sabbath (Larghetto – Allegro –
Dies irae – Witches’ Round Dance –
Dies irae and Witches’ Round Dance together)
The most bizarre monstrosity one can possibly imagine.
Concert review, Figaro
A milestone in the memory of lovers of true music...
a symphony…no less remarkable for the boldness and originality
of its ideas than for the novelty of its form.
Concert review, Le National
I owe my fiancée to it.
Letter, Hector Berlioz
Three descriptions of the concert at which, it has been said,
French Romanticism was born: the premiere of Berlioz’s
Symphonie fantastique on 5 December 1830. Romanticism,
yearning to experience higher, more spiritual things, had
little time for established traditions, and it is not surprising
that much of the musical establishment reacted with anger
or scorn to artists who seemed to think themselves above
rules. But the audience loved the Symphonie fantastique,
greeting it with shouts and the stamping of feet.
From Berlioz’ point of view, the best ‘review’ of all came
from one Madame Moke, who finally granted permission
for him to marry her daughter Camille. The irony was that
it was Camille who had passed on to Berlioz the gossip
about his earlier idol, Irish actress Harriet Smithson,
which had provoked the fit of jealous rage which inspired
the whole symphony – and it was Harriet whom Berlioz
married two years later.
Berlioz’s passion for Smithson had been consuming
him for three years. It was a single-minded, overpowering
adoration of the kind beloved of Romantic writers –
and entirely one-sided. Even so, when Berlioz heard
the rumours about Smithson and her manager, he was
overwhelmed, and composed the Symphonie fantastique or
‘Episode in the Life of an Artist’ to express his emotional
turmoil and exorcise his feelings of betrayal.
10 | Sydney Symphony
BERLIOZ
Berlioz set off for Paris when
he was 18, ostensibly to
study medicine (his father’s
preference) but in reality
following a musical path
that would result in him
becoming the ‘archRomantic’ composer of his
age. Despite the fact that
his main instrument was
the guitar – he also played
piano and flute, but badly –
he became a master in
the innovative use of the
orchestra (he literally wrote
the book) as well as a
conductor.
FANTASTIC SYMPHONY
This symphony was
premiered in 1830 as
‘An Episode in the Life
of an Artist’ and its five
movements are structured
around a synopsis or
‘program’ that traces the
increasingly feverish opium
dream of a young Romantic
artist. The final form of
Berlioz’s program can be
found on page 14 but, as
he said himself, the titles
should be enough to guide
you through this vividly
imagined music. Berlioz
didn’t invent program
music – but he made an
important contribution
through his use of an idée
fixe or ‘fixed idea’, a theme
(representing the Artist’s
Beloved) that keeps
returning in increasingly
frantic guises.
‘She is now only a prostitute, fit to take part in [a
Satanic] orgy,’ wrote Berlioz in his first draft of a program
for this symphony. The act of exorcism appears to have
worked, however, as in subsequent versions of the program
the hostile references to Smithson mellow into the more
generic expression ‘a fit of despair about love’.
The program as originally printed tells of an artist,
a young musician tossed on a sea of passions who falls
hopelessly in love with a woman who is everything he has
ever dreamed of. He tries to go on as usual, but is obsessed
by the image of his beloved and by a melody which invariably
accompanies any thoughts of her – a double idée fixe
constantly intruding on his peace of mind. Convinced that
his love is unappreciated, he poisons himself with opium,
but the dose is not strong enough to kill him and in his
drugged sleep he has nightmarish visions: he has killed his
beloved and is led to the scaffold and beheaded; he sees
himself in a hideous crowd of ghosts and monsters at his
own funeral, which becomes a grotesque devilish orgy in
which his beloved takes part. By the second performance
in December 1832, however, Berlioz had turned the whole
story into a drug-induced fantasy by having the Musician
poison himself at the very beginning of the program.
Since the music was not rewritten to ‘match’ the altered
story, it seems reasonable to wonder to what extent we
should ‘believe’ the program. Which is the ‘right’ program?
Will the music ‘work’ if the listener is unaware of it?
Clearly, the program is linked to Berlioz’s own experience
– yet not one of the events described in it had actually
occurred in his own life. Berlioz, however, was quite
adamant that his art was intended to express ‘passions
and feelings’ not paint pictures. The program was meant to
make it possible for the listener to live the same emotional
experiences he himself had had, by providing settings that
give those emotions an individual flavour. The program
is not a documentary to be judged on its accuracy; it is a
journey that Berlioz wanted his audience to take with him.
Listening Guide
The symphony begins gently and delicately with the
sighing of melancholy Reveries alternating with flurries
of ‘groundless joy’, until a sudden Beethoven-like outburst
ushers in the Passions and the melody which will recur
throughout the work, representing the woman of his
dreams, whom the young Musician now sees for the first
time. This idée fixe appears in many guises, as the mood
11 | Sydney Symphony
Berlioz in the 1830s – the drawing is
thought to be by Ingres
Harriet Smithson as Ophelia
wings through fury, jealousy, tenderness, tears and the
consolation of religion.
The second movement takes us to A Ball, where the
Musician catches sight of his beloved. The idée fixe appears
twice, once as a central episode in the movement’s rondo
structure, and again towards the end before the brilliant,
swirling coda.
The Scene in the Country begins with a duet between
cor anglais and off-stage oboe: ‘two shepherds in the
distance piping a ranz des vaches (shepherds’ song) in
dialogue’. Here Berlioz made effective use of many of the
standard onomatopoeic devices to establish the rural
setting, such as bird calls in the woodwinds, and tremolos
in the strings representing ‘the slight rustle of trees gently
stirred by the wind’. There are clear resonances with the
slow movement of Beethoven’s Pastoral Symphony, but
Berlioz’s country scene lacks the serenity that Beethoven
achieves, as the Musician is caught between hope of being
with his beloved, and fear that she will deceive him. The
idée fixe appears in the midst of passionate surges: ‘thoughts
of happiness disturbed by dark forebodings’. The Musician’s
…the program is linked
to Berlioz’s own
experience – yet not
one of the events
described in it had
actually occurred in his
own life.
sense of loneliness is symbolised musically when the cor
anglais finally takes up the ranz des vaches again and the
oboe does not answer; the sound of ‘distant thunder’ from
the timpani brings the music to an uneasy close.
In the March to the Scaffold sinister mutterings from
the timpani finally erupt in a savage theme first beaten
out by the cellos and double basses. The tune is simplicity
itself – a descending scale passage – but it mismatches
with the aggressive rhythm so that the melody disorients
us by not ‘landing’ where we expect it to. Bassoons and
then low strings weave a mocking counterpoint around
it until the grotesque march theme bursts out over deep
blaring pedal tones from the trombones. The idée fixe
appears at the end of the movement, ‘like a last thought
of love interrupted by the fatal stroke’.
Berlioz did not invent the idea of a Satanic orgy – it had
been described in full technicolour in the Witches’ Sabbath
scene in Goethe’s Faust and Victor Hugo’s poem La Ronde
du sabbat. In his Dream of a Witches’ Sabbath, however,
Berlioz added another layer of meaning by giving the place
of honour to the ghost of the young Musician’s beloved,
whose idée fixe theme here appears encrusted with grace
notes and trills of mocking laughter. His scorn for her is
unmistakable.
The movement opens with a soft tremolo from the
upper strings, punctuated with sudden jabs of sound and
mysterious ‘calls’ from around the orchestra. The idée fixe is
now ‘a common dance tune, trivial and grotesque’. Church
bells sound and the plainsong Dies iræ theme from the mass
for the dead is sounded solemnly by the brass before it is
caught up in the demonic revelry. The dance theme becomes
the subject of a fugue: when combined with the Dies iræ
theme the impression of sacrilegious revelry is complete.
‘One must draw the line somewhere,’ wrote Edward
Dannreuther in the first edition of Grove’s Dictionary of
Music and Musicians (1879). ‘Bloodthirsty delirious passion
such as is here depicted may have been excited by
gladiator and wild beast shows in Roman arenas; but its
rites…are surely more honoured in the breach than in
the observance.’ Popular taste seems to have ignored this
advice, and we are now quite used to seeing this and
more on our television screens, but Berlioz’s music still
has the power to send a chill down our spines.
NATALIE SHEA
SYMPHONY AUSTRALIA © 2002
13 | Sydney Symphony
His scorn for her is
unmistakable.
The Symphonie fantastique
calls for two flutes (one
doubling on piccolo), two oboes
(one doubling on cor anglais),
two clarinets and four
bassoons; four horns, two
cornets, two trumpets, three
trombones and two ophicleides
(these parts to be played by
tubas); two timpani and
percussion (bass drum, snare
drum, cymbals, bells); two
harps and strings.
The Sydney Symphony first
performed the Symphonie
fantastique in 1938 under
Malcolm Sargent, and most
recently in 2005 in a
performance conducted by
Alain Lombard.
BERLIOZ’S PROGRAM
Episode in the Life of an Artist:
Fantastic symphony in five parts
The premiere of the Symphonie fantastique in 1830 was
accompanied by a program (distributed at the concert on leaflets),
which was published with the score in 1845. In 1832 Berlioz
composed a ‘sequel’ in the form of a lyric monodrama called
Lélio, or The Return to Life. This sequel, with its idea of
awakening, changed the expressive impact of the symphony
and at some point Berlioz revised the program accordingly.
The key difference between the two versions is found in the role
of the opium dream. In the original program, the artist poisons
himself with opium only in the fourth movement, at the point
where he becomes convinced that his love is unappreciated. The
events of the first three movements are conscious and real. In the
revised program, however, the artist poisons himself at the outset
and the entire symphony becomes the dream. It is the revised
program that is reproduced here.
Note
…When the Fantastic Symphony is given by itself in
concerts [without Lélio] the distribution of this program
may be dispensed with. In such cases it is only necessary
to retain the titles of the five movements. The composer
indulges himself with the hope that the symphony will,
on its own merits and irrespective of any dramatic aim,
offer an interest in the musical sense alone.
Program of the Symphony
A young musician of unhealthily sensitive nature and
endowed with vivid imagination has poisoned himself
with opium in a paroxysm of love-sick despair. The
narcotic dose he had taken was too weak to cause death
but it has thrown him into a long sleep accompanied
by the most extraordinary visions. In this condition his
sensations, his feeling and memories find utterance in
his sick brain in the form of musical imagery. Even the
beloved one takes the form of melody in his mind, like
a fixed idea which is ever returning and which he hears
everywhere.
Part I: Reveries – Passions
As first he thinks of the uneasy and nervous condition
of his mind, of sombre longings, of depression and
joyous elation without any recognisable cause, which he
experienced before the beloved one had appeared to him.
14 | Sydney Symphony
Berlioz – portrait by Emile Signol
When he remembers the ardent love with which she
suddenly inspired him, he thinks of his almost insane
anxiety of mind, of his raging jealousy, of his awakening
love, of his religious consolation.
Part II: A Ball
In a ball-room, amidst the confusion of brilliant festivities,
he finds the loved one again.
Part III: Scene in the country
It is a summer evening. He is in the country musing
when he hears two shepherds who play the ranz des vaches
in alternation. This pastoral duet, the locality, the soft
whisperings of the trees stirred by the zephyr-wind, some
prospects of hope recently made known to him, all these
sensations unite to impart a long unknown repose to his
heart and to lend a smiling colour to his imagination.
And then she appears once more. His heart stops beating,
painful forebodings fill his soul. ‘What if she should prove
false to him?’ One of the shepherds resumes the melody,
but the other answers him no more. Sunset…distant
rolling of thunder…loneliness…silence.
Part IV: March to the Scaffold
He dreams that he had murdered his beloved, that he has
been condemned to death and is being led to the scaffold.
A march that is alternately sombre and wild, brilliant and
solemn, accompanies the procession…The tumultuous
outbursts are followed without modulation by measured
steps. At last the fixed idea returns, for a moment a last
thought of love is revived – which is cut short by the
death-blow.
Part V: Dream of a Witches’ Sabbath
He dreams that he is present at a witches’ sabbath,
surrounded by horrible spirits, sorcerers and monsters
in many fearful forms, who have come together for his
funeral. Strange sounds, groans, shrill laughter, distant
yells, which other cries seem to answer. The beloved
melody is heard again but it has lost its noble and shy
character; it has become a vulgar, trivial and grotesque
dance tune. It is she who comes to join the sabbath.
Friendly howls and shouts greet her arrival. She joins
the infernal orgie…bells toll for the dead…a burlesque
parody of the Dies iræ…the witches’ round-dance…the
dance and the Dies iræ are combined.
15 | Sydney Symphony
GLOSSARY
– literally ‘tail’, a small section at the
end of a movement or work that ‘rounds off ’
the music.
CODA
– a compositional technique
in which two or more musical lines or
melodies played at the same time. Imitative
counterpoint is when the various parts are
playing similar or identical melodies one
after the other (e.g. canons and FUGUES) –
childhood rounds are the simplest form of
imitative counterpoint.
COUNTERPOINT
DIES IRÆ – (Latin for ‘Day of wrath’) a
liturgical poem forming part of the Roman
Catholic Mass for the Dead. The distinctive
plainchant melody associated with the Dies
iræ is often quoted in other musical works,
especially since the 19th century: Saint-Saëns’
Danse macabre, Liszt’s Totentanz, various
works by Rachmaninov including Paganini’s
Rhapsody and Symphonic Dances, and most
famously in Berlioz’ Symphonie fantastique.
– a musical form in which a short
melody, the subject, is first sounded by one
part or instrument alone, and is then taken
up in imitation by other parts or instruments
one after the other. The Latin fuga is related
to the idea of both ‘fleeing’ and ‘chasing’. Its
golden age was the 18th century, when it became
a formalised genre, and J.S. Bach counts as the
greatest writer of fugues in musical history.
FUGUE
IDÉE FIXE – literally ‘fixed idea’, an obsession.
Berlioz was the first to use the term for a
technique that is also known as a motto theme.
An idée fixe recurs or is quoted throughout
a musical work, usually in a number of
different transformations. Tchaikovsky’s Fifth
Symphony provides another example of a
motto theme at work.
– a technique for stringed
instruments in which the strings are plucked
with the fingers rather than bowed.
PIZZICATO
– ‘program music’ is inspired by
and claims to express a non-musical idea,
usually with a descriptive title and sometimes
with a literary narrative, or ‘program’ as well.
Program music has been known in some
form since at least the 16th century, but
PROGRAM
16 | Sydney Symphony
flourished in the 19th century, with works
such as Beethoven’s Pastoral Symphony
and Berlioz’s Symphonie fantastique. Both
these composers led program music in the
direction of expression of feelings – away
from the pictorial tendencies heard in earlier
music such as Vivaldi’s Four Seasons.
RANZ DE VACHES – a ‘rank of cows’, a Swiss
tune sung or played on an alphorn and
traditionally used to summon the cows.
Rossini includes one in his overture to
William Tell and Beethoven in the opening to
the final movement of his Pastoral Symphony.
RONDO – a musical form in which a main
idea (refrain) alternates with a series of
musical episodes. Classical composers such
as Mozart commonly adopted rondo form for
the finales to their concertos and symphonies.
– repeating the same note many
times very quickly, to produce a ‘shaking’ or
‘trembling’ effect. In string playing this is
achieved by rapid back-and-forth strokes of
the bow.
TREMOLO
In much of the classical repertoire, movement titles
are taken from the Italian words that indicate the
tempo and mood. A selection of terms from this
program is included here.
Adagio – slow
Allegro – fast
Andante – walking pace
Andantino – a diminutive of Andante, this
term can be interpreted as either a little
slower than andante or, as is more
common nowadays, a little faster
Allegretto non troppo – lively, not so fast as
Allegro, not too much
Allegro agitato e appassionato assai – fast,
agitated and impassioned
Allegro non troppo – fast, not too much
Largo – broad, slow
Larghetto – not quite as slow as Largo
This glossary is intended only as a quick and easy
guide, not as a set of comprehensive and absolute
definitions. Most of these terms have many subtle
shades of meaning which cannot be included for
reasons of space.
75 YEARS: HISTORICAL SNAPSHOT
On Tour
You can’t take Sydney out of the title, but you
can take the orchestra out of Sydney. Tours
are said to be good for orchestras, putting
them on their mettle, but there’s more to
touring than the orchestra’s good. From 1965
on, when the SSO’s touring itinerary included
Manila, Tokyo, Hong Kong as well as London
and other British cities, there have been
overseas tours at intervals: Europe in 1974,
USA in 1988, and more since.
But the bread and butter of touring
assumes the orchestra is not just for Sydney,
but for the bush. In 1938 the ABC approved
the proposal that its ‘New South Wales
Orchestra’ should visit Wollongong, Katoomba,
Orange and Bathurst. The pretext was the
State’s 150th Anniversary Celebrations, a
gesture to some of the country towns, in this
‘opportunity of attending a big Orchestral
Concert’. It was an experiment, and the
reasoning, according to Dr Keith Barry, the
Federal Controller of Programmes, was ‘to let
country people have in some small measure
the same facility granted to the city people
of seeing a symphony orchestra in action’.
The small stages allowed only an orchestra
of 45 players. And Barry, who lived in Leura,
complained that the Katoomba program
amounted to ‘café music’, so a Mozart symphony
was added to give substance. All the same,
attendance was poor, perhaps partly because
much of the potential audience was already
attending the orchestra’s concerts in the
Sydney Town Hall. In Bathurst, the press was
excited : ‘This will be something unique…
the first occasion on which a symphony
orchestra has given a recital so far west of
Sydney.’ In Orange there had been some
reluctance to have the orchestra at all,
something to do with the date offered being
late-shopping night.
The orchestra played under its resident
conductor Percy Code, and the soloists
included country locals – such as pianist
John Hannell and baritone Colin Chapman
in Newcastle – as well as concertmaster
Lionel Lawson.
17 | Sydney Symphony
In 1947 the SSO visited Newcastle for the city’s 150th
anniversary celebrations. Eugene Goossens (left) travelled
from Sydney for the concert with the driver of the inter-city
express, J. Guilfoyle.
Country touring of this kind became a
more regular fixture for the Sydney Symphony
in the 1950s, and since. (In September the
orchestra will play in Tamworth – a special
anniversary concert and live broadcast.)
Local enthusiasm shines through the press
notices. The Newcastle Herald, 4 March 1938:
‘appreciative audience’ for the ‘happy
inspiration of sending the Sydney Symphony
on a country tour’. If even one light went
on in a youthful head, hearing and seeing
an orchestra for the first time – perhaps as
the Overture to Tannhäuser reached ‘a climax
of massive brilliance’ – then the experiment
was surely worthwhile.
David Garrett, a historian and former programmer
for Australia’s symphony orchestras, is studying
the history of the ABC as a musical organisation.
MORE MUSIC
Selected Discography
Broadcast Diary
PROKOFIEV CONCERTO
Prokofiev recorded his Third Piano Concerto in 1932
with the London Symphony Orchestra and Piero
Coppola (cond.). A fast and exciting account!
AUGUST–SEPTEMBER
NAXOS HISTORICAL 8.110670
Sat 25 August, 8pm
Martha Argerich’s 1967 recording with the Berlin
Philharmonic and Claudio Abbado remains a standard.
Coupled with Ravel’s Piano Concerto in G and Gaspard
de la nuit.
SYMPHONIE FANTASTIQUE
DG THE ORIGINALS 447438
SYMPHONIE FANTASTIQUE
Michel Plasson was Tugan Sokhiev’s predecessor
at the Toulouse Capitol Orchestra; his recording with
them of the Symphonie fantastique is available in a
2-CD set that also includes Harold in Italy (Gérard
Caussé, viola) and the Roman Carnival and other
overtures.
EMI CLASSICS 71467
Colin Davis’s 1974 recording with the Royal
Concertgebouw Orchestra has been reissued several
times, and most recently remastered for Philips’
Originals series.
PHILIPS 000701202
John Eliot Gardiner’s recording with the Orchestre
Révolutionnaire et Romantique uses period instruments
to reveal the detail of Berlioz’s soundworld and
orchestration, and attempts to capture the startling
effect this music must have had in 1830.
PHILIPS 434402
See this program for details.
Thu 30 August, 7pm
SONGS AND DANCES
Dene Olding violin-director
Rosamund Plummer piccolo
Mozart, Suk, Vivaldi, Dvořák
Mon 3 September, 1pm
HAROLD IN ITALY (1997)
Marcello Viotti conductor
Esther van Stralen viola
Berlioz
Sat 8 September, 5pm
75th ANNIVERSARY CONCERT
Live from Tamworth
Richard Gill conductor
Tiffany Speight soprano
Diana Doherty oboe
Jennifer Hoy violin
Stravinsky, Bach, Tchaikovsky, Grieg, Puccini, Bizet
Thu 27 September, 7pm
MUSICAL DAWN
Dene Olding violin-director
Roger Muraro piano
Haydn, Poulenc, Mozart
TUGAN SOKHIEV
2MBS-FM 102.5
Mussorgsky and Tchaikovsky
SYDNEY SYMPHONY 2007
Pictures at an Exhibition (orch. Ravel); Tchaikovsky’s
Fourth Symphony
Toulouse Capitol Orchestra
NAÏVE 5068
BORIS BEREZOVSKY
Beethoven Concertos
Piano Concerto No.4 and Piano Concerto in D, Op.61
(Beethoven’s transcription of his Violin Concerto)
Swedish Chamber Orchestra; Thomas Dausgaard
(cond.)
SIMAX 1280
Tchaikovsky and Khachaturian Concertos
Khachaturian Piano Concerto in D flat and
Tchaikovsky Piano Concerto No.1
Ural Philharmonic Orchestra; Dmitry Liss (cond.)
WARNER CLASSICS 63074
Chopin and Godowsky Etudes
WARNER CLASSICS 62258
19 | Sydney Symphony
Tue 11 September 6pm
What’s on in concerts, with interviews and music.
Webcast Diary
Selected Sydney Symphony concerts are recorded for
webcast by BigPond.
Visit sydneysymphony.bigpondmusic.com
August webcast:
Symphonie fantastique
Live on Sat 25 August at 8pm and On Demand from
September.
Coming in September:
75th Anniversary Concert, live from Tamworth
sydneysymphony.com
Visit the Sydney Symphony online for concert
information, podcasts, and to read your program book
in advance of the concert.
ABOUT THE ARTISTS
Tugan Sokhiev has been the Principal Guest Conductor
and Artistic Advisor of the Orchestre National du Capitole
de Toulouse since 2005. He also has a close association
with the Maryinsky Theatre, and has established a strong
international presence as a guest conductor.
He was born in Vladikavkaz in 1977 and studied with
Ilya Musin and Yuri Temirkanov at the St Petersburg
Conservatoire, graduating in 2001. His early posts included
Chief Conductor of the State Symphony Orchestra of Russia.
He made his full Kirov Opera debut in 2001. The same
year he also made his Welsh National Opera debut,
conducting La bohème, followed by a number of
productions, including Eugene Onegin in 2004. He conducts
frequently at the Maryinsky Theatre, including new
productions, and has appeared in Aix-en-Provence, Madrid
and Luxembourg (Love for Three Oranges) and for Houston
Grand Opera (Boris Godounov).
In recent seasons he has appeared with orchestras
such as the Orchestre National de France, Orchestre
Philharmonique de Radio France, Oslo Philharmonic, Royal
Concertgebouw, Munich Philharmonic, Swedish Radio
Symphony Orchestra, Bournemouth Symphony, Orchestra
of Bayerische Staatsoper, Austrian Radio, DSO Berlin and
Frankfurt Radio Symphony, and he has developed a close
relationship with the Philharmonia Orchestra.
During his first two seasons with the Orchestre National
du Capitole, he conducted critically acclaimed concerts
in Toulouse, Vienna, Ljubljana, Zagreb, San Sebastián and
Paris, where he was awarded the Révélation musicale de
l’année by the French Critics’ Union for his concert with
Magdalena Kozena at the Théâtre des Champs-Elysées.
He made his first recording with the orchestra last year
(Tchaikovsky’s Fourth Symphony and Mussorgsky’s
Pictures at an Exhibition) and will release a second recording
later this year. In the 2007/08 season he makes his debuts
with Fondazione Arturo Toscanini, Orquesta Nacional
de España, La Scala, Euskadi Orchestra and RAI Turin.
He also returns to Finnish Radio, DSO Berlin,
Bournemouth Symphony, Orchestre National de France
and the Philharmonia.
Tugan Sokhiev first appeared with the Sydney
Symphony in 2005, when he replaced Lorin Maazel at
short notice, conducting Rimsky-Korsakov’s Scheherazade.
20 | Sydney Symphony
© PATRICE NIN
Tugan Sokhiev conductor
Boris Berezovsky piano
Born in Moscow in 1969, Boris Berezovsky studied at the
Moscow Conservatoire with Eliso Virsaladze and privately
with Alexander Satz. He made his Wigmore Hall debut
at the age of 19 and two years later he won the Gold
Medal at the 1990 International Tchaikovsky Competition
in Moscow.
Boris Berezovsky appears regularly as a soloist with
the leading orchestras of Europe and Britain, including
the Concertgebouw, Philharmonia Orchestra, Philadelphia
Orchestra, Rotterdam Philharmonic, Residentie Orkest,
Danish National Radio Symphony Orchestra, NDR
Hamburg, Deutsche Oper Berlin, Komische Oper,
Hessischer Rundfunk, Russian National Orchestra, and
City of Birmingham Symphony Orchestra, as well as
the New Japan Philharmonic and Dallas Symphony
Orchestra. And he has collaborated with conductors
such as Kurt Masur, Charles Dutoit, Wolfgang Sawallisch,
Vladimir Ashkenazy, Alezander Lazarev, Andrew Litton
and Mikhail Pletnev.
His recordings include the concertos of Rachmaninov,
Tchaikovsky and Liszt, and he recently recorded the
complete Beethoven concertos with the Swedish Chamber
Orchestra and Thomas Dausgaard. He has released a
number of solo discs of music by Chopin, Schumann,
Rachmaninov, Mussorgsky, Balakirev, Medtner and Ravel,
and his recording of the Rachmaninov Sonata was
awarded the Preis der Deutschen Schallplattenkritik.
His recording of the complete Liszt Transcendental
Studies was followed by a live DVD of the Studies, taken
from a performance at La Roque d’Antheron.
In recital and as a chamber musician Boris Berezovsky
performs regularly in concert series and festivals
worldwide. Recital highlights have included Queen
Elizabeth Hall International Piano Series, performances
at the Concertgebouw, La Roque d’Antheron, Ruhr
Piano Festival, Les Folles Journées de Nantes, Palais des
Beaux Arts, Brussels, Megaron, Athens and Birmingham’s
Symphony Hall. He has duo partnerships with violinist
Vadim Repin and pianist Brigitte Engerer, and he
performs and records the piano trio repertoire with
violinist Dmitri Makhtin and cellist Alexander Kniazev.
This is Boris Berezovsky’s first appearance with the
Sydney Symphony.
21 | Sydney Symphony
THE SYDNEY SYMPHONY
Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
JOHN MARMARAS
PATRON
Founded in 1932, the Sydney Symphony
has evolved into one of the world’s finest
orchestras as Sydney has become one of
the world’s great cities. Resident at the
iconic Sydney Opera House where the
Sydney Symphony gives more than 100
performances each year, the Orchestra also
performs concerts in a variety of venues
around Sydney and regional New South
Wales. International tours to Europe, Asia
and the USA have earned the Orchestra
world-wide recognition for artistic
excellence.
Critical to the success of the Sydney
Symphony has been the leadership given
by its former Chief Conductors including:
Sir Eugene Goossens, Nikolai Malko,
Dean Dixon, Willem van Otterloo, Louis
Frémaux, Sir Charles Mackerras, Stuart
22 | Sydney Symphony
Challender and Edo de Waart. Also
contributing to the outstanding success
of the Orchestra have been collaborations
with legendary figures such as George
Szell, Sir Thomas Beecham, Otto
Klemperer and Igor Stravinsky.
Maestro Gianluigi Gelmetti, whose
appointment followed a ten-year
relationship with the Orchestra as Guest
Conductor, is now in his fourth year as
Chief Conductor and Artistic Director of
the Sydney Symphony, a position he holds
in tandem with that of Music Director
at the prestigious Rome Opera.
The Sydney Symphony is reaping the
rewards of Maestro Gelmetti’s directorship
through the quality of sound, intensity
of playing and flexibility between styles.
His particularly strong rapport with
French and German repertoire is
complemented by his innovative
programming in the Shock of the
New concerts and performances of
contemporary Australian music.
The Sydney Symphony’s award-winning
Education Program is central to the
Orchestra’s commitment to the future
of live symphonic music, developing
audiences and engaging the participation
of young people. The Sydney Symphony
maintains an active commissioning
program promoting the work of Australian
composers and in 2005 Liza Lim was
appointed Composer-in-Residence for
three years.
In 2007, the Orchestra celebrates its
75th anniversary and the milestone
achievements during its distinguished
history.
MUSICIANS
Gianluigi Gelmetti
Chief Conductor and
Artistic Director
Michael Dauth
Dene Olding
Chair of Concertmaster
supported by the Sydney
Symphony Board and Council
Chair of Concertmaster
supported by the Sydney
Symphony Board and Council
First Violins
01
02
03
04
05
06
08
09
10
11
12
13
01
02
03
04
05
06
08
09
10
11
12
13
07
Second Violins
First Violins
01 Sun Yi
Second Violins
01 Marina Marsden
Associate Concertmaster
02 Kirsten Williams
Principal
02 Susan Dobbie
Associate Concertmaster
03 Fiona Ziegler
Ian & Jennifer Burton Chair
of Assistant Concertmaster
04
05
06
07
08
09
10
11
12
Julie Batty
Gu Chen
Amber Davis
Rosalind Horton
Jennifer Hoy
Jennifer Johnson
Georges Lentz
Nicola Lewis
Alexandra Mitchell
Moon Design Chair of Violin
13 Léone Ziegler
Sophie Cole
23 | Sydney Symphony
Associate Principal
03 Emma West
04
05
06
07
08
09
10
11
12
13
07
Guest Musicians
Thomas Dethlefs
Josephine Costantino Antonio Neilley
Cello
Menendez de Llano
Tuba
Janine Ryan
Cello#
Brian Nixon
Timpani
Jennifer Druery
Double Bass#
Ian Cleworth
Percussion
Gordan Hill
Double Bass
Kevin Man
Percussion
Owen Torr
Harp
Philip South
Percussion
Elizabeth Chee
Second Violin†
Oboe#
Emily Long
Robert Llewellyn
Second Violin#
Bassoon
Leigh Middenway
Casey Rippon
Second Violin
Horn#
Jacqueline Cronin
Joshua Davis
Viola#
Trombone#
Alexander Norton
First Violin#
Martin Silverton
First Violin#
Victoria Jacono
Assistant Principal
First Violin†
Pieter Bersée
Maria Durek
Emma Hayes
Shuti Huang
Stan Kornel
Benjamin Li
Nicole Masters
Philippa Paige
Biyana Rozenblit
Maja Verunica
Sarita Kwok
First Violin
Alexandra D’Elia
Second Violin#
Jennifer Curl
Viola#
Key:
# Contract Musician
† Sydney Symphony
Fellowship
MUSICIANS
Violas
01
02
03
04
08
09
10
11
04
05
06
02
03
Harp
Flutes
05
06
07
01
02
03
07
08
09
04
05
06
02
03
Cellos
Double Basses
01
08
01
Violas
01 Roger Benedict
Andrew Turner and
Vivian Chang Chair of
Principal Viola
02 Anne Louise Comerford
Associate Principal
03 Yvette Goodchild
Assistant Principal
04
05
06
07
08
09
10
11
Robyn Brookfield
Sandro Costantino
Jane Hazelwood
Graham Hennings
Mary McVarish
Justine Marsden
Leonid Volovelsky
Felicity Wyithe
24 | Sydney Symphony
Piccolo
Cellos
01 Catherine Hewgill
Double Basses
01 Kees Boersma
Principal
Brian and Rosemary
White Chair of Principal
Double Bass
02 Nathan Waks
Principal
03
04
05
06
07
08
09
Kristy Conrau
Fenella Gill
Leah Lynn
Timothy Nankervis
Elizabeth Neville
Adrian Wallis
David Wickham
07
02 Alex Henery
Principal
03 Andrew Raciti
Associate Principal
04 Neil Brawley
Principal Emeritus
05
06
07
08
David Campbell
Steven Larson
Richard Lynn
David Murray
Harp
Piccolo
Louise Johnson
Rosamund Plummer
Mulpha Australia Chair
of Principal Harp
Principal
Flutes
01 Janet Webb
Principal
02 Emma Sholl
Mr Harcourt Gough
Chair of Associate
Principal Flute
03 Carolyn Harris
MUSICIANS
Oboes
01
Cor Anglais
02
Bassoons
01
02
04
05
01
02
03
Clarinets
Bass Clarinet
01
02
Contrabassoon
Horns
03
03
01
02
02
03
04
Bass Trombone
Tuba
Timpani
03
Trumpets
Trombones
01
Percussion
01
01
Piano
02
Oboes
01 Diana Doherty
Andrew Kaldor and
Renata Kaldor AO Chair
of Principal Oboe
02 Shefali Pryor
Bassoons
01 Matthew Wilkie
Principal
02 Roger Brooke
Associate Principal
03 Fiona McNamara
Associate Principal
Cor Anglais
01 Noriko Shimada
Principal
Principal
Clarinets
Principal
02 Francesco Celata
Associate Principal
03 Christopher Tingay
Bass Clarinet
Principal
02 Paul Goodchild
Associate Principal
03 John Foster
04 Anthony Heinrichs
Contrabassoon
Alexandre Oguey
01 Lawrence Dobell
Trumpets
01 Daniel Mendelow
Horns
01 Robert Johnson
Principal
02 Ben Jacks
Principal
03 Geoff O’Reilly
Principal 3rd
04 Lee Bracegirdle
05 Marnie Sebire
Craig Wernicke
Principal
25 | Sydney Symphony
Bass Trombone
Percussion
Christopher Harris
01 Rebecca Lagos
Trust Foundation Chair
of Principal Bass
Trombone
02 Colin Piper
Tuba
Steve Rossé
Trombone
01 Ronald Prussing
NSW Department of
State and Regional
Development Chair of
Principal Trombone
02 Scott Kinmont
Associate Principal
03 Nick Byrne
Rogen International
Chair of Trombone
Principal
Timpani
01 Richard Miller
Principal
Principal
Piano
Josephine Allan
Principal (contract)
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Company is assisted by the
NSW Government through Arts NSW
PLATINUM PARTNER
GOLD PARTNERS
26 | Sydney Symphony
MAJOR PARTNERS
SILVER PARTNERS
REGIONAL TOUR PARTNERS
BRONZE PARTNERS
MARKETING PARTNERS
PATRONS
Australia Post
Avant Card
Beyond Technology Consulting
Blue Arc Group
Bimbadgen Estate Wines
Lindsay Yates and Partners
The Sydney Symphony gratefully
acknowledges the many music
lovers who contribute to the
Orchestra by becoming Symphony
Patrons. Every donation plays an
important part in the success of the
Sydney Symphony’s wide ranging
programs.
J. Boag & Son
2MBS 102.5 –
Vittoria Coffee
Sydney’s Fine Music Station
The Sydney Symphony applauds the leadership role
our Partners play and their commitment to excellence,
innovation and creativity.
27 | Sydney Symphony
DIRECTORS’ CHAIRS
A leadership program which links
Australia’s top performers in the
executive and musical worlds.
For information about the Directors’
Chairs program, please contact
Corporate Relations on (02) 8215 4614.
02
03
04
05
06
07
08
09
10
11
12
GREG BARRETT
01
01
Mulpha Australia Chair of
Principal Harp, Louise Johnson
02
Mr Harcourt Gough Chair of
Associate Principal Flute,
Emma Sholl
03
Sandra and Paul Salteri Chair of
Artistic Director Education,
Richard Gill OAM
04
Jonathan Sweeney,
Managing Director Trust with
Trust Foundation Chair of
Principal Bass Trombone,
Christopher Harris
28 | Sydney Symphony
05
NSW Department of State
and Regional Development
Chair of Principal Trombone,
Ronald Prussing
09
Stuart O’Brien, Managing
Director Moon Design with
Moon Design Chair of Violin,
Alexandra Mitchell
06
Brian and Rosemary White
Chair of Principal Double Bass,
Kees Boersma
10
Ian and Jennifer Burton Chair
of Assistant Concertmaster,
Fiona Ziegler
07
Board and Council of the
Sydney Symphony supports
Chairs of Concertmaster
Michael Dauth and Dene Olding
11
Andrew Kaldor and
Renata Kaldor AO Chair of
Principal Oboe, Diana Doherty
08
Gerald Tapper, Managing
Director Rogen International with
Rogen International
Chair of Trombone, Nick Byrne
12
Andrew Turner and Vivian
Chang Chair of Principal Viola
and Artistic Director, Fellowship
Program, Roger Benedict
PLAYING YOUR PART
The Sydney Symphony gratefully acknowledges the music lovers who donate
to the Orchestra each year. Every gift plays an important part in ensuring our
continued artistic excellence and helping to sustain important education and
regional touring programs. Because we are now offering free programs and
space 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.
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 giving
opportunities, please call
Alan Watt on
(02) 8215 4619.
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 Greg Daniel AM
Penny Edwards *
Mr J O Fairfax AO *
Dr Bruno & Mrs Rhonda
Giuffre*
Mr Harcourt Gough §
Mr David Greatorex AO &
Mrs Deirdre Greatorex §
Mr Andrew Kaldor & Mrs
Renata Kaldor AO §
H Kallinikos Pty Ltd §
Mr B G O’Conor §
The Paramor Family *
Dr John Roarty in memory of
Mrs June Roarty
Mr Paul & Mrs Sandra Salteri°
Mrs Joyce Sproat & Mrs Janet
Cooke §
Andrew Turner & Vivian Chang
Mr Brian & Mrs Rosemary White§
Anonymous (1) *
Virtuosi
Mrs Antoinette Albert §
Mr Roger Allen & Mrs Maggie
Gray
Mr John Curtis §
Mr & Mrs Paul Hoult
Irwin Imhof in memory of
Herta Imhof °‡
Mrs Margaret Jack
Mr Stephen Johns §
Mr & Mrs Gilles T Kryger °§
Ms Ann Lewis AM
Mr E J Merewether & Mrs T
Merewether OAM *
Miss Rosemary Pryor *
29 | Sydney Symphony
Bruce & Joy Reid Foundation*
Rodney Rosenblum AM &
Sylvia Rosenblum *
Mrs Helen Selle §
David Smithers AM & Family§
Dr William & Mrs Helen Webb ‡
Michael & Mary Whelan Trust §
Anonymous (1) §
Soli
Mr Anthony Berg AM
]s Jan Bowen §
Mr Robert & Mrs L Alison Carr §
Mr Chum Darvall §
Hilmer Family Trust
Ms Ann Hoban °
Mr Paul Hotz §
Mr Rory Jeffes
Mrs Joan MacKenzie §
Miss Margaret N MacLaren °*‡§
Mr David Maloney §
Mr James & Mrs Elsie Moore °
Ms Elizabeth Proust
Ms Gabrielle Trainor
Ms Deborah Wilson
Dr Richard Wingate §
Mr Geoff Wood & Ms Melissa
Waites
Anonymous (5) §
Tutti
Mr Henri W Aram OAM §
Mr David Barnes °
Mrs Joan Barnes °
Mr Stephen J Bell
Mr Alexander & Mrs Vera
Boyarsky §
Mr Maximo Buch *
Mrs F M Buckle °
Debby Cramer & Bill Caukill §
Mr John Cunningham SCM &
Mrs Margaret Cunningham§
Mr & Mrs J B Fairfax AM §
Mr Russell Farr
Mr & Mrs David Feetham
Mr Ian Fenwicke & Prof Neville
Wills §
Mrs Dorit & Mr William
Franken°§
Mr & Mrs J R W Furber §
Mr Arshak & Ms Sophie
Galstaun §
In memory of Hetty Gordon §
Mrs Akiko Gregory §
Miss Janette Hamilton °‡
Mr A & Mrs L Heyko-Porebski°
Mr Philip Isaacs OAM §
Ms Judy Joye
Mr & Mrs E Katz §
Mr Justin Lam §
Dr Paul A L Lancaster &
Dr Raema Prowse
Dr Garth Leslie °*
Mr Gary Linnane §
Ms Karen Loblay §
Mr Bob Longwell
Mr Andrew & Mrs Amanda Love
Mr & Mrs R Maple-Brown §
Mr Robert & Mrs Renee
Markovic §
Mrs Alexandra Martin & the
Late Mr Lloyd Martin AM §
Justice Jane Mathews §
Mrs Mora Maxwell °§
Wendy McCarthy AO °
Judith McKernan °
Mrs Barbara McNulty OBE °§
Ms Margaret Moore & Dr Paul
Hutchins *
Mr R A Oppen §
Mr Robert Orrell §
Mr Arti Ortis & Mrs Belinda
Lim §
Ms Kathleen Parer
Timothy & Eva Pascoe §
Ms Patricia Payn §
Mr Adrian & Mrs Dairneen
Pilton
Ms Robin Potter §
Mr & Mrs Ernest Rapee §
Dr K D Reeve AM °
Mrs Patricia H Reid °
Mr Brian Russell & Ms Irina
Singleman
Ms Juliana Schaeffer §
Derek & Patricia Smith §
Catherine Stephen §
Mr Fred & Mrs Dorothy Street ‡§
Mr Georges & Mrs Marliese
Teitler §
Mr Stephen Thatcher
Mr Ken Tribe AC & Mrs Joan
Tribe §
Mr John E Tuckey °
Mrs Kathleen Tutton °
Ms Mary Vallentine AO §
Henry & Ruth Weinberg §
Audrey & Michael Wilson °
Jill Wran §
Anonymous (9)
Supporters over $500
Ms Madeleine Adams
Mr C R Adamson °§
Mr Lachlan Astle
Doug & Alison Battersby °
Mr Marco Belgiorno-Zegna AM
Mr Phil Bennett
Mr G D Bolton °
Mr David S Brett *
A I Butchart °*
Mrs B E Cary §
Mr Bob & Mrs Julie Clampett
Mr B & Mrs M Coles §
Mrs Catherine Gaskin
Cornberg§
Mr Stan Costigan AO & Mrs
Mary Costigan *
Mrs M A Coventry °
Mr Michael Crouch AO *
M Danos °
Lisa & Miro Davis *
Mrs Patricia Davis §
Mr Paul Espie °
Mr Richard & Mrs Diana Fisher
Anthony Gregg & Deanne
Whittleston ‡
Beth Harpley *
Rev H & Mrs M Herbert °*
Ms Michelle Hilton-Vernon
Dr & Mrs Michael Hunter §
Mr Stephen Jenkins *
Mr Noel Keen *
Mrs Margaret Keogh °*
Miss Anna-Lisa Klettenberg °§
Iven & Sylvia Klineberg *
Mr Andrew Korda & Ms Susan
Pearson
Dr Barry Landa
Mrs Joan Langley °
Ms A Le Marchant *
Mr & Mrs Ezzelino Leonardi §
Barbara & Bernard Leser °
Mrs Anita Levy °
Erna & Gerry Levy AM §
Mr & Mrs S C Lloyd °
Mrs Carolyn A Lowry OAM °
Mr Ian & Mrs Pam McGaw *
Mr Matthew McInnes §
Ms Julie Manfredi-Hughes
Mr & Mrs Tony Meagher
Ms J Millard *‡
Mr Andrew Nobbs
Mr Stuart O’Brien
Miss C O’Connor *
Mrs R H O’Conor *
Mrs Jill Pain °‡
Mr & Mrs Michael Potts
Mr L T & Mrs L M Priddle *
Mrs Caroline Ralphsmith
Mr John Reid AO
Mr John & Mrs Lynn Carol
Reid §
In memory of H St P Scarlett °*
Dr John Sivewright & Ms
Kerrie Kemp ‡
Mr Ezekiel Solomon
Dr Heng & Mrs Cilla Tey §
Mrs Elizabeth F Tocque °*
Miss Amelia Trott
Mrs Merle Turkington °
Ronald Walledge °
Dr Thomas Wenkart
Dr Richard Wing §
Mr Robert Woods *
Mrs R Yabsley °
Anonymous (12)
°
*
‡
§
Allegro Program supporter
Emerging Artist Fund supporter
Stuart Challender Fund supporter
Orchestra Fund supporter
BEHIND THE SCENES
Sydney Symphony Board
CHAIRMAN
John Conde AO
Libby Christie
John Curtis
Stephen Johns
Andrew Kaldor
Goetz Richter
David Smithers AM
Gabrielle Trainor
What’s on the cover?
During the 2007 season Sydney Symphony program covers will feature
photos that celebrate the Orchestra’s history over the past 75 years.
The photographs on the covers will change approximately once a
month, and if you subscribe to one of our concert series you will be
able to collect a set over the course of the year.
COVER PHOTOGRAPHS (clockwise from top left):
The SSO in Cremorne’s Orpheum Theatre (1962); Igor Stravinsky in front of an SSO
touring case (1961); the Double Bass section of the 1940s, with Mr Lang in the
foreground; Principal Double Bass Kees Boersma; artist John Peart with the SSO:
painting and performing music of Nigel Butterley in the Cell Block Theatre (1967);
former Chief Conductor Stuart Challender; Challender and the SSO (1988); First Violin
Amber Davis (photo by Anson Smart); Second Violin Stan Kornel and members of the
Sydney Symphony in a hospital performance for the MBF Music4Health program (2006).
30 | Sydney Symphony
Sydney Symphony Staff
MARKETING AND
CUSTOMER RELATIONS
ORCHESTRA MANAGEMENT
Libby Christie
EXECUTIVE ASSISTANT
DIRECTOR OF MARKETING AND
MANAGEMENT
Eva-Marie Alis
CUSTOMER RELATIONS
Aernout Kerbert
Julian Boram
ACTING DEPUTY ORCHESTRA
MANAGING DIRECTOR
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC OPERATIONS
Wolfgang Fink
Publicity
PUBLIC RELATIONS MANAGER
Imogen Corlette
Artistic Administration
DIRECTOR OF ORCHESTRA
MANAGER
Greg Low
ORCHESTRAL ASSISTANT
Angela Chilcott
DEPUTY PUBLIC RELATIONS
ARTISTIC ADMINISTRATION MANAGER
OPERATIONS MANAGER
MANAGER
Raff Wilson
Yvonne Zammit
John Glenn
ARTIST LIAISON
Ilmar Leetberg
PERSONAL ASSISTANT TO THE
Customer Relationship
Management
TECHNICAL MANAGER
Derek Coutts
PRODUCTION CO-ORDINATOR
CHIEF CONDUCTOR
ONLINE & PUBLICATIONS MANAGER
Tim Dayman
Lisa Davies-Galli
Robert Murray
PRODUCTION ASSISTANT
ADMINISTRATION ASSISTANT,
DATABASE ANALYST
ARTISTIC OPERATIONS
Martin Keen
Catherine Wyburn
Education Programs
EDUCATION MANAGER
Margaret Moore
EDUCATION CO-ORDINATOR
Bernie Heard
A/EDUCATION CO-ORDINATOR
Charlotte Binns-McDonald
Ian Spence
STAGE MANAGER
Marrianne Carter
Marketing Communications
MARKETING COMMUNICATIONS
MANAGER
Georgia Rivers
MULTICULTURAL MARKETING
COMMERCIAL PROGRAMS
DIRECTOR OF COMMERCIAL
PROGRAMMING
Baz Archer
MANAGER
Xing Jin
CONCERT PROGRAM EDITOR
RECORDING ENTERPRISES
RECORDING ENTERPRISES MANAGER
Library
Yvonne Frindle
LIBRARIAN
MARKETING COORDINATOR
Anna Cernik
Antonia Farrugia
BUSINESS SERVICES
Victoria Grant
Corporate & Tourism
DIRECTOR OF FINANCE
LIBRARY ASSISTANT
NETWORK GROUP–SALES MANAGER
David O’Kane
Mary-Ann Mead
Simon Crossley-Meates
EXECUTIVE PROJECT MANAGER
Aimee Paret
LIBRARY ASSISTANT
DEVELOPMENT
DIRECTOR OF DEVELOPMENT
Rory Jeffes
CORPORATE RELATIONS MANAGER
Leann Meiers
CORPORATE RELATIONS EXECUTIVE
Julia Owens
PHILANTHROPY MANAGER
Alan Watt
PATRONS & EVENTS MANAGER
Box Office
BOX OFFICE MANAGER
Lynn McLaughlin
Rachel Hadfield
FINANCE MANAGER
Samuel Li
OFFICE ADMINISTRATOR
BOX OFFICE CO-ORDINATOR
Anna Fraser
Shelley Salmon
INFORMATION TECHNOLOGY
CUSTOMER SERVICE
MANAGER
REPRESENTATIVES
Tim Graham
Wendy Augustine
Matthew D’Silva
Michael Dowling
PAYROLL AND ACCOUNTS
PAYABLE OFFICER
Caroline Hall
Georgina Andrews
HUMAN RESOURCES
Ian Arnold
31 | Sydney Symphony
Level 9, 35 Pitt Street, Sydney NSW 2000
GPO Box 4972, Sydney NSW 2001
Telephone (02) 8215 4644
Facsimile (02) 8215 4646
Customer Services:
GPO Box 4338, Sydney NSW 2001
Telephone (02) 8215 4600
Facsimile (02) 8215 4660
This publication is sold subject to the condition that it shall not,
by way of trade or otherwise, be lent, resold, hired out or
otherwise circulated without the publisher’s consent in writing.
It is a further condition that this publication shall not be circulated
in any form of binding or cover other than that in which it was
published.
/
This is a
www.sydneysymphony.com
SHOWBILL publication.
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 reflect the beliefs of the editor, publisher
or any distributor of the programs. While every effort has been made
to ensure accuracy of statements in this publication, we cannot 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.
Publisher
Playbill Proprietary Limited /
Showbill Proprietary Limited
Please address all correspondence to the
Concert Program Editor,
Sydney Symphony,
GPO Box 4972, Sydney NSW 2001.
Fax (02) 8215 4660.
Email program.editor@sydneysymphony.com
ACN 003 311 064
ABN 27 003 311 064
Head Office:
1017 Pacific Highway, Pymble, NSW 2073
Telephone: (02) 9449 6433
Fax: (02) 9449 6053
E-mail: admin@playbill.com.au
Website: www.playbill.com.au
Operating in Sydney, Melbourne, Canberra, Brisbane,
Adelaide, Perth, Hobart and Darwin
EXECUTIVE CHAIRMAN AND ADVERTISEMENT DIRECTOR
Brian Nebenzahl OAM, RFD
MANAGING DIRECTOR
Michael Nebenzahl
EDITORIAL DIRECTOR
Jocelyn Nebenzahl
DIRECTOR – PRODUCTION
SYMPHONY SERVICES AUSTRALIA LIMITED
Chris Breeze
Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007
GPO Box 9994, Sydney NSW 2001
Telephone (02) 8333 1651
Facsimile (02) 8333 1678
Overseas Operations:
www.symphony.net.au
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)
Mr John Ballard
Mr Wesley Enoch
Ms Renata Kaldor AO
Ms Jacqueline Kott
Mr Robert Leece AM RFD
Ms Sue Nattrass AO (leave)
Mr Leo Schofield AM
Ms Barbara Ward
Mr Evan Williams AM
EXECUTIVE MANAGEMENT
ACTING CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . .Sue Nattrass AO
DIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul Akhurst
DIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . .David Antaw
DIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . .Naomi Grabel
DIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . .Rachel Healy
DIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . .Rick Browning
DIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . .Claire Swaffield
DIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . .Maria Sykes
SYDNEY OPERA HOUSE
Bennelong Point
GPO Box 4274, Sydney NSW 2001
Administration (02) 9250 7111
Box Office (02) 9250 7777
Facsimile (02) 9250 7666
Website sydneyoperahouse.com
New Zealand: Playbill (N.Z.) Limited, Level 5, 94 Dixon Street,
PO Box 11-755, Wellington, New Zealand; (64 4) 385 8893,
Fax (64 4) 385 8899.
Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose,
Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148,
Email: admin@playbill.co.nz
London: Playbill UK Limited, C/- Everett Baldwin Barclay
Consultancy Services, 35 Paul Street, London EC2A 4UQ;
(44) 207 628 0857, Fax (44) 207 628 7253.
Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804,
8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK
168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618.
Malaysia: Playbill (Malaysia) Sdn Bhn, C/- Peter I.M. Chieng &
Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400
Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3)
7729 5998.
Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants
Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore
188968; (65) 6332 0088; Fax (65) 6333 9690.
South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown
Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007;
(27) 11856 5300, Fax (27) 11856 5333.
All enquiries for advertising space in this publication should be
directed to the above company and address.
Entire concept copyright. Reproduction without permission in
whole or in part of any material contained herein is prohibited.
Title ‘Playbill’ is the registered title of Playbill Proprietary Limited.
Title ‘Showbill’ is the registered title of Showbill Proprietary
Limited.
Additional copies of this publication are available by post from the
publisher; please write for details.
14933 – 1/220807 – 31 S64,66,67