the Mahler 6 program book (5 Jul) PDF

Transcription

Trust is proud of its long standing partnership with the
Sydney Symphony and is delighted to bring you the
Thursday Afternoon Symphony Series in 2007.
In this 75th anniversary season, the Series offers perfect
afternoons with some of the best-loved composers –
from Beethoven to Wagner. With these concerts bringing
together leading conductors and soloists, you’re in for a
truly delightful experience.
Just like the Sydney Symphony which has been the sound
of the city for 75 years, entertaining hundreds of thousands
of people each year, Trust has been supporting public
works for over 120 years.
Whether it be in administering an estate or charity,
managing someone’s affairs or looking after their interests
via financial planning, superannuation or funds
management, people come to Trust because of our
independence, personalised service and commitment
to ensuring their interests are being looked after.
We hope that you enjoy a delightful Thursday afternoon
with the Sydney Symphony.
Jonathan Sweeney
Managing Director
Trust Company Limited
SEASON 2007
THURSDAY AFTERNOON SYMPHONY
PRESENTED BY TRUST
MAHLER 6
Thursday 5 July | 1.30pm
Sydney Opera House Concert Hall
Yannick Nézet-Séguin conductor
GUSTAV MAHLER (1860–1911)
Symphony No.6 in A minor
Allegro energico, ma non troppo. Heftig, aber markig
(impetuous but plenty of vigour)
Andante moderato
Scherzo. Wuchtig (weighty)
Finale. Allegro moderato – Allegro energico
This program will be broadcast
live across Australia on
ABC Classic FM 92.9 on Friday
6 July at 8pm.
This program will be webcast
by BigPond and can be viewed
online from Friday 6 July at 8pm.
Visit:
sydneysymphony.bigpondmusic.com
Pre-concert talk by Dr Wolfgang Fink
at 12.45pm in the Northern Foyer.
The performance will conclude at
approximately 2.50pm.
Cover images: see page 30 for
captions.
Artist biographies begin on page 21.
PRESENTING PARTNER
It is my great pleasure to welcome you to the fourth concert in the
EnergyAustralia Master Series, Mahler 6.
Yannick Nézet-Séguin, an emerging star in the international
conducting scene, returns to lead the Sydney Symphony in Gustav
Mahler’s profound and powerful Sixth Symphony. Premiered in 1906,
Mahler’s Sixth was unprecedented in its expressive range – ferocious
and tragic music punctuated by moments of serene beauty. The fact
that Mahler could compose so dark a work during one of the happiest
periods of his life has led some to conclude that this music proves
an artist’s power to transcend the present and see the world to come.
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
MAHLER 6
Wednesday 4 July | 8pm
Friday 6 July
| 8pm
Saturday 7 July | 8pm
Sydney Opera House Concert Hall
GUSTAV MAHLER (1860–1911)
Symphony No.6 in A minor
Andante moderato
Friday night’s performance will be
broadcast live across Australia on
ABC Classic FM 92.9.
Friday night’s performance will
be webcast by BigPond and can
be viewed online from 6 July
at 8pm. Visit:
sydneysymphony.bigpondmusic.com
Pre-concert talk by Dr Wolfgang Fink
at 7.15pm in the Northern Foyer.
The performance will conclude at
approximately 9.20pm.
Cover images: see page 30 for
captions.
Artist biographies begin on page 21.
PRESENTING PARTNER
ABOUT THE MUSIC
Gustav Mahler (1860–1911)
Symphony No. 6 in A minor
Keynotes
Andante moderato
Born Kalischt, 1860
Died Vienna, 1911
Mahler was worried. His Sixth Symphony had just
received its first performance at the Allgemeiner
Deutscher Musikverein’s festival in the German city of
Essen, and his friend and colleague Richard Strauss had
made the offhand remark that the work was ‘overscored’.
Strauss’ remark may have been facetious; it was after all
at around this time that his Salome was premiered, and
Salome’s orchestration sounded to Giacomo Puccini like
a ‘badly mixed Russian salad’. But Mahler was worried.
According to the young conductor Klaus Pringsheim
(who witnessed the exchange) Mahler kept coming back
to Strauss’ comment. He ‘asked without envy, without
bitterness, almost humbly, reverently, what might be
the reason why everything came so easily to the other
composer and so painfully to himself; and one felt the
antithesis between the blond conqueror and the dark,
fate-burdened man’.
In his monograph on Mahler, the influential Marxist
writer Theodor Adorno caricatured Strauss as a ‘blond
Siegfried, a balanced harmonious individual who is
supposed, singing like a bird, to shower as much
happiness on his listeners as is falsely ascribed to him’.
By contrast, Adorno argued, Mahler’s theme is ‘brokenness’; his use of folk music, high romantic angst, bird
calls, cowbells and military marches are all ultimately
ironic reminders of the fragmentation of society and the
self. For Adorno, Mahler’s best music dramatises the
discontinuity of the world.
Unlike Strauss, Mahler was suspicious of music which
needed the explanatory prop of a ‘program’, but this is not
say that Mahler’s music is not at some level about nonmusical ideas. Mahler’s Sixth Symphony is comparable
to Strauss’ Ein Heldenleben (A Hero’s Life) and Mahler
himself conceded that the work has a ‘hero’ who faces an
inexorable fate – but the crucial difference is that Mahler’s
music acknowledges the fear of inevitable oblivion.
Mahler’s Fifth Symphony trod a familiar Beethovenian
5 | Sydney Symphony
MAHLER
Mahler is now regarded as one
of the greatest symphonists
of the turn of the 20th century.
But during his life his major
career was as a conductor –
he was effectively a ‘summer
composer’. Mahler believed
that a symphony must
‘embrace the world’. His are
large-scale, requiring huge
orchestras and often lasting
more than an hour; they cover
a tremendous emotional
range; and they have
sometimes been described
as ‘Janus-like’ in the way they
blend romantic and modern
values, self-obsession and
universal expression, idealism
and irony.
SIXTH SYMPHONY
The Sixth Symphony was
composed during a happy
period for Mahler, and yet it is
one of his darkest symphonies
– the only one to end so
grimly and without a hint
of optimism. It has a tight
‘classical’ logic, with a
traditional structure, firmly
anchored in the key of
A minor. Yet beneath the
abstract formality are hints
of autobiography. A soaring
theme in the first movement
could be Mahler’s wife Alma;
children can be heard in the
Andante. And originally the
finale felled ‘the hero’ with
‘three hammer blows of fate’ –
Mahler later reduced these to
two. Composed during 1903
and 1904, the symphony
was premiered in Essen on
27 May 1906, the composer
conducting.
7 | Sydney Symphony
LEBRECHT MUSIC & ARTS-
Emil Orlik’s portrait of Mahler, made
in 1902, the year before the composer
began work on the Sixth Symphony.
path from darkness to light, dramatising the overcoming
of various obstacles before final victory. The Sixth by
contrast offers no such comfort. The hero may love and
fight and occasionally triumph but we are all in the end
‘snared in an evil time’.
So the answer to Mahler’s own question about why
everything came so much more easily to Strauss might
be that in Mahler’s music there is much more at stake.
According to the composer’s widow Alma ‘none of his
works moved him so deeply at its first hearing as this’.
In her memoirs, Alma Mahler tells of how, after the dress
rehearsal of the Sixth, she went backstage to find ‘Mahler
walking up and down in the artists’ room, sobbing,
wringing his hands, unable to control himself…’
Alma Mahler’s accounts of her life have been
described as unreliable and occasionally mendacious.
Her description of the scene, for instance, continues with
the appearance of – who else? – Strauss, who ‘came noisily
in, noticing nothing. “Mahler, I say, you’ve got to conduct
some dead march or other before the Sixth – their Mayor
has died on them – so vulgar this sort of thing – But
what’s the matter?” and out he went as noisily as he came,
quite unmoved…’ (A marginal note Strauss wrote in his
copy of her book amounts to a perplexed denial of the
story.) Nevertheless Mahler’s emotions at having
composed such a work as this must have been intense.
As composer and writer Andrew Ford has noted, in the
Sixth Symphony ‘it is as though Mahler has deliberately
destroyed his own world, and if Alma Mahler’s story…
is perhaps a little exaggerated, it’s not actually
implausible’.
Mahler’s first four symphonies mine his many songsettings of folk poetry from the collection Des Knaben
Wunderhorn and three of them contain significant vocal
elements. His three central symphonies are all works of
‘absolute’ as against programmatic music. Nevertheless,
his Fifth, Sixth and Seventh Symphonies derive some
of their thematic material from two sets of songs to
poetry by Friedrich Rückert (1788–1866), the song-cycle
Kindertotenlieder (Songs on the death of children) and five
songs (which do not constitute a cycle) that include the
masterpieces ‘Ich bin der Welt abhanden gekommen’
(I have lost touch with the world) and ‘Um Mitternacht’
(At midnight). (Alma describes the Kindertotenlieder and
Sixth Symphony as premonitions of the death of their
daughter and the onset of Mahler’s heart condition.)
Alma Mahler with her daughters
Maria (‘Putzi’) and Anna (‘Gucki’).
In the summer of 1907 both girls
contracted scarlet fever and Maria,
the elder of the two, did not survive.
It was at this time, too, that Mahler
learned of his heart condition.
Listening Guide
For all its epic scale the Sixth is the work, as Mahler put
it, of ‘an old fashioned composer’ in that it is cast in a
traditional four movement design. From the outset,
though, its tone – which led to the occasional use, even in
Mahler’s time, of the nickname ‘Tragic’ – is unambiguous.
A fully scored A major chord, underpinned by an obsessive
rhythmic motif from the timpani, fades and, as it fades,
changes to the minor mode. This is music which will end
in darkness. The movement begins as a march, though
as scholar Michael Kennedy points out it is not the
triumphant approach of spring as in the Third Symphony,
nor the doom laden funeral march of the Fifth. It is, as
Kennedy puts it, ‘modern music [that] marches in with
this sinister tramping start’. The movement’s starkly
contrasting second subject is a lyrical tune which rises and
falls largely by step. Alma describes how on their summer
vacation in 1903 when Mahler began work on the piece
‘after he had drafted the first movement, he came down
from [his study] to tell me he had tried to express me in
a theme. “Whether I’ve succeeded, I don’t know; but you’ll
have to put up with it.” ’ Its contour and mood certainly
relate to any number of Romantic love-themes. Mahler’s
treatment of it, too, reminds one of Berlioz’s use of the
Beloved’s idée fixe in the Symphonie fantastique: it is always
slightly varied on each appearance. In any event, the
yearning lyricism provides a perfect foil for the implacable
march with which the movement begins – ‘change and
conflict are the secret of effective music’, as Mahler said.
Another unique aspect of this work is the celebrated
evocation of alpine scenery first heard toward the end
of the movement. This striking sound world was said by
Mahler to represent the ‘last earthly sounds heard from the
valley below by the departing spirit on the mountain top’.
Perhaps anticipating bafflement from future performers
he noted that ‘the cowbells should be played with
discretion – so as to produce a realistic impression of a
grazing herd of cattle, coming from a distance, alternately
singly or in groups, in sounds of high and low pitch’.
Apparently unaware of the contradiction, he went on to say
that ‘special emphasis is laid on the fact that this technical
remark admits of no programmatic interpretation’.
The ordering of the two central movements has a
complicated history. In his manuscript, the Scherzo followed
the first movement, but Mahler then felt that the piece
8 | Sydney Symphony
This photo of Mahler was taken in the
loggia of the Vienna Court Opera in
1907, the same year he was obliged to
resign from his post as its Director.
‘My Sixth will provide
puzzles which only a
generation that has
absorbed and digested
my first five symphonies
may hope to solve.’
MAHLER to his friend and critic
Richard Specht
worked better with the Andante second and Scherzo third.
The very first edition had the Scherzo before the Andante
but Mahler insisted on erratum slips in those first printed
scores and programs to indicate that the order had
been changed. He always performed the piece using the
Andante–Scherzo order. In 1919, however, the conductor
Willem Mengelberg asked Alma for clarification, and in
a four word telegram she insisted that it should be Scherzo
then Andante. (Alma elsewhere maintained that the order
that Mahler had used in Amsterdam was correct; as it
happens, Mahler never conducted the Sixth in
Amsterdam!) Mengelberg, acting in good faith, used that
order, and in 1963 the influential editor of the first critical
edition of Mahler’s scores, Erwin Ratz, insisted, on the
basis of Alma’s telegram, that Mahler had reverted to
the Scherzo–Andante order. That is how the symphony
appeared in Ratz’s edition and that is how many
conductors had presented the work subsequently.
In what we must accept as Mahler’s preferred order, the
Andante represents a complete contrast with both the
first movement and the Scherzo, but the tone is hardly
tragic. Rather, with its horn calls and reminiscence of the
cowbells it is poignant and romantic, a relaxation of the
work’s dramatic tension.
Like the first movement, with which it shares some
thematic material, the Scherzo has an insistent rhythm to
begin with (which may have prompted Mahler to delay it).
There is much Mahlerian irony in this movement, both in
the dry clattering of the xylophone and in what Kennedy
calls the ‘delicate pastiche Haydn’. The oboe conjures up
an innocent, rustic world, and the metrical changes –
described by Mahler as altväterlich (literally ‘old-fatherly’) –
may recall a Bohemian folk song. As a caution against
over-interpreting, it should be noted that the scherzo has
been interpreted as ‘diabolical’ and ‘catastrophic’ on one
hand, where Alma’s reminiscences insist that it depicts the
‘tottering’ of their children at play before the intrusion of
tragedy at the end of the movement.
The finale is one of Mahler’s largest and most complex
structures, and it bears the weight of the symphony as
a whole, recalling material from earlier in the work. Its
introductory section contains much of the material that
will be developed as the movement unfolds, particularly
the impassioned melody heard first high in the violins.
The movement depicts a nightmarish world, where the
Allegro energico builds intense excitement and momentum,
9 | Sydney Symphony
Mahler’s Sixth Symphony
was admired by the
following generation of
composers, including
Arnold Schoenberg and
his students. Alban Berg
wrote to Anton Webern
that Mahler’s symphony
was ‘the only Sixth, despite
Beethoven’s Pastoral’.
On the day of the
concert, Mahler was so
afraid that agitation
might get the better of
him, that out of shame
and anxiety he did not
conduct the symphony
well. He hesitated to
bring out the dark omen
behind this terrible
movement [the finale].
ALMA MAHLER recalls the
premiere of the Sixth Symphony
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This cartoon appeared in Die Muskete on 19 January 1907, eight
months after the premiere of the Sixth Symphony. It is labelled
‘Tragic Symphony’, and the caption reads: ‘Good gracious!
Fancy leaving out the motor horn! Ah well, now I have an excuse
for writing another symphony.’ (Mahler was already working on
his Eighth.)
straining towards climactic release, only to be brutally
interrupted on three occasions. Mahler originally
included a sickening thud ‘like an axe-stroke’ at each
of these points, but later omitted the third of these axestrokes or ‘hammer blows’ out of superstition. Adorno
wrote that in Mahler ‘happiness flourishes on the brink
of catastrophe’, and that the immense climaxes of the
Sixth’s finale ‘bear their downfall within themselves’.
Mahler himself said that the movement describes ‘the
hero on whom falls three blows of fate, the last of which
fells him as a tree is felled’. The piece ends in dissolution:
drum roles, fragmentary motifs, a baleful and comfortless
A minor. No wonder Mahler was worried.
GORDON KERRY ©2007
Mahler’s Sixth Symphony calls for five flutes (three playing piccolo),
five oboes (three playing cor anglais), three clarinets, E flat clarinet,
bass clarinet, four bassoons and contrabassoon; eight horns,
six trumpets, four trombones and tuba; two sets of timpani and
percussion (glockenspiel, xylophone, tam-tam, bass drum (also
played with a rute or bunch of twigs), cowbells, hammer, two
triangles, snare drum, cymbals, and deep bell sounds offstage);
two harps, celeste, and strings.
The Sydney Symphony gave the first Australian performance of
Mahler’s Sixth Symphony in the 1971 Proms under John Hopkins.
Its most recent performance of the symphony was in the 1999
Master series under Edo de Waart.
11 | Sydney Symphony
Hammer blows of fate
In his revisions of the
symphony, perhaps from
superstition, Mahler deleted
the third of the hammer
blows, representing the
blows of fate which strike
down the ‘hero’. With
hindsight, these three blows
seem prophetic indeed –
within the following year,
Mahler lost his position as
Director of the Imperial
Opera in Vienna, his eldest
daughter died, and his heart
disease was diagnosed.
Andante–Scherzo: The Inside Story
From at least the mid-1960s until fairly recently most
performances and recordings of Mahler’s Sixth Symphony
have placed the Scherzo as the second movement and the
Andante third. But Mahler never conducted the symphony
this way. As the program page from the Munich premiere
shows, when Mahler was conducting his Sixth, the Scherzo
was always placed in third spot, as Yannick Nézet-Séguin
does in these performances.
So how did it come about that the Sixth Symphony was
performed with the inner movements reversed for so long?
We can blame Mahler’s initial indecisiveness, but his widow,
the conductor Willem Mengelberg, and the editor of the
1963 critical edition played a part too.
Beethoven, who invented the scherzo genre as a
development of the 18th-century’s third-movement minuet,
compounded his legacy by occasionally switching the inner
movements of the traditional four-movement structure
found in symphonies and chamber music. He did this in the
influential Ninth Symphony, where the scherzo is the second
movement, and Mahler followed suit in his Fourth Symphony.
When Mahler set out to write the Sixth Symphony he had
the same scheme in mind: scherzo first, then the lyrical
‘adagio’ or slow movement. The symphony was completed,
typeset and published this way; a thematic analysis
appeared; a piano duet arrangement made – all within the
space of a year. Then on 27 May 1906 Mahler conducted the
premiere. By this time he had changed his mind, perhaps
during the process of piano readings and orchestral
rehearsals, and he conducted the symphony with the
Scherzo following the Andante.
Mahler continued to conduct the symphony with this
sequence, marking his autograph and conducting score to
show the changes. Meanwhile, the publisher made erratum
slips and prepared revised editions. Other conductors
honoured Mahler’s preferred order.
Then in 1919, eight years after Mahler’s death, Alma
Mahler sent a telegram to Mengelberg: ‘First Scherzo, then
Andante’. (What she intended by this is unclear, as her
Memories and Letters confirms Mahler’s own order.)
On the basis of this telegram Mengelberg adjusted the
sequence to match Mahler’s original – not final – intention.
But other conductors didn’t necessarily follow suit until
the publication in 1963 of the International Gustav
Mahler Society’s Critical Edition, prepared by Erwin Ratz.
In favour…
Other conductors supporting
the Andante–Scherzo
sequence include:
John Barbirolli
Leon Botstein
Mariss Jansons
James Judd
Charles Mackerras
Zubin Mehta
Simon Rattle
Leonard Slatkin
Michael Tilson Thomas
Concert program for the Munich
premiere of Mahler’s Sixth
Symphony (8 November 1906),
conducted by the composer.
This edition enshrined the Scherzo–Andante sequence,
confirmed in 1998 with the publication of the revised
Critical Edition.
Much of Ratz’ decision and that of the subsequent editors
was based not on the historical evidence of Mahler’s changes
and performances, but on Alma’s telegram and an analytical
interpretation of which sequence best supported the ‘internal
structure’. Ironically, Reinhold Kubik, one of the editors of
the revised Critical Edition, is among those scholars who
have now rallied to restore Mahler’s final intention for
the Sixth to concert halls and recording studios in the
21st century. It is he who has brought to light a letter from
Bruno Walter, which states that Mahler never contemplated
reverting to the Scherzo–Andante order, and just three
years ago the IGMS stated a new official position: that the
correct order of the inner movements is Andante–Scherzo.
The practical implications of a musicological decision
like this are tremendous: publishers must now prepare
revised editions and music librarians spend hours tagging
the orchestral parts of previously published materials;
musicians need to be especially alert when flipping back
and forth from movement to movement. All to achieve the
will of the composer. And for us? Perhaps a chance to
listen with fresh ears and to pay attention to the power
of Mahler’s emotional logic.
SYDNEY SYMPHONY ©2007
Further reading: The Correct Movement Order in Mahler’s Sixth
Symphony, essays by Jerry Bruck and Reinhold Kubik, introduced by
Gilbert Kaplan (New York, 2004)
INTERLUDE
Dying without Mahler
When new flatmate Trish in the 1983 movie Educating
Rita declares ‘Wouldn’t you just die without Mahler?’
it was, says biographer Peter Franklin, a significant stage
in Mahler’s popular canonisation. Just as significant is
the fact that Trish has the Andante of the Sixth Symphony
playing at full bore on her turntable at the time.
Because, while Mahler is a now concert hall staple, that
hasn’t always been the case, and to some degree his
posthumous fortunes were aligned with the development
of the long-playing record.
It could also be argued that music such as Mahler’s –
often deeply personal and emotionally gut-wrenching –
begs for a private audience, despite the grandeur of its
scale. As one record reviewer commented a few years ago,
‘I doubt that anyone has sold more high-end audiophile
systems than Mahler.’
The LP permitted repeated, and careful, hearings of
Mahler symphonies. Listening to these works again and
again, as Trish evidently does, provides an opportunity
for musical immersion in Mahler’s vast constructions.
And with that comes a fresh appreciation for the music
in the concert hall. Mahler himself recognised that his
Sixth Symphony would provide puzzles which only a
generation that had ‘absorbed and digested’ his first five
symphonies would solve.
The technological innovation in recordings combined
with the advocacy of a fervent few caused audiences
for Mahler to grow, so that the 1955 Record Guide could
write: ‘The debate over Mahler’s music continues; but
many musicians, as well as members of the general
public, have ‘crossed the floor of the House’ in the
course of the last twenty years, owing to the efforts of
conductors like Bruno Walter, Mengelberg, Van Beinum
and Sir Henry Wood, and the enthusiastic advocacy of
a few critics.’
Bruno Walter had been a friend of Mahler’s, working
under him as coach and chorusmaster at the Hamburg
Opera, and it was he who became one of the composer’s
most devoted advocates during the decades, writes
Michael Steinberg, ‘when to regard Mahler as a great
composer was to hold an absurd minority opinion’.
In Australia the first performance of a Mahler
symphony had to wait until 1940, when Antal Doráti
conducted the Sydney Symphony Orchestra in the
Fourth Symphony. In the decade that followed
Australians heard the Fifth (of Adagietto fame) and the
First, as well as the Seventh, and in 1950 Otto Klemperer
visited to conduct the Second Symphony, a performance
that was happily documented and is available on CD.
The Sixth Symphony, on the other hand, didn’t receive
its Australian premiere until 1971, when John Hopkins
conducted it at the Sydney Symphony Orchestra’s Town
Hall Proms. By then the world had celebrated the
centenary of Mahler’s birth.
In 1960 the Trishes of the world – English-speaking,
mostly young, undeniably enthusiastic and ‘hungry’ –
had discovered Mahler symphonies. What they found
were incredible tensions and conflicts, a sense of passion
and a cathartic expression that, as Franklin suggests
acquired ‘heightened resonance’ in an era of protest
movements and critical experimentation with
unconventional ideas and lifestyles. By the 1970s Mahler
was one of the most frequently performed and recorded
of symphonists. Come 1983 and Mahler was sufficiently
iconic to become the subject of an oft-repeated quotation
from popular cinema.
In Educating Rita Trish attempts suicide to the
accompaniment of Mahler. It is not the music that
has driven her to this but her own sense of emptiness
when it stops. ‘Mahler is not for every day, but there are
certain moods, common to all of us, which only he has
interpreted with such poignancy,’ observed the Record
Guide. How did we ever live without Mahler?
YVONNE FRINDLE
SYDNEY SYMPHONY ©2007
‘Wouldn’t you just die
without Mahler?’
WILLY RUSSELL’S EDUCATING
RITA
75 YEARS: HISTORICAL SNAPSHOT
Keep Music Alive!
Orchestras rarely get noticed in the media,
except in the arts pages, or when invaded
by The Chaser. Exceptions are rarely to do
with music. When Eugene Goossens
became a person of interest to customs
and police, there was wider interest in
what they found in his luggage than in
‘his’ orchestra. The most notorious ever,
perhaps, of the Sydney Symphony
Orchestra’s playing members claimed to
have caused Vladimir Petrov to defect in
1954, in Australia’s biggest spy sensation.
Dr Michael Bialoguski, code name
‘Diabolo’, worked under cover for Australia’s
intelligence agencies. A Pole who came to
Australia as a war-time refugee, he was a
medical doctor. He joined Petrov, the
Russian embassy official, in visits to King’s
Cross for drinking and other pursuits. But
Bialoguski was also a violinist of a calibre
to be invited by Goossens to play in the
SSO (years later he paid London orchestras
to let him conduct them in recordings).
When in the late 1970s the ABC seemed
threatened by reports recommending cuts
in government spending (notably the Green
Report of 1976), musicians took to the
streets with placards: ‘Keep Music Alive!’
The Sydney Symphony’s Musicians’
Association denounced the reports as ‘an
attack on the creative, imaginative, and
spiritual life of Australia’. More than just
the permanence of their employment
seemed to depend on the ABC’s viability.
Campaigning to ‘Keep Music Alive’, in concert, Sydney Town Hall, December 1978
Removing the orchestras from the control
of the ABC seemed unlikely: working
against it were job security, the protective
screen of the ABC between music and
government, and sheer inertia.
All the more surprising – shocking in
fact – when for once in Australian history
a political leader took a personal initiative
in relation to an orchestra. In 1994 Paul
Keating’s government announced in
‘Creative Nation’ that the Government
would transfer the Sydney Symphony
Orchestra, only, from the ABC to local
control. The Prime Minister’s hand was
seen in this decision, by which the Sydney
Symphony would also receive additional
funding to increase its player strength,
tour as a ‘cultural export’ and throughout
Australia. ‘It is time for the Sydney
orchestra to be given the opportunity and
freedom to excel’ (the other ABC orchestras
‘may put a case to the Government for
divestment if they see fit’.) This started the
ball rolling – not always, history records,
down the path intended. It’s 2007 and all
the orchestras have loosened links with
the ABC. The anxious fears of the
musicians in 1976 are dispelled. The sky
hasn’t fallen.
It’s ironic, really, that the musicians in
the orchestras should be most anxious
about the permanence of the orchestras.
The push to have permanent, full-time
symphony orchestras in Australia, before
the ABC made them a reality, came,
largely, not so much from musicians as
from music-lovers. They were well-off,
well-connected people, who wanted a
permanent orchestra in their city to ensure
the hearing of music they loved, with the
hope that permanence would bring a high
standard. Their vision and connections
are symbolised by the title of Melbourne’s
‘Lady Northcote Permanent Orchestra
Fund’ formed in 1908. The merger of
orchestras, in which the guardians of this
fund played a part, formed what we now
know as the Melbourne Symphony
Orchestra, and provided a model for the
whole country. The emergence of ‘Radio’
orchestras in each city under the ABC, was
not the expected outcome, but probably the
only way permanent resources could be
ensured.
The visionary with whom the Lady
Northcote Fund entered into partnership
was conductor and educator Bernard
Heinze. In 1938 he wrote: ‘…the
development of Civic and personal pride
in one’s own City Orchestra can in the long
run only have the finest results…on these
principles we have built up an audience
in Melbourne which does not exist in any
other City in Australia.’ And here’s
‘Creative Nation’ in 1994: ‘the world’s finest
orchestras all operate under local control,
and are accountable first and foremost to
their cities of residence’. Had the wheel
come full circle? Was the ABC’s orchestra
founding and stewardship a mere stage on
the way to a higher state of being? Those
who care may like to be reminded, at any
rate, how orchestras became a permanent
part of Australia’s national culture. In the
news? That would be good, too.
David Garrett, a historian and former programmer
for Australia’s symphony orchestras, is studying
the history of the ABC as a musical organisation.
GLOSSARY
– within Mahler’s spiritual
imagination cowbells were the last earthly
sound one heard when ascending the
mountain-top toward heaven. Cowbells
play a significant role in his Sixth
Symphony and in the Seventh (which the
Sydney Symphony performed in 2006), and
wherever Mahler conducted these works,
he travelled with his own personal set of
bells.
COWBELLS
IDÉE FIXE – literally a ‘fixed idea’, an
obsession. Berlioz first used the term to
refer to the motto theme that recurs in
different guises throughout his Symphonie
fantastique.
– changes in basic
pulse, usually in close succession e.g.
alternating between march time (four
beats to the bar) and waltz time (three
beats); metrical changes are characteristic
of much European folk music.
METRICAL CHANGES
– the way in which an
orchestral work employs the different
instruments and sections of the ensemble;
also known as ‘scoring’. An ‘OVERSCORED’
work uses thick orchestral textures and
many instrumental colours to extravagant
effect (it might be compared with overly
rich food).
ORCHESTRATION
PROGRAM – ‘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 flourished in the
19th century, with works such as Berlioz’s
Symphonie fantastique. In many instances
there is evidence of conflict in the
composer’s mind: an obvious or stated
program being assigned to the music with
a simultaneous (or later) denial that there is
any PROGRAMMATIC intent behind it.
– literally, a joke; the scherzo
as a genre was a creation of Beethoven.
For composers such as Mozart and Haydn
the third movement of a symphony had
typically been a MINUET (in a dance-like
triple time and featuring a contrasting
central section call a trio). In Beethoven’s
hands it acquired a joking and playful
mood (sometimes whimsical and startling)
as well as a much faster tempo; later
composers such as Mahler and
Shostakovich often gave the scherzo a
cynical, driven, or even diabolical character
– less playful and more disturbing.
SCHERZO
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.
Allegro energico ma non troppo – fast and
energetically, but not too much
Allegro moderato – moderately fast
Andante moderato – at a moderate walking
pace
The system of a universal ‘musicians’
Italian’ developed during the baroque
period, at a time when Italian music was
dominant. (In this it has parallels with
‘ballet French’.) It is not always
linguistically correct or even capable of
direct ‘translation’, but as a lingua franca
it is profoundly meaningful to musicians
throughout the world. There are also
traditions of French and German-speaking
composers choosing tempo words and
movement titles from their own language.
Beethoven, Mahler and Hindemith are
among the latter.
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.
MORE MUSIC
Selected Discography
Broadcast Diary
MAHLER 6
Dr Wolfgang Fink, Director of Artistic Operations,
writes: Among the many remarkable recordings of
Mahler’s Symphony No.6 I regard the following as the
most outstanding:
Vienna Philharmonic with Pierre Boulez
JULY
Sun 15 July 10am
BRAHMS SYMPHONY NO.2
Gianluigi Gelmetti conductor
DEUTSCHE GRAMMOPHON 445835
Thu 19 July 8pm
Southwest German Radio Symphony Orchestra with
Michael Gielen
with music by Berg and Schubert
HÄNSSLER 93029
Philharmonia Orchestra with Benjamin Zander
This set includes an extra CD with a fantastic
commentary on the symphony by Zander.
TELARC 80586 (OR AS SACD: TELARC 60586)
MORRISON PLAYS SCHIFRIN
Lalo Schifrin conductor
James Morrison trumpet
Ambre Hammond piano
Sat 21 July 12.05pm
BERND GLEMSER IN RECITAL
Bernd Glemser piano
Bach, Shostakovich, Rachmaninov
Mon 23 July 9.15pm
YANNICK NÉZET-SÉGUIN
Selected recordings with the Orchestre Métropolitain
du Grand Montréal
HOMAGE TO MOZART
Dene Olding violin-director
Gerhard Oppitz piano
Ibert, Stravinsky, Mozart
Bruckner 7
2MBS-FM 102.5
ATMA SACD22512
SYDNEY SYMPHONY 2007
Rota and Weill
Nino Rota’s La Strada and Kurt Weill’s Symphony
No.2
Tue 10 July 6pm
What’s on in concerts, with interviews and musical
samples. This month’s guest: Ron Prussing, Principal
Trombone.
ATMA ALCD21036
Saint-Saëns Organ Symphony
Webcast Diary
ATMA SACD2 2331
Mahler 4
with Karina Gauvin, soprano
ATMA ACD2 2306
In 2006 selected Sydney Symphony concerts
were recorded for webcast by Telstra BigPond.
These can be viewed at:
http://sydneysymphony.bigpondmusic.com
SYDNEY SYMPHONY: LIVE RECORDINGS
Available now:
Strauss and Schubert
Images for Orchestra
R. Strauss Four Last Songs; Schubert Symphony No.8
(Unfinished); J. Strauss II Blue Danube Waltz
Gianluigi Gelmetti (cond.), Ricarda Merbeth (sop.)
Haydn and Debussy works conducted by Yannick
Nézet-Séguin
SSO1
Glazunov and Shostakovich
Glazunov The Seasons; Shostakovich Symphony No.9
Alexander Lazarev (conductor)
SSO2
And from Friday 6 July at 8pm:
Mahler 6
conducted by Yannick Nézet-Séguin
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
Last year Yannick Nézet-Séguin was announced as the next
Music Director of the Rotterdam Philharmonic Orchestra,
succeeding Valery Gergiev for the 2008/09 season. He is
also the Artistic Director of the Orchestre Métropolitain
in Montreal and has garnered three Prix Opus prizes
(Discovery of the Year in 1999 and the People’s Prize in
both 1999 and 2000) awarded by the Quebec Music Council.
He is the recipient of the 2000 Virginia Parker Prize, given
by the Canada Council for the Arts.
Born in Montreal in 1975, Yannick Nézet-Séguin began
piano lessons at the age of five and later entered the
Quebec Conservatory of Music in Montreal where he
studied piano with Anisia Campos and composition,
chamber music, and conducting. While at the conservatory,
he also studied choral conducting at Westminster Choir
College in Princeton and continued his training with a
number of leading conductors, among them Carlo Maria
Giulini (1997–98).
Since his appointment in 2000 as Artistic Director and
Principal Conductor of the Orchestre Métropolitain du
Grand Montréal, he has worked with all the main orchestras
across Canada and is a regular guest at the Toronto Symphony,
Vancouver Symphony and NAC Ottawa orchestras.
Following his European debut with Orchestre National
du Capitole de Toulouse, he has received an unbroken
string of re-invitations from every orchestra with whom
he has worked, including the Dresden Staatskapelle, the
Orchestre National de France, the London Philharmonic
Orchestra, Royal Stockholm Philharmonic, SWR Radio
Orchestra Baden Baden and City of Birmingham
Symphony Orchestra.
Next season will see his debut with the National Symphony
Orchestra Washington, the Philadelphia Orchestra, Tonhalle
Orchestra Zurich and Deutsche Symphonieorchester Berlin.
He records for ATMA Classique; and his acclaimed
recordings with the Orchestre Métropolitain include Nino
Rota’s La Strada and Mahler’s Fourth Symphony, as well as
Saint-Saëns’ Third Symphony and most recently Bruckner’s
Seventh.
Yannick Nézet-Séguin first appeared with the Sydney
Symphony in 2005, when he replaced Lorin Maazel at short
notice, conducting Bruckner’s Eighth Symphony and a
Mozart piano concerto (K491) with Stephen Kovacevich.
THE SYDNEY SYMPHONY
Her Excellency Professor Marie Bashir AC CBO, 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
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
07
08
09
10
11
12
01
02
03
04
05
06
07
08
09
10
11
12
13
Second Violins
First Violins
01 Kirsten Williams
Second Violins
Associate Concertmaster
Sun Yi
Ian & Jennifer Burton Chair
of Assistant Concertmaster
03
04
05
06
07
08
09
10
11
Julie Batty
Gu Chen
Amber Davis
Rosalind Horton
Jennifer Hoy
Jennifer Johnson
Georges Lentz
Nicola Lewis
Alexandra Mitchell
Moon Design Chair of Violin
12 Léone Ziegler
Sophie Cole
Nicole Forsythe
James McCrow
Emily Qin
Viola
Horn
First Violin#
Rowena Crouch
Casey Rippon
Victoria Jacono
Cello#
Horn
First Violin+
Martin Penicka
Graham Nichols
Leigh Middenway
Cello+
Horn
Assistant Principal
First Violin
Janine Ryan
Matthew Dempsey
Pieter Bersée
Maria Durek
Emma Hayes
Shuti Huang
Stan Kornel
Benjamin Li
Nicole Masters
Philippa Paige
Biyana Rozenblit
Maja Verunica
Emily Long
Cello#
Trumpet
Second Violin#
Jennifer Druery
Andrew Evans
Alexander Norton
Double Bass#
Trumpet
Second Violin#
Genevieve Lang
Joshua Davis
Natalie Favaloro
Harp
Trombone#
Second Violin
Lamorna Nightingale
Brett Page
Belinda Jezek
Flute
Bass Trombone
Second Violin
Elizabeth Chee
Adam Jefferey
Jacqueline Cronin
Oboe#
Timpani
Viola#
Ngaire de Korte
Brian Nixon
Jennifer Curl
Oboe
Viola#
Alexandra Carson
Asst Principal
Percussion#
Joanna Tobin
Clarinet
Adam Jefferey
Viola+
Robert Llewellyn
Percussion
Rosemary Curtin
Bassoon
Kevin Man
Viola
Lisa Wynne-Allen
Percussion
Horn#
Catherine Davis
Principal
02 Susan Dobbie
Associate Concertmaster
02 Fiona Ziegler
Guest Musicians
01 Marina Marsden
Associate Principal
03 Emma West
04
05
06
07
08
09
10
11
12
13
Celeste
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
-9
04
05
06
02
03
Cellos
Double Basses
01
08
01
Violas
01 Roger Benedict
02 Anne Louise Comerford
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
Double Basses
01 Kees Boersma
Principal
Brian and Rosemary
White Chair of Principal
Double Bass
02 Nathan Waks
Associate Principal
03 Yvette Goodchild
Piccolo
Cellos
01 Catherine Hewgill
Principal
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
02
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
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
02 Brian Nixon
Assistant Principal
Timpani (contract)
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
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.
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.
01
02
03
04
05
07
08
09
10
11
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
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
06
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
Caroline Mark 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 °
The Clitheroe Foundation *
Mr John C Conde AO §
Patricia M. Dixson *
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 David Maloney §
Mr B G O’Conor §
The Paramor Family *
Mr Paul & Mrs Sandra Salteri
Mrs Joyce Sproat & Mrs Janet
Cooke
Mr Brian & Mrs Rosemary White
Anonymous (1) *
Virtuosi
Mrs Antoinette Albert §
Mr Robert & Mrs L Alison Carr §
Mr John Curtis §
Irwin Imhof in Memory of
Herta Imhof ° ‡
Mr Stephen Johns §
Mr & Mrs Gilles T Kryger ° §
Helen Lynch AM °
Mr E J Merewether & Mrs T
Merewether OAM *
Miss Rosemary Pryor *
Bruce & Joy Reid Foundation *
John Roarty in memory of
June Roarty
Rodney Rosenblum AM & Sylvia
Rosenblum §
Mrs Helen Selle §
Dr James Smith §
David Smithers AM & family §
Michael & Mary Whelan Trust §
Anonymous (2) §
Soli
Ms Jan Bowen *
Mr Chum Darvall §
Ian Dickson & Reg Holloway *
Hilmer Family Trust §
Ms Ann Hoban
Mr Paul & Mrs Susan Hotz ° §
Mr Rory Jeffes
Paul Lancaster & Raema
Prowse ° §
Mrs Joan MacKenzie §
Miss Margaret N MacLaren
Ms Gabrielle Trainor
Mr R Wingate §
Anonymous (2) §
Tutti
Mr C R Adamson ° §
Mr Henri W Aram §
Mr Warwick Bailey
Mr David Barnes °
Mrs John Barnes
Mr Alex & Mrs Vera Boyarsky
Mrs F M Buckle °
A I Butchart
Debby Cramer & Bill Caukill °
Libby Christie & Peter James
Mr Bob & Mrs Julie Clampett §
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Mr & Mrs J B Fairfax AM §
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 °
Dr Paul Hutchins &
Ms Margaret Moore °
Mrs Margaret Jack
Mr John W Kaldor AM §
Mr & Mrs E Katz §
Mr Andrew Korda &
Ms Susan Pearson §
Mr Justin Lam §
Erna & Gerry Levy AM
Mr Gary Linnane §
Mr & Mrs S C Lloyd
Ms Karen Loblay §
Mr & Mrs R. Maple-Brown §
Mrs Alexandra Martin & the late
Mr Lloyd Martin AM §
Justice Jane Mathews §
Mrs Mora Maxwell ° §
Judith McKernan °
Mrs Barbara McNulty OBE °
Mr James & Mrs Elsie Moore
Mr & Mrs John Morschel
Mr R A Oppen §
Mr Robert Orrell §
Mr Arti Ortis & Mrs Belinda Lim
Timothy & Eva Pascoe §
Patricia Payn
Ms Robin Potter §
Mr Nigel Price §
Mrs B Raghavan
Mr & Mrs Ernest Rapee §
Mrs Patricia H Reid °
Mr Brian Russell & Ms Irina
Singleman
Gordon & Jacqueline Samuels °§
Ms Juliana Schaeffer §
Robyn Smiles §
Derek & Patricia Smith §
Catherine Stephen °
Mr Fred & Mrs Dorothy Street §
Mr Georges & Mrs Marliese
Teitler §
Mr Stephen Thatcher
Ms Gabrielle Trainor
Mr Ken Tribe AC & Mrs Joan
Tribe °
Mr John E Tuckey °
Mrs Kathleen Tutton °
Ms Mary Vallentine AO §
Henry & Ruth Weinberg §
Mr & Mrs Bruce West
Jill Wran §
Mrs R Yabsley °
Anonymous (10) §
Supporters over $500
Mr Roger Allen & Ms Maggie
Gray
Mr Lachlan Astle
John Augustus °
Mr Warwick Bailey §
Mr Marco Belgiorno-Zegna AM
Mr G D Bolton °
Pat & Jenny Burnett °
Hon. Justice J C & Mrs
Campbell *
Mr & Mrs Michel-Henri Carriol °
Mrs B E Cary §
Mr Leo Christie & Ms Marion
Borgelt
Mr Peter Coates
Mr B & Mrs M Coles §
Mrs Catherine Gaskin
Cornberg §
Stan & Mary Costigan *
Mrs M A Coventry °
Ms Rowena Danziger °
Mr & Mrs Michael Darling
Lisa & Miro Davis *
Mrs Patricia Davis §
Mrs Ashley Dawson-Damer
Mr Paul Espie °
Mr Russell Farr
Mr & Mrs David Feetham
Mr Richard & Mrs Diana Fisher
Rev H & Mrs M Herbert ° *
Ms Michelle Hilton-Vernon
Mr and Mrs Paul Holt
Mr Eric C Howie °
Mr & Mrs P Huthnance °
Ms Judy Joye
Mrs Jeannette King ° *
Mrs J Lam-Po-Tang °
Dr Barry Landa
Mrs Joan Langley °
Ms Jan Lee Martin & Mr Peter
Lazar §
Mr David & Mrs Skye Leckie
Margaret Lederman °
Mr & Mrs Ezzelino Leonardi §
Mr Bernard & Mrs Barbara Leser
Erna & Gerry Levy AM *
Mr and Mrs S C Lloyd °
Mr Andrew & Mrs Amanda
Love
Mr Matthew McInnes §
Mr Tony & Mrs Fran Meagher
Mr Andrew Nobbs
Moon Design
Mrs R H O’Conor
Ms Patricia Payn §
Mr Adrian & Mrs Dairneen
Pilton
Mr & Mrs Michael Potts
Mrs B Raghavan °
Mrs Caroline Ralphsmith
Dr K D Reeve AM *
Mr & Mrs A Rogers °
Dr Jane & Mr Neville Rowden §
Mrs Margaret Sammut
In memory of H St P Scarlett ° *
Blue Mountain Concert
Society Inc °
Mr Ezekiel Solomon
Mr Andrew & Mrs Isolde Tornya
Miss Amelia Trott
Mrs Merle Turkington °
The Hon M. Turnbull MP &
Mrs L. Hughes Turnbull
Mr & Mrs Franc Vaccher
Ronald Walledge °
Louise Walsh & David Jordan
Mr Geoff Wood and
Ms Melissa Waites
Miss Jenny Wu
Mr Michael Skinner &
Ms Sandra Yates AO
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):
Catherine Hewgill, Principal Cello; former Concertmaster Donald Hazelwood
receives an immunisation shot before the SSO’s first overseas tour in 1965;
Eugene Goossens, Chief Conductor from 1946 to 1956; an open air concert
with conductor John Lanchbery in the Domain, 1983 Festival of Sydney; Sir
Bernard Heinze in rehearsal; painting from the Education Program’s 2005 art
competition; SSO brass players, 1963; Associate Principal Oboe Shefali Pryor
with a student from Broken Hill School of the Air.
Sydney Symphony Staff
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DIRECTOR OF MARKETING AND
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Julian Boram
ACTING DEPUTY ORCHESTRA
MANAGING DIRECTOR
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC OPERATIONS
Wolfgang Fink
Publicity
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Imogen Corlette
DIRECTOR OF ORCHESTRA
MANAGER
Greg Low
ORCHESTRAL ASSISTANT
Angela Chilcott
Artistic Administration
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John Glenn
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Ilmar Leetberg
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PERSONAL ASSISTANT TO THE
Robert Murray
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Raff Wilson
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Education Programs
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Margaret Moore
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Martin Keen
Derek Coutts
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Ian Spence
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Georgia Rivers
Bernie Heard
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Xing Jin
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Aimee Paret
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Anna Fraser
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CORPORATE RELATIONS MANAGER
REPRESENTATIVES
Leann Meiers
Wendy Augustine
Matthew D’Silva
Michael Dowling
Shelley Salmon
DIRECTOR OF DEVELOPMENT
Rory Jeffes
CORPORATE RELATIONS EXECUTIVE
Alan Watt
INFORMATION TECHNOLOGY
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Tim Graham
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Julia Owens
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PHILANTHROPY MANAGER
Caroline Hall
Caroline Mark
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HUMAN RESOURCES
Georgina Andrews
Ian Arnold
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the Mahler 6 program book (5 Jul) PDF

Transcription

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