The Fellowship of the Ring program book

WELCOME
Welcome to this special performance by the Sydney Symphony in the Sydney
Opera House.
We’re delighted to be supporting one of the orchestra’s acclaimed programs that
bring together different art forms and musical genres in collaboration. In this
concert we celebrate the longstanding role the symphony orchestra has played in
the sound world of the movies, with a screening of Peter Jackson’s Fellowship of
the Ring accompanied by the Sydney Symphony, choirs and soloists, performing
Howard Shore’s award-winning score. If you were thrilled by the movie in the
cinema, you’ll be blown away by it in the concert hall.
The Ausgrid network includes the poles, wires and substations that deliver
electricity to more than 1.6 million homes and businesses in New South Wales.
Ausgrid is transforming the traditional electricity network into a grid that is
smarter, greener, more reliable and more interactive – something we are very
proud of.
We’re also extremely proud of our partnership with the Sydney Symphony and
our support of the orchestra’s Master Series and Meet the Music series, as well as
concerts such as this one.
We trust that you will enjoy this performance and we look forward to seeing you
again at other Sydney Symphony concerts this year.
George Maltabarow
Managing Director
KALEIDOSCOPE
PRESENTING PARTNER AUSGRID
Friday 6 May
| 7pm
Saturday 7 May | 7pm
Sunday 8 May | 2pm
Sydney Opera House Concert Hall
THE LORD OF THE RINGS:
THE FELLOWSHIP OF THE RING
Ludwig Wicki conductor
Kaitlyn Lusk vocals
Sydney Philharmonia Choirs
Sydney Children’s Choir
Howard Shore’s Academy Award-winning score
performed live to Peter Jackson’s epic motion picture
PART I
Prologue: One Ring to Rule
Them All
The Shire
Bag End
Very Old Friends
Farewell Dear Bilbo
Keep It Secret, Keep It Safe
A Conspiracy Unmasked
Three is Company
Saruman the White
A Shortcut to Mushrooms
Strider
The Nazgûl
Weathertop
The Caverns of Isengard
Give Up the Halfling
Orthanc
Rivendell
The Sword that was Broken
The Council of Elrond
Assembles
The Great Eye
PRESENTING PARTNER
Pre-concert talk by Rod Webb in
the Northern Foyer, 45 minutes
before each performance.
INTERVAL
Visit sydneysymphony.com/talkbios for speaker biographies.
PART II
The presentation will conclude at
10.20pm (Friday and Saturday) and
5.20pm (Sunday).
The Pass of Caradhras
The Doors of Durin
Moria
Gollum
Balin’s Tomb
Khazad-dûm
Caras Galadhon
The Mirror of Galadriel
The Fighting Uruk-hai
Parth Galen
The Departure of Boromir
The Road Goes Ever On…
INTRODUCTION
The Lord of the Rings:
The Fellowship of the Ring
Original score composed by Howard Shore
NEW LINE / SAUL ZAENTZ / WING NUT / THE KOBAL COLLECTION
Composer Howard Shore brings JRR Tolkien’s literary
imagination to vivid life with his Academy- and Grammy
Award-winning score to The Lord of the Rings: The
Fellowship of the Ring. Shore’s music expresses Peter
Jackson’s film as an immense symphonic work – a uniquely
developed vision drawn from centuries of stylistic
tendencies.
The music of The Lord of the Rings is counted among film
music’s most complex and comprehensive works. This
unique performance sets the score to the film, but allows
the music to bear the narrative weight, creating a wholly
new and dramatic live concert experience.
Shore’s score not only captures Fellowship’s sweeping
emotion, thrilling vistas and grand journeys, but also
The four hobbits of the Fellowship: Merry (Dominic Monaghan), Frodo the Ring-bearer (Elijah Wood),
Pippin (Billy Boyd) and Sam (Sean Astin)
6 | Sydney Symphony
echoes the very construction of Tolkien’s Middle-earth.
Styles, instruments and performers collected from around
the world provide each of Tolkien’s cultures with a unique
musical imprint. The rural and simple hobbits are rooted
in a dulcet weave of Celtic tones. The mystical Elves merit
ethereal Eastern colors. The Dwarves, Tolkien’s abrasive
stonecutters, receive columns of parallel harmonies and
a rough, guttural male chorus. The industrialised hordes
of Orcs claim Shore’s most violent and percussive sounds,
including Japanese taiko drums, metal bell plates and
chains beaten upon piano wires, while the world of Men,
flawed yet noble heirs of Middle-earth, is introduced with
stern and searching brass figures. In operatic fashion, these
musical worlds commingle, sometimes combining forces
for a culminated power, other times violently clashing…
and always bending to the will of the One Ring and its own
ominous family of themes.
The music’s vast scope calls for symphony orchestra,
mixed chorus, boys chorus and instrumental and vocal
soloists singing in the Tolkien-crafted languages Quenya,
Sindarin, Khuzdûl, Adûnaic, Black Speech, as well as
English. Original folk songs stand alongside diatonic
hymns, knots of polyphony, complex tone clusters and
seething, dissonant aleatoric passages. It is purposeful,
knowing writing, as contained in execution as it is farreaching in influence; for within this broad framework
resides a remarkably concise musical vision. Shore’s
writing assumes an earthy, grounded tone built on sturdy
orchestral structures and a sense of line that is at once fluid
yet stripped of frivolous ornamentation.
DOUG ADAMS
Doug Adams is a Chicago-based musician and writer. He is the
author of the The Music of the Lord of the Rings Films.
7 | Sydney Symphony
“My first score for
The Lord of the Rings
trilogy, The Fellowship
of the Ring, was the
beginning of my
journey into the world
of Tolkien and I will
always hold a special
fondness for the music
and the experience.”
HOWARD SHORE
NEW LINE / SAUL ZAENTZ / WING NUT / THE KOBAL COLLECTION / VINET, PIERRE
Gandalf (Ian McKellen) confirms his fears about Bilbo’s ring
8 | Sydney Symphony
ABOUT THE MUSIC
The Themes of The Lord of The Rings: The Fellowship of The Ring
Notes by Doug Adams
The One Ring
The One Ring is the story’s most proactive
element. It has three distinct themes to
represent its multidimensional nature.
The History of the Ring
If the scores can be said to have a central
theme, then this minor-moded, time-weary
melodic wisp is it. The tune is first heard
as ‘The Lord of the Rings’ text appears in
The Fellowship of the Ring, and reappears
whenever the One Ring changes hands or
marks significant progress in its journey.
The tune rises and falls in a slow breath-like
pattern that serves to anthropomorphise the
Ring’s power while suggesting its circular
shape.
The Seduction of the Ring
This theme, set in pure, clean choral
tones and punctuated by rumbling bass
drum strokes, represents the One Ring’s
overwhelming allure. The melody drifts
through minor scale fragments creating
a distant and elusive incantation. The
Seduction of the Ring appears three times
in Fellowship – first for humming boy chorus;
next set to a Quenya text and sung
by the boys; and, finally, sung by both boys
and women. The Ring’s seductive prowess
grows ever more prominent, as does the
Seduction theme.
The Evil of the Ring (Mordor/Sauron)
The third theme for the One Ring is an
impervious snarl, limited to only four or
five pitches, and unwavering in its focus. As
with the other ancient races of Middle-earth,
Shore treats this theme to Eastern tinted
harmonic inflections suggesting a past age.
This material stands for the most villainous
9 | Sydney Symphony
inclinations of the Ring and for Mordor
itself. In Tolkien’s writing, the Evil of the
Ring and the evil of Mordor are one and the
same – Sauron’s power is intrinsically bound
to his forged creation.
The Shire and the Hobbits
This theme doesn’t appear until the film
reveals Hobbiton; Bilbo’s appearance in
Gollum’s cave does not earn the tune. It’s
a concept directly from Tolkien’s writing:
until we’ve seen the Shire we don’t know the
true nature of a hobbit. In a way, the bravery
inherent in this theme develops because it
represents the most simple and unheroic
aspects of hobbit life – food and drink,
comfort and community – yet the hobbits of
the Fellowship persevere despite their basic
nature. The melody serves a crucial purpose
in The Lord of the Rings. It establishes a sense
of home, a regular and safe way of life that
is threatened by Sauron and the Ring. For
all its spectacle and flourish, The Lord of the
Rings is primarily about simple themes:
friendship, loyalty and the sanctity of home.
As situations in Middle-earth worsen, the
Shire theme provides a tangible sense of
what is at stake.
This theme is composed of basic and
unadorned musical elements. The diatonic
melody hints at a simple pentatonic scale
while the harmonies present only a sensitive
handful of chord changes. Because this tune
is so simply and flexibly constructed, Shore
is able to create four distinct variations
out of the material: the Celtic-flavoured
Rural Setting, the more orchestral Pensive
Setting, the religioso Hymn Setting, and the
developed Hobbit’s Understanding, which
isn’t fully realised until the end of The
Fellowship of the Ring.
COURTESY OF COLUMBIA ARTISTS MANAGEMENT
Galadriel (Cate Blanchett) and Frodo
Gollum
The Pity of Gollum (Sméagol’s Theme)
This melody stands for Gollum’s sad
state of existence, and is tellingly reprised
throughout the film whenever Bilbo and
Frodo begin to exhibit the creature’s same
slavish devotion to the Ring. The theme is
based on a series of loosely related minor
arpeggios, through which a knobby, twisted
melody traipses, bestowing an unusually
slippery profile. Gollum is motivationally
the most complicated character, and is
appropriately matched with this tonally
elusive theme.
The Elves
Elven culture hit its zenith centuries
before the story of The Lord of the Rings.
Appropriately, Shore’s Elf music feels as if
it’s from another era. The writing is awash
in chromatic harmonies, Eastern influences
and unique instruments. The choral
10 | Sydney Symphony
passages are also constructed differently,
utilising only gentle women’s voices. Shore
favours the more transparent tones of the
orchestra – higher voices, clean figures
devoid of plush harmonisations, tidy, artful
worlds of music.
Lothlórien
The Lothlórien theme is first heard in The
Fellowship of the Ring as Galadriel begins
her voice-over introduction. It returns in a
more developed form once the Fellowship
reaches Caras Galadhon in Lothlórien.
In style it’s the most Eastern and exotic of all
the Elves’ music. The writing is emotionally
unreadable – neither sad,
happy, aggressive nor passive, but mysterious
and aloof. ‘Rivendell is more about learning
and knowledge,’ says Shore, ‘but this is
different. This is a creepier world of Elves
who are more mysterious. They could be
bad; they could be good – you’re not really
sure.’
Rivendell
The Elves of Rivendell are more open to
outsiders than other Elven societies, so
hile their musical material is still touched
with a shimmer, it’s less exotic than the
Lothlórien theme. Here more familiar
orchestral instruments flourish in layers
of writing that place an acclivous figure
for female chorus and a series of arcing
arpeggios amidst glinting chimes, harps
and string harmonics. Both principal
melodies are built out of vaulting lines
that suggest augmented harmonies. The
two interrelated Rivendell figures are
constructed so that the motive’s contour is
recognisable even when the pitch content is
changed. This contour appears throughout
the scenes in the Elf realm, constantly
ebbing back and forth in its signature style,
but presenting different faces of prestige
and concern.
The Dwarves
In contrast to his florid Elf music, Shore’s
Dwarf music is blocky and stout, full of
basso profundo timbres and hard-cornered
rhythms. It, too, depicts a culture in decline,
though the ruins of Dwarf society are
seen specifically relating to the danger of
Moria. So while the Elf music is distantly
extravagant, the Dwarves’ is frequently
threatening and haunting.
Moria
The Moria theme, a stony rising line in
parallel fifths, is scattered throughout the
Fellowship’s journey through the dark.
Peter Jackson’s directive was that Moria’s
music should be ‘voices from hell’. ‘It’s all
men singing in ancient Dwarvish,’ explains
Shore. The music of Moria is an unsettling
reminder of what the Dwarves’ unchecked
expansion awoke in the deep. The gruff
singing is transformed into unrelentingly
brutal chanting as the Balrog begins its
approach.
11 | Sydney Symphony
Dwarrowdelf
The Dwarrowdelf writing contains fewer
references to the coarseness of Dwarf culture
because this was the Dwarves’ greatest
accomplishment: a grand city expressing the
loftiest aspirations of the generally utilitarian
Dwarves. The theme expresses the Dwarves’
pride as well as their folly. It’s scored with
bold French horn lines to create a sense of
weight and solidity, but each leap upwards
droops sadly back down almost immediately.
The Dwarrowdelf theme is twice
reiterated in downtrodden variations: as
Gimli discovers Balin’s tomb, and as Merry
and Pippin leap onto the Cave Troll’s back
to avenge Frodo. ‘Merry and Pippin jump on
the cave troll and, with their little daggers, try
to bring down this huge monster. They’re on
his head just poking into it, which probably
feels like little pinpricks. It shows the
hobbits and their bravery, but you hear this
theme of the ancient world – the grandeur
and the glory of this once great place,’
explains Shore.
The World of Men: Gondor
The Fellowship of the Ring marks the first
appearance of two themes related to the
world of men: the Realm of Gondor theme
and the Minas Tirith (Silver Trumpets)
theme. However, in this first film each of
these melodies appears only once, hinting
at the future significance of the material.
The Realm of Gondor debuts during the
Council of Elrond when Boromir learns of
Aragorn’s heritage and speaks of the burden
borne by Gondor and his father, Denethor.
The melody begins in solo French horn,
but drops deeper in the orchestra with each
iteration. It eventually comes to reside in the
double basses – Gondor has fallen upon hard
times.
Later in the film, as Aragorn and Boromir
rest in Lothlórien and discuss the future
of Gondor, Shore plays the Minas Tirith
(Silver Trumpets) theme, another beautiful
brass line that represents everything that
Frodo in Rivendell, an Elven outpost and “the last homely house west of the mountains”
mankind can be, should it chose the nobler
path. Although they pass rather quickly in
The Fellowship of the Ring, these foretelling
glimpses into primary material of The Return
of the King illustrate the level of detail and
forethought running through the scores.
The Fellowship of the Ring
Like the courageous coalition itself, Shore’s
theme for the Fellowship of the Ring is
assembled by fragments throughout the first
film and scattered into shards thereafter. Its
12 | Sydney Symphony
first tentative tones accompany Frodo and
Sam’s passage through a Shire cornfield –
the de facto beginning of the Fellowship.
These snippets are expanded slightly as
new members join the hobbits, but it’s not
until they reach Rivendell that the theme
completely forms. During the Council of
Elrond the melody begins to stir in the
midrange strings and low brass, as members
of the future Fellowship volunteer their
services. When Elrond declares them the
Fellowship of the Ring, Shore opens the
NEW LINE / SAUL ZAENTZ / WING NUT / THE KOBAL COLLECTION
melody into a fully realised heroic theme.
‘It’s the first time you hear it in its full
orchestration,’ comments Shore. ‘It’s such a
great moment. It had to be just right.’
The Fellowship theme strikes a unique
posture. It is receptive and sympathetic, but
at the same time steely and unaffected – a
theme for a benevolent yet steadfast mission.
Though the writing is harmonically modern
(the tune itself is in a minor mode while its
harmonisation is major), the theme suggests
the relics of Middle-earth’s ancient glory.
13 | Sydney Symphony
After Gandalf falls in the Mines of Moria the
Fellowship theme begins to break down, and
is seldom heard in the same heroic guise.
Isengard
Tolkien scholars have long designated
the conflicting goals of the industrial and
natural worlds as one of The Lord of the Rings’
major dramatic themes, and Shore’s material
follows suit with Isengard’s asymmetrically
mechanical music. ‘It’s the industrial might
of Middle-earth,’ describes the composer.
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Isengard/Orc Theme
This is Isengard’s equivalent of the
Fellowship theme, defying its burnished
heroism with a sinewy show of impious force.
It’s generally scored for low brass in their
deepest registers. Like Isengard’s vicious
culture, this theme is free of any artifice or
decoration. It is simple, cruel music; music of
metal and wheels.
Five-Beat Pattern
It is the Five-Beat Pattern that most often
represents Isengard’s presence in the film.
This thunderous, hammering rhythm is
scored for collections of metal bell plates,
anvils, bass drum, Japanese taiko drum, and
metal chains beating the strings inside a
grand piano.
Mordor
Shore’s music for the Land of Mordor is set
as the diametric opposite of the music for the
hobbits and the Shire. Each setting receives
a bundle of primary and secondary thematic
material, but where the Shire’s music is
familiar and warmly inviting, Mordor’s is
morbid, threatening and off-putting. This
music favours low strings and the deepest
registers of brass, fused to create a thick fog
of overtones. Mixed choruses erupt into
primal rhythms with abnormally closespaced harmonies for a towering, ritualistic
effect.
Mordor/Sauron (The Evil of the Ring)
The primary motif for Barad-dûr and Sauron
is identical to the One Ring’s Evil theme. (The
three are practically interchangeable
story elements.) Each step of the quest brings
the Fellowship closer to Sauron, and the
unrest the Ring sows grows more potent over
time. Shore uses this theme to portray the
Ring’s ‘character’, but it also represents its
effect upon the world. In a chilling moment,
this theme appears during the Council of
Elrond as the Ring drives the participants into
heated argument.
15 | Sydney Symphony
The Ringwraiths
The Ringwraiths, Sauron’s malicious
ambassadors to Middle-earth, earn the
most prominent and ritualistic of the
Mordor themes. Philippa Boyens wrote the
Black Speech text, ‘The Revelation of the
Ringwraiths’, as an aggressive renouncement
for the ghostly figures in black. Shore sets
the text as a gathering storm of musical
forces. Although it is sometimes presented
in a purely instrumental guise, the theme is
primarily choral, adding to its ceremonial
flavor. The melody line is almost monorhythmic and without contour, creating its
sense of deadly anticipation through everexpanding instrumentation and harmony.
Nature’s Reclamation
In Shore’s score, Nature maintains its own
music culture the same as the hobbits, Elves
or Dwarves. It is a world slower to react,
more reluctant to marshal its forces against
Sauron and his minions, and so the Nature
music emerges gradually over the course of
the films. One of The Fellowship of the Ring’s
most ethereally beautiful moments arrives
courtesy of a moth to which Gandalf entrusts
his rescue from Orthanc. Shore introduces
a boy soprano singing what will become the
Nature’s Reclamation theme. This melody
is an antidote to the industrial beating of
the Isengard music: broad and organic in
shape, gentle and natural in expression. It
represents Nature’s resistance of encroaching
evil with simple constructions: scale steps
trickling upward and downward, set in the
purest tone colours in Shore’s arsenal. Though
Nature’s Reclamation does not recur in The
Fellowship of the Ring, by the end of The Two
Towers it will have achieved operatic proportions.
DOUG ADAMS
ORIGINAL TEXT COPYRIGHT © 2005, 2008
Additional information is available in the book The
Music of the Lord of the Rings Films by Doug Adams,
in The Lord of the Rings: The Fellowship of the Ring –
The Complete Recordings (Reprise), and online at
www.musicoflotr.com
MORE MUSIC
Selected Discography and Reading
Broadcast Diary
THE LORD OF THE RINGS
The complete recordings of Howard Shore’s music
for The Lord of the Rings (with, for the most part, the
London Philharmonic Orchestra) are available on
the Reprise label.
REPRISE 49454-2 (The Fellowship of the Ring)
REPRISE 44376-2 (The Two Towers)
REPRISE 162044-2 (The Return of the King)
Author Doug Adams has made a thorough
and authoritative analysis of Howard Shore’s
soundtrack for the trilogy, The Music of the Lord of
the Rings Films. Definitely a first stop for anyone
wanting to explore this music in depth.
www.musicoflotr.com
MAY
Friday 13 May, 8pm
MAHLER 10
Vladimir Ashkenazy conductor
Pascal and Ami Rogé pianos
Hindson, Mahler
Wednesday 18 May, 8pm
MAHLER 3 (2010)
Vladimir Ashkenazy conductor
Lilli Paasikivi mezzo-soprano
Sydney Philharmonia Choirs
Sydney Children’s Choir
Friday 20 May, 8pm
A truly dedicated enthusiast, Marilynn Miller, has
compiled an unofficial website with a wealth of
information about The Lord of the Rings movie
soundtracks. A Magpie’s Nest, LOTR – check it out:
www.amagpiesnest.com
And visit Howard Shore’s website for links to
sheet music and to recordings of his other film
soundtracks.
www.howardshore.com
MAHLER 9
Vladimir Ashkenazy conductor
Steven Osborne piano
Mozart, Mahler
Friday 27 May, 8pm
“RACH 2” (2010)
Mark Wigglesworth conductor
Bernd Glemser piano
Shostakovich, Rachmaninoff, Rossini
Monday 30 May, 8pm
A special extended trilogy edition of Jackson’s Lord
of the Rings (12-DVD set) is available in Australia
from Roadshow. The individual movies from the
trilogy are also available on Blu-ray disc.
PASCAL & AMI ROGÉ IN RECITAL
Finally, for another take – musical and dramatic –
on The Lord of the Rings, seek out the BBC Radio
dramatisation from 1981, available in a 13-CD set.
The performances feature Ian Holm (as Frodo in
this version) and Michael Horden (Gandalf), with
music by Stephen Oliver. Available from ABC
shops.
Tuesday 10 May, 6pm
Schumann, Brahms, Poulenc, Dukas, Ravel
2MBS-FM 102.5
SYDNEY SYMPHONY 2011
Musicians, staff and guest artists discuss what’s in store
in our forthcoming concerts.
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COURTESY COLUMBIA ARTISTS MANAGEMENT
NEW LINE / SAUL ZAENTZ / WING NUT / THE KOBAL COLLECTION / VINET, PIERRE
Legolas, son of King Thranduil of Mirkwood and a Sindarin elf. Tolkien describes him as: “tall as a young tree,
lithe, immensely strong, able swiftly to draw a great war-bow and shoot down a Nazgûl…”
The Black Riders pursue Frodo
17 | Sydney Symphony
COURTESY COLUMBIA ARTISTS MANAGEMENT
NEW LINE / SAUL ZAENTZ / WING NUT / THE KOBAL COLLECTION / VINET, PIERRE
COURTESY COLUMBIA ARTISTS MANAGEMENT
Merry and Pippin with Gimli (John Rhys-Davies) who represents the Dwarves in the Fellowship
Representing Men and Elves: Boromir of Gondor (Sean Bean), Legolas (Orlando Bloom) and Aragorn (Viggo
Mortensen)
20 | Sydney Symphony
CREATORS
Howard Shore composer
Howard Shore conducted the worldpremiere performance of The Lord of the
Rings Symphony in Wellington, New Zealand
in November 2003 celebrating the release
of The Lord of the Rings: The Return of the
King. Since its premiere, the work has been
performed by some of the world’s most
prestigious orchestras and in such famous
venues as Moscow’s Kremlin Palace Theatre,
the Odeon Herod Atticus in Athens,
London’s Royal Albert Hall and Cleveland’s
Severance Hall. His scores for
The Lord of the Rings trilogy have received
four Grammy Awards and three Oscars
including Best Song for ‘Into the West’ as
well as honours and awards from leading
critic associations.
The music of Howard Shore has been
performed live in concerts throughout
the world. He performed his Oscar- and
Grammy-winning score The Lord of the
Rings: The Fellowship of the Ring with the
London Philharmonic Orchestra at the
Royal Festival Hall. Other concerts include
the Seville Film Music Festival in Spain;
Cinesonic’s 1st International Conference
on Film Scores and Sound Design in
Melbourne; and the National Arts Centre
in Ottawa, Canada. In November 2000, he
conducted the world-premiere Concert to
Projection of his original score to David
Cronenberg’s Naked Lunch. The performance
was part of the Belfast Festival at Queens,
and featured Ornette Coleman and the
Ulster Orchestra. Naked Lunch Concert to
Projection was performed in March 2001
at the Barbican Centre in London as part
of the Barbican performance series Only
Connect: A Series of Extraordinary Live Events.
It was also performed at Pan Hall in
Tokyo, Japan. The Brood was performed as
part of a David Cronenberg retrospective
in Paris. It was also performed in June
2003 in Mexico City along with the world
premiere of music from Spider. In addition,
21 | Sydney Symphony
his chamber music has been featured on
Arabesque Record’s Reel Life – The Private
Music of Film Composers Vol.1.
In 2008, Howard Shore’s opera The Fly
premiered at the Théâtre du Châtelet in
Paris and at Los Angeles Opera. Other
recent works include Fanfare for the
Wanamaker Organ in Philadelphia and the
piano concerto Ruin and Memory for Lang
Lang, premiered in Beijing, China on 11
October 2010. He is currently working on
his second opera and looks forward to a
return to Middle-earth with JRR Tolkien’s
The Hobbit.
Shore received the Career Achievement
for Music Composition Award from the
National Board of Review of Motion
Pictures and New York Chapter’s Recording
Academy Honors, ASCAP’s Henry Mancini
Award, the Frederick Loewe Award, and the
Max Steiner Award from the city of Vienna.
He holds honorary doctorates from Berklee
College of Music and York University and
he is an Officier de l’ordre des Arts et des
Lettres.
Fran Walsh lyricist
In 2004, Fran Walsh was awarded Academy
Awards for Best Adapted Screenplay, Best
Original Song, and Best Picture for The Lord
of the Rings: The Return of the King. For her
work co-writing The Lord of the Rings: The
Fellowship of the Ring, she was nominated
for an Oscar, a British Academy of Film and
Television Arts award and Writers Guild
of America Screen Award, and (along with
Peter Jackson, Barrie Osborne and Tim
Sanders) won the AFI Film Award. She first
garnered an Academy Award nomination
for Best Screenplay for the feature Heavenly
Creatures, which she co-wrote with her
collaborator Peter Jackson. Fran Walsh,
who has a background in music, began her
writing career soon after leaving Victoria
University where she majored in English
Literature.
Philippa Boyens writer
Peter Jackson director
Since being named by Variety in their
list of Ten Writers to Watch in 2000,
Philippa Boyens, who made her debut as
a screenwriter with The Lord of the Rings
trilogy, has won an Academy Award for Best
Adapted Screenplay for The Lord of the Rings:
The Return of the King and was previously
nominated for an Oscar, a British Academy
of Film and Television Arts Award and a
Writers Guild of America Award, among
others. Philippa Boyens worked in theatre
as a playwright, teacher, producer and
editor. She moved to film via a stint as
Director of the New Zealand Writers Guild.
Her love of JRR Tolkien’s work brought her
to this project, having been a fan since she
was eleven years old.
Jackson has made cinema history in making
The Lord of the Rings film trilogy, comprising
nine hours of a continuous cinema that
can be enjoyed by audiences worldwide.
The films have become a phenomenon
cross culturally around the world, not
only embracing the respect of established
Tolkien fans and scholars, but introducing
young audiences to Tolkien’s classic novels.
He was awarded three Academy Awards for
Best Director, Best Picture and Best Adapted
Screenplay for The Lord of the Rings: The
Return of the King.
Film Credits
New Line Cinema presents a Wingnut Films
Production, The Lord of the Rings: The Fellowship of
the Ring. The film is directed by Peter Jackson from a
screenplay by Fran Walsh, Philippa Boyens and Peter
Jackson based on the book by J.R.R. Tolkien. The
producers are Barrie M. Osborne and Peter Jackson.
The producers are Fran Walsh and Tim Sanders.
The executive producers are Robert Shaye and
Michael Lynne. Also executive producing are Mark
Ordesky, Bob Weinstein and Harvey Weinstein.
The director of photography is Andrew Lesnie, A.C.S.
The production designer is Grant Major. The editor is
John Gilbert. The co-producers are Rick Porras and
Jamie Selkirk.
The film stars Elijah Wood, Ian McKellen, Liv Tyler,
Viggo Mortensen, Sean Astin, Cate Blanchett, John
Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando
Bloom, Christopher Lee, Hugo Weaving, featuring
Sean Bean, and Ian Holm, with Andy Serkis as Gollum.
The film also stars Marton Csokas, Craig Parker and
Lawrence Makaoare.
22 | Sydney Symphony
Casting is by John Hubbard & Amy MacLean (UK),
Victoria Burrows (US), Liz Mullane (New Zealand)
and Ann Robinson (Australia). Costume designers are
Ngila Dickson and Richard Taylor. Music is composed,
orchestrated and conducted by Howard Shore. Ellen
M. Somers is the associate producer. Special makeup,
creatures, armour and miniatures are by Richard
Taylor. Jim Rygiel is the visual effects supervisor.
The film features the songs “May It Be” and “Aníron
(Theme for Aragorn and Arwen)” composed by Enya.
The film is released worldwide by New Line Cinema.
www.lordoftherings.net
The Lord of the Rings, the characters, names and
places therein (TM) The Saul Zaentz Co., trading
as Tolkien Enterprises under license to New Line
Productions, Inc. All rights reserved.
ABOUT THE ARTISTS
Ludwig Wicki conductor
Born and raised in the canton of Lucerne, Swiss conductor
Ludwig Wicki studied trombone with Rolf Bodendorfer
and Branimir Slokar. He also studied choral direction
and orchestral conducting with Martin Flämig, Ewald
Körner and Donato Renzetti. From 1980 to 1989 he played
the trombone in the AML orchestra of Lucerne (Lucerne
Symphony Orchestra) and was a founding member of
the San Marco wind instrumentalists and of the Lucerne
Philharmonic Brass Quintet. He was the conductor
and trombonist on many television, radio and CD
recordings, and won prizes in various solo and chamber
music competitions. In 2007 he was given the Award of
Appreciation of the city of Lucerne.
Since 1989, Ludwig Wicki has been professor of
trombone and chamber music at the Lucerne Music
Academy, and in 2004 he was appointed lecturer for
conducting at the College of Liberal Arts in Bern. Since
2007, he has been the academic supervisor for the
department of wind instruments at both schools.
He is chief conductor of the brass band Bürgermusik
Luzern (since 1991) and conductor at the cathedral
(Hofkirche) of Lucerne (since 1998). He is also artistic
director of the Renaissance ensemble Il Dolcimelo Lucerne
and of the Ensemble Beaufort wind section.
Ludwig Wicki is the founder and artistic director
of the 21st Century Orchestra, which presents regular
special film music concerts, and he has collaborated with
Howard Shore, Randy Newman, Martin Böttcher, and other
composers of film music. In 2008 he conducted the 21st
Century Orchestra for the world premiere of The Fellowship
of the Ring at the Lucerne Concert Hall (KKL). This was the
first complete live performance of the original film music
for the first part of the Lord of the Rings trilogy.
23 | Sydney Symphony
In her already impressive career Kaitlyn Lusk has
demonstrated extraordinary versatility and musical depth.
Whether it is the interpretations of her original songs,
music of the young Judy Garland or the epic score to
The Lord of the Rings, Kaitlyn Lusk performs with a youthful
exuberance matched with poise beyond her years.
Since making her major-orchestral singing debut with
the Baltimore Symphony Orchestra in 2003 at the age
of 14, Kaitlyn Lusk has been sought-after for solo
appearances with many of North America’s leading
orchestras. Show-stopping performances at the New Year’s
Eve showcase with the Boston Pops led by Keith Lockhart
and a follow-up engagement featuring her refreshing
renditions of classic MGM songs made famous by the
young Judy Garland garnered her standing ovations from
the sold-out concerts.
Since 2004, Kaitlyn Lusk has been the featured vocal
soloist in Howard Shore’s Lord of the Rings Symphony,
performing this role with more than 25 orchestras in the
United States and Canada, including the Philadelphia
Orchestra, San Francisco Symphony, Houston Symphony
and the Minnesota Orchestra.
She has appeared with conductors such as Keith
Lockhart, Alexander Mickelthwate, Alastair Willis, Stuart
Malina, Nicolas Palmer and Markus Huber, and in 2007,
she made her European debut in Leipzig, performing
with John Mauceri and the Gewandhaus Orchestra. Since
then she has returned to Europe to perform in Vienna and
Krakow. Also in 2007, as part of an encore performance
of The Lord of the Rings Symphony with the Cleveland
Orchestra, she again appeared with Howard Shore, who
had previously invited her to perform the Academy
Award-winning song ‘Into the West’ as part of the Grammy
Honors of Howard Shore in New York City.
In addition to her live performances, Kaitlyn Lusk has
released her first studio album No Looking Back, produced
by the award-winning composer and arranger, Kim
Scharnberg.
24 | Sydney Symphony
© EDO DE WAART
Kaitlyn Lusk vocals
Sydney Children’s Choir
Under the direction of Lyn Williams oam, the Sydney Children’s
Choir has built a worldwide reputation for choral excellence,
inspiring audiences with a distinctive Australian choral sound.
The choir has commissioned more than 100 works from
leading Australian composers and performs a significant
number of Australian works each year. The choir has toured
extensively throughout Australia and to Indonesia, Singapore,
Finland, Estonia, France, the United Kingdom and Japan. In
2010, the choir celebrated its 21st birthday with a gala concert
at the Sydney Opera House and a tour to China. The choir
regularly performs with the Sydney Symphony, most recently in
Mahler’s Third and Eighth symphonies, conducted by Vladimir
Ashkenazy, and earlier this year the choir also performed in the
YouTube Symphony Orchestra project conducted by Michael
Tilson Thomas. The choir appears on the soundtracks of Moulin
Rouge, Happy Feet and Australia, and on their CD Voices of Angels.
www.sydneychildrenschoir.com.au
© KERRY WILSON
Lyn Williams OAM Artistic Director
Lyn Williams’ exceptional skill as a director of choirs for
young people has been recognised internationally for its
artistic quality and innovation, and she is the founder of the
Sydney Children’s Choir (1989), the national children’s choirs
Gondwana Voices (1997) Gondwana Chorale, Gondwana Singers
and Junior Gondwana, and the Gondwana National Indigenous
Children’s Choir (2008). She frequently directs and conducts
for major events, tours internationally with her choirs, and
has conducted the Sydney, Adelaide, Melbourne symphony
orchestras, Australian Chamber Orchestra, Australian Youth
Orchestra and Sydney Philharmonia Choirs. In 2004 she was
awarded a Medal of the Order of Australia in recognition of her
services to the Arts. Lyn Williams is a Churchill Fellow and also
an award-winning composer.
Sydney Children’s Choir
Lyn Williams OAM Artistic Director and Founder
Dan Walker Choral Preparation
Sally Whitwell Pianist
Alexandra Cameron-Fraser General Manager
Rhiona-Jade Armont
Niamh Armstrong
Madeleine Benson
Zoe Brown
Alex Bruce
Alison Campbell
Courtney Chong
Leona Cohen
Meta Cohen
Liam Crisanti
Marta Davis
Stella Davy
Sophie Ellison
Craddock
Mimi Greenbaum
Rebecca Hart
Victoria Hofflin
Edwina Howes
Felix James
Rebecca Johnson
Vincent Kerin
Harry Kerr
25 | Sydney Symphony
John Nolan Artistic Administrator
Allison Harrigan Choral Education Director
Jessica Chambers Operations Coordinator
Jocelyn O’Brien Administrator
Helena Kertesz
Oscar Kirk
Eleanor Kozak
Adele Kozak
Tabitha Lee
Marley Liyanagama
Claudia Mackay
Thomas
Mahony-Brack
Lachlan Massey
Eve McEwen
Anita Moser
Madeleine Picard
Indiana Pooley
Sofie Rejto
Lara
Rogerson-Wood
Timothy Sampson
Mackenzie Shaw
Amelia Smiles
Morgan Smith
Charlotte Snedden
Tristan Spiteri
Christina Syrkiewicz
Harrison Taranec
Zoe Taylor
Zoe Tombs
Nicholas
Tracy-Sumners
Yulina Walker
Edie Warne
Jacqueline Wesiak
Selina Williamson
Sydney Philharmonia Choirs
Formed in 1920, Sydney Philharmonia Choirs is Australia’s largest
choral organisation. The principal choirs – the Chamber Singers,
Symphony Chorus and the youth choir Vox – perform a diverse
repertoire each year, ranging from early a cappella works to
challenging contemporary music. Sydney Philharmonia presents
an annual concert series featuring sacred and secular choral
masterpieces, and has premiered several commissioned works,
most recently Peter Sculthorpe’s To Music. In 2002, Sydney
Philharmonia was the first Australian choir to sing at the BBC Proms,
performing Mahler’s Eighth Symphony under Simon Rattle.
Appearances with the Sydney Symphony have included Mahler’s
Eighth for the Olympic Arts Festival in 2000 and again in 2010,
Mahler’s Third Symphony, Stravinsky’s Oedipus Rex and Symphony
of Psalms (2010 Sydney Festival), and ‘Midsummer Shakespeare’ for
this year’s Symphony in the Domain. In February, Vox made its
first independent appearance with the orchestra, performing in
Grieg’s Peer Gynt. Last year, Sydney Philharmonia celebrated 90 years
of music-making and made a return appearance at the Proms.
www.sydneyphilharmonia.com.au
Elizabeth Scott Musical Director, VOX
Elizabeth Scott graduated from the Sydney Conservatorium
of Music in 1995 as a flute major and completed postgraduate
studies in choral conducting, vocal performance and aural
training in Hungary and Germany, returning to Australia in 2004.
Before her appointment as Musical Director of Vox, she was the
Sydney Philharmonia Choirs Assistant Chorusmaster (2006–
2008). She is also Associate Conductor of the Sydney Chamber
Choir and a guest choral director for ensembles including
Coro Innominata, Macquarie University Singers and Orpheus
Choral Music. She is currently the Instrumental Music program
coordinator at Fort St High School, and is Music Projects Officer
at The Arts Unit (Department of Education and Training). Since
2007, she has participated in the Symphony Australia Conductor
Development Program, and in 2008 was awarded the Sydney
Choral Symposium Foundation Choral Conducting Scholarship.
Elizabeth Scott sings with Cantillation and has performed with
Pinchgut Opera and The Song Company.
David Anthony Taylor Assistant Chorusmaster
Born in London, David Anthony Taylor began his career as a young
chorister. From the age of seven he studied piano with Clara
Rodriguez, later taking up organ and percussion. In 1999 he
completed an honours degree in music, and during the early part
of his career was a member of the London Philharmonic Choir. He
went on to take up the position of Organist and Choirmaster at St
John the Divine Church, Merton, and pursued a career in choral
direction, studying with Paul Spicer at the Royal College of Music.
David Anthony Taylor is now Organist and Director of Music at
St Mary the Virgin Anglican Church and has recently completed
a master’s degree with a view to further postgraduate research.
26 | Sydney Symphony
Sydney Philharmonia Choirs
Brett Weymark Artistic and Musical Director
Elizabeth Scott Musical Director, VOX
David Anthony Taylor Assistant Chorusmaster
Josephine Allan, Luke Byrne Rehearsal Pianists
SOPRANOS
Jacqui Binetsky
Claire BurrellMcDonald
Victoria Campbell
Charlotte
Campbell
Charmaine Cusack
Freya Cole
Vanessa Ede
Serena Fernandez
Nohemy Garcia
Caroline Gude
Meredith
Harrison-Brown
Isabel Hernandez
Ellen Hopper
Clare Kenny
Yi-Hsia Koh
Victoria Laverick
Alexandra Little
Gillian Markham
Georgia Melville
Eve Osborn
Danielle Pascoe
Rebekah Peterson
Laura Platts
Alessandra Russek
Maya Schwenke
Elizabeth Scott
Kimberley Stuart
Christine Wong
ALTOS
Naomi Bagga
Rebecca Campbell
Erin Chapman
Naomi Cooper
Kerry Francis
Rebecca
Gladys-Lee
Jemma Golding
Emma Hancock
Karen Henwood
Marta Krzanowski
Kate McCallum
Harriet Scandol
Kaila Sercombe
Maree Tyrrell
Chela Weitzel
Brigitte Wirfler
TENORS
Gregory Bennett
Lanhowe Chen
Dion Condack
Zac Gough
Todd Hawken
Hamish Lane
David Larkin
Stephen
McDonnell
Andrew
Mulholland
Jack Pengelly
Ian Seppelt
Hayden Sip
Robert Thomson
Bruce Turner
Alex Walter*
BASSES
Timothy Bennett
Dominic Blake
William Bond
Edwin Carter
Hubert Chan
Daryl Colquhoun
Paul Cunningham*
Ian Davies*
Tristan Entwistle
Tom Frith
Angus Johnson
Harold Lander
Sebastian Lush
Sam Merrick
Ryan Tan
Robert Totonjian
Ryan Wilbin
Ben Wirfler
* = Section Leaders
Publishing Rights Credits
All Compositions by Howard Shore (ASCAP) except:
“Aníron (Theme for Aragorn and Arwen)” and “May It
Be” Music by Enya/Nicky Ryan, Lyrics by Roma Ryan
featured in “The Council of Elrond Assembles” and
“The Road Goes Ever On…” respectively.
“Flaming Red Hair” Composed by Janet Roddick, David
Donaldson, Stephen Roche and David Long; Performed
by Janet Roddick, David Donaldson, Stephen Roche
and David Long with Chris O’Connor, Peter Daly,
Ruairidh Morrison and Grant Shearer.
The Song “The Road Goes Ever On” featured in “Bag
End” performed by Ian McKellen and reprised in “Keep
It Secret, Keep It Safe” performed by Ian Holm: Music
Composed by Fran Walsh, Lyrics by J.R.R. Tolkien.
“Lament For Gandalf” Featured in “Caras Galadhon”
Music by Howard Shore, Lyrics by Philippa Boyens.
“In Dreams” Featured in “The Road Goes Ever On…”
Music by Howard Shore, Lyrics by Fran Walsh.
Choral Text by J.R.R. Tolkien, Philippa Boyens and Fran
Walsh.
Published by New Line Tunes (ASCAP)
Except for “Gandalf’s Lament” and “In Dreams” which
are co-published by New Line Tunes (ASCAP) and
South Fifth Avenue Publishing (ASCAP), “Aníron
(Theme for Aragorn and Arwen)” and “May It Be”
Published by EMI Music Publishing Ltd. c/o EMI
Blackwood Music Inc. (BMI).
© 2001 All Rights Reserved.
27 | Sydney Symphony
The Lord of the Rings and the name of the characters,
events, items and places therein, are trademarks of The
Saul Zaentz Company trading as Tolkien Enterprises
under license to New Line Productions, Inc. All Rights
Reserved.
Howard Shore would like to thank: Peter Jackson,
Fran Walsh, Philippa Boyens, J.R.R. Tolkien, Stephen
Einhorn, Michael Mulvihill, Ronald Wilford, JeanJacques Cesbron, New Line Cinema, Mark Ordesky,
Paul Broucek, Danny Bramson, Lori Silfen, Elizabeth
Cotnoir, Alan Frey, Ludwig Wicki, Pirimin Zängerle, Erik
Ochsner, Doug Adams, Joshua Mehr, James Sizemore,
Jesse Pynigar, Tim Starnes, Jeffrey Markowitz, Jeff
Halsey, Sarah Davis and for these performances
Ludwig Wicki, Kaitlyn Lusk, Sydney Philharmonia
Choirs, Sydney Children’s Choir and the Sydney
Symphony
Producers
Columbia Artists Music, LLC:
Ronald A. Wilford – Chairman and CEO
Jean-Jacques Cesbron – President
Jeffrey Markowitz – Technical Director
Howard Shore
Prince in New York Music Corporation
Jesse Pynigar and Tim Starnes – Auricle
Principal Conductor
and Artistic Advisor
supported by Emirates
© KEITH SAUNDERS
Vladimir Ashkenazy
© KEITH SAUNDERS
© KEITH SAUNDERS
MUSICIANS
Nicholas Carter
Michael Dauth
Dene Olding
Concertmaster
Concertmaster
Associate Conductor
supported by
Symphony Services
International &
Premier Partner
Credit Suisse
Performing in this concert…
FIRST VIOLINS
CELLOS
CLARINETS
TIMPANI
Dene Olding
Leah Lynn
Mark Robinson
Concertmaster
Assistant Principal
Lawrence Dobell
Craig Wernicke
Kirsten Williams
Kristy Conrau
Fenella Gill
Timothy Nankervis
Adrian Wallis
David Wickham
Patrick Suthers*
Rachael Tobin#
Associate Concertmaster
Jennifer Booth
Brielle Clapson
Nicola Lewis
Nicole Masters
Alexandra Mitchell
Claire Herrick*
Maria Lindsay*
Alexander Norton*
Emily Qin#
Martin Silverton*
SECOND VIOLINS
Kirsty Hilton
Emma Hayes
Shuti Huang
Stan W Kornel
Benjamin Li
Emily Long
Ella Bennetts*
Monique Irik*
Belinda Jezek*
Lisa Stewart*
VIOLAS
Roger Benedict
Sandro Costantino
Jane Hazelwood
Justine Marsden
Leonid Volovelsky
Jacqueline Cronin#
David Wicks#
Leah Zweck-Bain*
Assistant Principal
Principal Bass Clarinet
Sue Newsome*
BASSOONS
Matthew Wilkie
Noriko Shimada
Principal Contrabassoon
PERCUSSION
Rebecca Lagos
Colin Piper
Chiron Meller*
Brian Nixon*
Philip South*
Jennifer McLachlan*
DOUBLE BASSES
HARP
Alex Henery
Neil Brawley
HORNS
Principal Emeritus
Principal
Louise Johnson
Ben Jacks
David Campbell
Steven Larson
David Murray
Benjamin Ward
Mark Lipski*
Geoffrey O’Reilly
KEYBOARD
Principal 3rd
Josephine Allan#
Lee Bracegirdle
Marnie Sebire
Euan Harvey
ACCORDION
FLUTES
TRUMPETS
MANDOLIN
Emma Sholl
Rosamund Plummer
Stephen Lalor*
Lamorna Nightingale*
Michael Kirgan*
John Foster
Anthony Heinrichs
Andrew Evans*
OBOES
TROMBONES
Shefali Pryor
David Papp
Alexandre Oguey
Ronald Prussing
Scott Kinmont
Christopher Harris
Principal Piccolo
Principal Cor Anglais
James Crabb*
Bold = Principal
Italic= Associate Principal
* = Guest Musician
# = Contract Musician
Principal Bass Trombone
TUBA
Steve Rossé
To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit
our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one
of our customer service representatives for a copy of our Musicians flyer.
28 | Sydney Symphony
THE SYDNEY SYMPHONY
© KEITH SAUNDERS
Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR
PATRON Her Excellency Professor Marie Bashir AC CVO
Founded in 1932 by the Australian Broadcasting
Corporation, 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 it gives more than 100 performances
each year, the Sydney Symphony also performs
in venues throughout Sydney and regional New
South Wales. International tours to Europe,
Asia and the USA have earned the orchestra
worldwide recognition for artistic excellence,
most recently in a tour of European summer
festivals, including the BBC Proms and the
Edinburgh Festival.
The Sydney Symphony’s first Chief
Conductor was Sir Eugene Goossens, appointed
in 1947; he was followed by Nicolai Malko,
Dean Dixon, Moshe Atzmon, Willem van
Otterloo, Louis Frémaux, Sir Charles Mackerras,
Zdenek Mácal, Stuart Challender, Edo de Waart
and, most recently, Gianluigi Gelmetti. The
orchestra’s history also boasts collaborations
with legendary figures such as George Szell,
Sir Thomas Beecham, Otto Klemperer and
Igor Stravinsky.
29 | Sydney Symphony
The Sydney Symphony’s award-winning
education program is central to its
commitment to the future of live symphonic
music, developing audiences and engaging
the participation of young people. The Sydney
Symphony promotes the work of Australian
composers through performances, recordings
and its commissioning program. Recent
premieres have included major works by
Ross Edwards, Liza Lim, Lee Bracegirdle and
Georges Lentz, and the orchestra’s recording of
works by Brett Dean was released on both the
BIS and Sydney Symphony Live labels.
Other releases on the Sydney Symphony Live
label, established in 2006, include performances
with Alexander Lazarev, Gianluigi Gelmetti, Sir
Charles Mackerras and Vladimir Ashkenazy.
Currently the orchestra is recording the complete
Mahler symphonies. The Sydney Symphony
has also released recordings with Ashkenazy
of Rachmaninoff and Elgar orchestral works
on the Exton/Triton labels, and numerous
recordings on the ABC Classics label.
This is the third year of Ashkenazy’s tenure
as Principal Conductor and Artistic Advisor.
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony is assisted by the
Commonwealth Government through the
Australia Council, its arts funding and
advisory body
PREMIER PARTNER
PLATINUM PARTNERS
MAJOR PARTNERS
GOLD PARTNERS
SILVER PARTNERS
REGIONAL TOUR PARTNERS
BRONZE PARTNER
MARKETING PARTNER
Emanate
2MBS 102.5 Sydney’s Fine Music Station
30 | Sydney Symphony
The Sydney Symphony is assisted by the
NSW Government through Arts NSW
PLAYING YOUR PART
The Sydney Symphony gratefully acknowledges the music lovers who donate to the
Orchestra each year. Each gift plays an important part in ensuring our continued
artistic excellence and helping to sustain important education and regional touring
programs. Please visit sydneysymphony.com/patrons for a list of all our donors,
including those who give between $100 and $499.
PLATINUM PATRONS
$20,000+
Brian Abel
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Tom Breen & Rachael Kohn
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Robert & Janet Constable
The Hon. Ashley Dawson-Damer
In memory of Hetty & Egon
Gordon
The Hansen Family
Ms Rose Herceg
James N. Kirby Foundation
Mr Andrew Kaldor & Mrs Renata
Kaldor AO
D & I Kallinikos
Justice Jane Mathews AO
Mrs Roslyn Packer AO
Greg & Kerry Paramor &
Equity Real Estate Partners
Dr John Roarty in memory of
Mrs June Roarty
Paul & Sandra Salteri
Mrs Penelope Seidler AM
Mrs W Stening
Mr Fred Street AM & Mrs Dorothy
Street
In memory of D M Thew
Mr Peter Weiss AM & Mrs Doris
Weiss
Westfield Group
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James Agapitos OAM
Mr Brian and Mrs Rosemary
White
June & Alan Woods Family
Bequest
Anonymous (1)
GOLD PATRONS
$10,000–$19,999
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Paul R. Espie
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Mrs Deirdre Greatorex
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Anonymous (1)
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$5,000–$9,999
Mr and Mrs Mark Bethwaite
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Dr Stephen Freiberg
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31 | Sydney Symphony
Mrs Gretchen M Dechert
Ian Dickson & Reg Holloway
James & Leonie Furber
Mr James Graham AM &
Mrs Helen Graham
Stephen Johns & Michele Bender
Judges of the Supreme Court
of NSW
Mr Ervin Katz
Gary Linnane
William McIlrath Charitable
Foundation
Eva & Timothy Pascoe
Rodney Rosenblum AM &
Sylvia Rosenblum
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Mrs Hedy Switzer
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Jill Wran
Anonymous (1)
BRONZE PATRONS
$2,500–$4,999
Dr Lilon Bandler
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Irwin Imhof in memory of
Herta Imhof
Mr Justin Lam
R & S Maple-Brown
Mora Maxwell
Judith McKernan
Justice George Palmer AM QC
James & Elsie Moore
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Georges & Marliese Teitler
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J F & A van Ogtrop
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Anonymous (1)
BRONZE PATRONS
$1,000–$2,499
Charles & Renee Abrams
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David Barnes
Phil & Elese Bennett
Colin Draper & Mary Jane
Brodribb
M Bulmer
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Mr John Cunningham SCM &
Mrs Margaret Cunningham
Lisa & Miro Davis
John Favaloro
Mr Ian Fenwicke & Prof Neville
Wills
Firehold Pty Ltd
Anthony Gregg & Deanne
Whittleston
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In memory of Oscar Grynberg
Mrs E Herrman
Mrs Jennifer Hershon
Barbara & John Hirst
Bill & Pam Hughes
The Hon. David Hunt AO QC &
Mrs Margaret Hunt
Dr & Mrs Michael Hunter
The Hon. Paul Keating
In Memory of Bernard M H Khaw
Jeannette King
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Macquarie Group Foundation
Melvyn Madigan
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Piatti Holdings Pty Ltd
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Anonymous (12)
BRONZE PATRONS
$500–$999
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Hon. Justice J C & Mrs Campbell
Mrs Catherine J Clark
Joan Connery OAM & Maxwell
Connery OAM
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Mrs Eva Curran
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Margaret Lederman
Martine Letts
Erna & Gerry Levy AM
Dr Winston Liauw
Sydney & Airdrie Lloyd
Carolyn & Peter Lowry OAM
Dr David Luis
Mrs M MacRae OAM
Mrs Silvana Mantellato
Geoff & Jane McClellan
Ian & Pam McGraw
Mrs Inara Merrick
Kenneth N Mitchell
Helen Morgan
Mrs Margaret Newton
Sandy Nightingale
Mr Graham North
Dr M C O’Connor AM
Mrs Rachel O’Conor
A Willmers & R Pal
Dr A J Palmer
Mr Andrew C. Patterson
Dr Kevin Pedemont
Lois & Ken Rae
Pamela Rogers
Dr Mark & Mrs Gillian Selikowitz
Mrs Diane Shteinman AM
Robyn Smiles
Rev Doug & Mrs Judith Sotheren
John & Alix Sullivan
Mr D M Swan
Ms Wendy Thompson
Prof Gordon E Wall
Ronald Walledge
David & Katrina Williams
Audrey & Michael Wilson
Mr Robert Woods
Mr & Mrs Glenn Wyss
Anonymous (11)
To find out more about becoming
a Sydney Symphony Patron please
contact the Philanthropy Office
on (02) 8215 4625 or email
philanthropy@sydneysymphony.com
MAESTRO’S CIRCLE
Andrew Kaldor & Renata Kaldor AO
Roslyn Packer AO
Penelope Seidler AM
Mr Fred Street AM & Mrs Dorothy Street
Westfield Group
Ray Wilson OAM
in memory of the late James Agapitos OAM
Peter Weiss AM – Founding President
& Doris Weiss
John C Conde AO – Chairman
Geoff & Vicki Ainsworth
Tom Breen & Rachael Kohn
The Hon. Ashley Dawson-Damer
In memory of Hetty & Egon Gordon
SYDNEY SYMPHONY LEADERSHIP ENSEMBLE
David Livingstone, CEO
Credit Suisse, Australia
Alan Fang, Chairman, Tianda Group
Macquarie Group Foundation
John Morschel, Chairman, ANZ
DIRECTORS’ CHAIRS
04
08
09
05
© KEITH SAUNDERS
07
© KEITH SAUNDERS
© KEITH SAUNDERS
06
03
© KEITH SAUNDERS
02
© KEITH SAUNDERS
© JEFF BUSBY
01
01
Richard Gill OAM
Artistic Director Education
Sandra and Paul Salteri Chair
04
Nick Byrne
Trombone
RogenSi Chair
07
Paul Goodchild
Associate Principal Trumpet
The Hansen Family Chair
02
Ronald Prussing
Principal Trombone
Industry & Investment NSW
Chair
05
Diana Doherty
Principal Oboe
Andrew Kaldor and
Renata Kaldor AO Chair
08
Catherine Hewgill
Principal Cello
Tony and Fran Meagher Chair
03
Jane Hazelwood
Viola
Veolia Environmental Services
Chair
06
Shefali Pryor
Associate Principal Oboe
Rose Herceg & Neil Lawrence
Chair
09
Emma Sholl
Associate Principal Flute
Robert and Janet Constable
Chair
We also gratefully acknowledge the following patrons:
Ruth & Bob Magid – supporting the position of Elizabeth Neville, cello
Justice Jane Mathews AO – supporting the position of Colin Piper, percussion.
For information about the Directors’ Chairs program, please call (02) 8215 4619.
32 | Sydney Symphony
BEHIND THE SCENES
Sydney Symphony Board
CHAIRMAN
John C Conde AO
Terrey Arcus AM
Ewen Crouch
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor
Irene Lee
David Livingstone
Goetz Richter
David Smithers AM
Sydney Symphony Council
Geoff Ainsworth
Andrew Andersons AO
Michael Baume AO*
Christine Bishop
Ita Buttrose AO OBE
Peter Cudlipp
John Curtis AM
Greg Daniel AM
John Della Bosca
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Donald Hazelwood AO OBE*
Dr Michael Joel AM
Simon Johnson
Yvonne Kenny AM
Gary Linnane
Amanda Love
Helen Lynch AM
Ian Macdonald*
Joan MacKenzie
David Maloney
David Malouf AO
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice
Jane Mathews AO*
Danny May
Wendy McCarthy AO
Jane Morschel
Greg Paramor
Dr Timothy Pascoe AM
Prof. Ron Penny AO
Jerome Rowley
Paul Salteri
Sandra Salteri
Juliana Schaeffer
Leo Schofield AM
Fred Stein OAM
Ivan Ungar
John van Ogtrop*
Peter Weiss AM
Anthony Whelan MBE
Rosemary White
* Regional Touring Committee member
EVERYONE HAS A STORY
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1/02/11 5:02 PM
Sydney Symphony Staff
MANAGING DIRECTOR
Rory Jeffes
DEVELOPMENT
MARKETING & MEDIA SERVICES
COORDINATOR
ORCHESTRA
MANAGEMENT
EXECUTIVE TEAM ASSISTANT
HEAD OF CORPORATE
RELATIONS
Lisa Davies-Galli
Leann Meiers
GRAPHIC DESIGNER
CORPORATE RELATIONS
EXECUTIVE
DATA ANALYST
ORCHESTRAL COORDINATOR
Julia Owens
Varsha Karnik
Georgia Stamatopoulos
DIRECTOR OF ARTISTIC
PLANNING
CORPORATE RELATIONS
EXECUTIVE
Box Office
OPERATIONS MANAGER
Peter Czornyj
Stephen Attfield
TECHNICAL MANAGER
Artistic Administration
HEAD OF PHILANTHROPY &
PUBLIC AFFAIRS
MANAGER OF BOX OFFICE SALES
& OPERATIONS
ARTISTIC
OPERATIONS
ARTISTIC ADMINISTRATION
MANAGER
Elaine Armstrong
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING ENTERPRISE
MANAGER
Philip Powers
Education Programs
EDUCATION MANAGER
Kim Waldock
ARTIST DEVELOPMENT
MANAGER
Bernie Heard
EDUCATION ASSISTANT
Rachel McLarin
Library
Caroline Sharpen
DEVELOPMENT COORDINATOR
Amelia Morgan-Hunn
SALES AND
MARKETING
DIRECTOR OF SALES &
MARKETING
Mark J Elliott
SENIOR MARKETING MANAGER,
SINGLE SALES
Penny Evans
Alison Martin
Lucy McCullough
Derek Coutts
PRODUCTION COORDINATOR
Natasha Purkiss
PRODUCTION COORDINATOR
CUSTOMER SERVICE
REPRESENTATIVES
Ian Spence
Steve Clarke – Senior
CSR
Michael Dowling
Lisa Mullineux
Derek Reed
John Robertson
Bec Sheedy
Peter Gahan
MARKETING MANAGER,
SUBSCRIPTION SALES
COMMUNICATIONS
Simon Crossley-Meates
HEAD OF COMMUNICATIONS
MARKETING MANAGER,
CLASSICAL SALES
PUBLICIST
Yvonne Zammit
Anna Cernik
Publications
LIBRARY ASSISTANT
Katrina Riddle
Victoria Grant
ONLINE MANAGER
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
LIBRARY ASSISTANT
Eve Le Gall
Yvonne Frindle
Clocktower Square, Argyle Street,
The Rocks NSW 2000
GPO Box 4972,
Sydney NSW 2001
Telephone (02) 8215 4644
Box Office (02) 8215 4600
Facsimile (02) 8215 4646
www.sydneysymphony.com
Please address all correspondence to the Publications Editor:
Email program.editor@sydneysymphony.com
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)
Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch,
Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO,
Dr Thomas (Tom) Parry AM, Mr Leo Schofield AM, Mr Evan Williams AM
EXECUTIVE MANAGEMENT
Chief Executive Officer Richard Evans
Chief Operating Officer David Antaw
Chief Financial Officer Claire Spencer
Director, Building Development & Maintenance Greg McTaggart
Director, Marketing Communications & Customer Services Victoria Doidge
Director, Venue Partners & Safety Julia Pucci
Executive Producer, SOH Presents Jonathan Bielski
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
Tim Dayman
STAGE MANAGER
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ASSISTANT ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Li Li
Katherine Stevenson
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