SEASON 2008

THE COLOUR OF TIME

Friday 22 August | 8pm

Sydney Opera House Concert Hall

David Robertson conductor and presenter

CLAUDE DEBUSSY (1862–1918)

Prélude à l’après-midi d’un faune

(Prelude to the Afternoon of a Faun)

DEBUSSY

Jeux (Games) – poème dansé

INTERVAL

OLIVIER MESSIAEN (1908–1992)

Chronochromie (Time-Colour)

Introduction –Strophe I –Antistrophe I –Strophe II –Antistrophe II –Epôde –Coda

Estimated timings:10 minutes, 17 minutes, 20-minute interval, 30 minutes.

The performance will conclude at approximately 10.05pm.

Seeing Music, Hearing Colours

I love the moment when something familiar comes alive with a fresh perspective. Sometimes a painting you have seen so often shocks you by presenting a newdetail or a song you have heard dozens of times reveals a surprising, previously unnoticed inner voice. Wehumans are extremely gifted at making connectionsand, when we bridge the apparent gap betweencontrasting ways of experiencing the world around us,the results are frequently inspiring. The beauty in acanvas by Monet or Van Gogh, the sensual excitementin the sounds composed by Debussy or Bartók becomeenchanted islands where we can all discover our ownsecret places of wonder.

In tonight’s concert presentation, the visual and auralworlds of Monet and Debussy are set side by side withprojected images and performed sounds. What I hopeyou will come away with is a renewed appreciation forthe incredible talents and mastery of both artists. Youmay even wonder how it might have resulted hadDebussy turned to painting and Monet to music. In fact, Monet almost seems to approach music’s repetitionand development of themes when he paints his famousseries of the same motif in different lights. Debussy’salmost improvisatory compositions make you feel he is capturing the music at the very moment it happens,paralleling the Impressionist painters’ attempt to render a fleeting visual experience in all its ineffablesplendour.

Although Messiaen was not closely associated withany one movement in the visual arts, his works often act as the most marvellous musical canvases for freeassociation. In Chronochromie, we find a fertile fieldwhere the composer’s experience and love of nature’slandscapes, colours and birdsong all contribute to theformation of his unique world of sound.

I hope the evening will generate some thoughts andideas for your own explorations and insights.

DAVID ROBERTSON

INTRODUCTION

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Claude Debussy (1862–1918)

Prélude à l’après-midi d’un faune

(Prelude to the Afternoon of a Faun)

Pierre Boulez once said that modern music awoke withthe premiere of Prelude to the Afternoon of a Faun. On 22 December 1894, in the Salle d’Harcourt, Paris, thefaun’s flute ushered in a new world of structure, rhythm,harmonic relations and colour, and perhaps, more thanany other single work, reoriented the development ofmusic in the succeeding century.

Debussy’s tone-poem is based on StéphaneMallarmé’s symbolist poem L’Après-midi d’un faune, of1876. Though Ballets Russes choreographer VaslavNijinsky was able to extract a storyline from Mallarmé’satmospheric verse, it was Mallarmé’s deliberatelyblurred descriptions which appealed most to Debussy inthe first place.

Those nymphs, I want to perpetuate them.So bright,

Their light rosy flesh, that it flutters in the airDrowsy with tangled slumbers.

Did I love a dream?My doubt, hoard of ancient night, draws to a closeIn many a subtle branch, which, themselves remaining truewood, prove, alas! that all alone I offeredMyself as a triumph the perfect sin of roses.

The elusiveness of Mallarmé’s text inspired Debussyin his attempt to escape the emphatic and assertivemusic of the German Romantic masters, and uncovernew means of musical narrative.

Debussy’s desire to avoid the ‘polychromatic putty’of some of the scores of 19th-century giants such asWagner can be heard in the exposure of individualinstrumental sonorities. The opening bars for exampleare left to the solo flute. A single sustained discord onclarinets and oboes followed by a weaker discord onmuted lower strings underlies a mere hint of movementfrom French horns and a fleeting wash of colour fromthe harp. Bold declamatory assertions are gone. After the opening ‘action’ there is a bar of silence. Then theminimal gestures simply resume. No concrete sense ofa beat has been established. Within four bars Debussy

ABOUT THE MUSIC

Debussy, etching by Ivan Thièle

(Paris, 1913)

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has circumvented the periodically recurring downbeat,and escaped the ‘tyranny of the barline’.

It is easy to see why Debussy allowed his music to be considered pointillistic (though this was mainlyto counter the label of Impressionism): dabs of colourpiece the opening together; there is no openingrhetorical statement. This music is not going to beargumentative, like symphonic music. More obviousoverall form does become apparent later in the piece –the work could be considered to be in a broad ternaryform with the accompanied repetition of the Faunmelody after the more ‘passionate’ middle section – but it is important to note that this form is notenunciated, as of old, by the sculptured relationship of clear-cut tonalities.

It has been claimed that Debussy alone among themusicians of his time heard the music of the Javaneseand Annamese musicians at the Paris World Exhibitionin 1889 as speaking intimately to him. Perhaps this was because he, uniquely among his European peers,was ready to conceive of a music that was free from the conventions of the symphonic tradition. Debussy’smusic, when it was first heard, was considered ‘vague’,‘insubstantial’, even ‘morbid’ – but that is anunderstandable complaint from those who have notyet adjusted to a new range of aesthetic values.

GORDON KALTON WILLIAMS, SYMPHONY AUSTRALIA ©1997EXCERPT FROM MALLARMÉ’S AFTERNOON OF A FAUNTRANSLATED BY ALAN EDWARDS

Debussy’s Prélude… calls for three flutes, two oboes, cor anglais,two clarinets and two bassoons; four horns; percussion (crotales);two harps and strings.

The Sydney Symphony first performed the Prélude… in 1941 underPercy Code, and most recently in 2005 under Gianluigi Gelmetti.

…the faun’s flute

ushered in a new

sound-world…

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Bakst’s costume design for Nijinsky’s Faun

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Debussy

Jeux (Games) – poème dansé

Jeux, Debussy’s contribution to the heyday of the BalletsRusses, is a close contemporary of Ravel’s Daphnis etChloé and Stravinsky’s Rite of Spring. Alongside thesespectacular showpieces, Jeux is relatively unknown,although composers have long considered it a landmark,prizing it precisely for the elusiveness which makes itso forward-looking. Traditional thematic and harmonicrelationships are present, but raised to a new level ofsophistication and subordinated to a dreamlike, stream-of-consciousness continuity. The orchestra is large, butthe colours are always veiled, the textures simultaneouslycomplex and weightless; Debussy described the intendedeffect as ‘an orchestra with no feet’, and a ‘colour whichseems to be lit from behind’.

For all its subtleties, the score for this ‘dance poem’is unified by one simple idea: the gradual emergence,triumph and dissolution of a waltz-like dance. Seven yearslater, Ravel took up the same structural principle, albeitin apocalyptic form, for La Valse (which Diaghilev rejectedas being fundamentally un-balletic). Despite enormousdifferences, the two works are also linked by theirsophisticated use of dance as metaphor: La Valse symbolisesthe collapse of fin-de-siècle European culture, while thewaltzes in Jeux stand for abandonment to the fleeting –perhaps transgressive – pleasures of the moment.

The initial inspiration for Vaslav Nijinsky’schoreography was a fascination with the qualities of theplayers’ movements in a game of tennis, but the titlerefers equally to the idea of love as a game. In its quietlysubversive way, the work is quintessentially anti-Romantic: here are no grand passions, only namelesscharacters in a flirtatious ménage à trois. According toNijinsky’s memoirs, the already risqué scenario is anencoded representation of a homosexual love triangle,with the two girls standing for boys (impossible to puton the stage in 1913). Regardless of these undercurrents,the prevailing mood is one of innocence and fantasy.

Jeux opens with a mysterious prelude, reminiscent ofDukas’ Sorcerer’s Apprentice, interrupted by anticipations of the dance movement that will dominate the score. The curtain rises on an empty park at nightfall.

…the waltzes in Jeuxstand for abandonment

to the fleeting –

perhaps transgressive –

pleasures of the

moment.

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Suddenly the music freezes on a high chord, followed bya rapid descent: a tennis ball lands on stage, pursued bya young man.

Two girls appear timidly. They are not yet differentiated;each dances alone briefly, but to variations of the samemusic. Discovered by the young man, they want to flee,but he convinces them to stay and begins to dance(spacious string chords introducing a languorous waltz),soon joined by one of the girls. He cajoles a kiss fromher.

Meanwhile the second girl watches mockingly. Herironic dance is the score’s only substantial passage induple time, resisting the romantic sweep of the triplemetre. However, the young man, intrigued, abandons hisfirst conquest and engages in a (musical) tussle with thesecond girl, eventually coaxing her out of duple rhythmsand into a flowing waltz led off by the horns.

Matters come to a screeching halt on high violins, asthe first girl, betrayed, bursts into tears and tries to runaway. Her friend tries to reason with her, their dialoguescored in delicate colours including solo violin andclarinets. The young man intervenes, and the waltzrhythms resume as all three begin to dance together,tentatively at first but then more and more passionately.The dance builds to an ecstatic triple kiss, set to a longdrawn-out, echoing phrase, followed by exquisitelytender music for solo strings, harps and two piccolos.

The spell is rudely broken as a second tennis ball,thrown by an unseen hand, lands at the dancers’ feet.(According to one – perhaps unreliable – informant,Nijinsky originally wanted the interruption caused byan aeroplane crashing onto the stage!) They disappear,alarmed, into the darkness, as the eerie music of the veryopening returns. This is not quite the last word, though:Debussy gently dispels the fantasy with the musicalequivalent of a bemused shrug.

ELLIOTT GYGER ©2007

Debussy’s Jeux calls for two flutes, two piccolos, three oboes, coranglais, three clarinets, bass clarinet, three bassoons andcontrabassoon (taking the sarrusophone part); four horns, fourtrumpets, three trombones and tuba; timpani and percussion(xylophone, triangle, tambourine, cymbals); two harps, celesta andstrings.

The Sydney Symphony gave the first Australian performance of Jeuxin 1951 under Eugene Goossens.

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Nijinsky in the Paris (1913) production

of Jeux. (Photograph by Charles

Gerschel)

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Olivier Messiaen (1908–1992)

Chronochromie

Introduction –Strophe I –Antistrophe I –Strophe II –Antistrophe II –Epôde –Coda

For a period of about a dozen years, from 1949 to theearly 1960s, Messiaen was not just a mentor to theyoung post-war avant-gardists: he was a major playeramongst them. His piano study Mode de valeurs etd’intensités (1949), which the 22-year-old Stockhausendescribed as ‘fantastic star music’, unleashed anuncompromising young serialist avant-garde, devoted to sweeping away every trace of the past.

For a while, Messiaen’s music seemed to followa parallel course, though with one very significantdifference: his use of birdsong. In the last movementof his work for organ, Livre d’orgue (1951), a huge,abstract rhythmic scheme was ‘coloured’ by his owntranscriptions of birdsong, and from that time on, themusic of the birds became central to his own music.Perhaps this was in part a refuge from a perceived crisis in ‘human music’ at the time, but its origins go a long way back: even in his student days, Paul Dukashad advised him to learn from birdsong. And in aconversation published in 1960, the year thatChronochromie was completed, Messiaen went so far as to comment that: ‘despite my profound admiration forthe folklore of all countries, I do not believe one canfind in any human music, however inspired, melodiesand rhythms which have the sovereign liberty ofbirdsong.’

The title Chronochromie means ‘the colour of time’,or perhaps more accurately ‘coloured time’. In hispreface to the score, Messiaen refers to a complexunderlying scheme of durations (reminiscent of theLivre d’orgue), and explains that the melodies andsonorities, drawing on birdsong from France, Sweden,Japan and Mexico, ‘are placed at the service of thedurations, which they underline by colouring them.

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Thus colour serves to make clear the cutting up of time.’But the listener’s priorities are likely to be the other wayaround: it is the sound of the orchestra, sometimesmassive, more often glittering and mercurial, thatcatches the ear, while the temporal schematics recedeinto the background. Messiaen’s orchestra is large(about 100 players), but while every player is engaged atsome point or another in the presentation of birdsong,pride of place goes to three of the six percussionists,who perform with unremitting virtuosity onglockenspiel, xylophone and marimba.

Chronochromie is in seven linked sections (Messiaentakes the unusual step of notating the interveningpauses exactly, as silent bars). The Introduction is akaleidoscope of different musics – birdsong, but alsoevocations of wind and sea – ending in a massive andastringent sort of chorale. As for the five middlesections, the terms strophe, antistrophe and epodenotionally refer to the structure of Greek choral odes,but here they merely denote two pairs of contrastedsections (strophe and antistrophe), with a final part thatleads in yet another direction. The strophes presenta dense counterpoint of birdsong in wind andpercussion, and are more or less consistent in texturethroughout, whereas the antistrophes consists of manybrief contrasting sections, in which all the instrumentsinvolved fuse together into a single ‘maxi-bird’. The Epôde – undoubtedly the most provocative partof the work, and the cause of a near-riot at one earlyperformance – is a dense 18-part counterpoint ofbirdsong, this time for solo strings (12 violins, fourviolas, two cellos). The Coda brings back thekaleidoscopic materials of the Introduction in a differentsequence, though ending with the same huge blockchords.

RICHARD TOOP ©2001

Chronochromie is scored for three flutes, piccolo, two oboes, coranglais, two clarinets, bass clarinet, E flat clarinet, and threebassoons; four horns, four trumpets, three trombones and tuba;percussion (xylophone, marimba, chimes, suspended cymbal,Chinese cymbal, tam-tam, three gongs, keyboard glockenspiel) andstrings.

The Sydney Symphony first performed Chronochromie in 1977, withHiroyuki Iwaki; and more recently in 1983 with Louis Frémaux and in 2001 with Reinbert de Leeuw.

‘I do not believe one

can find in any human

music, however

inspired, melodies and

rhythms which have

the sovereign liberty

of birdsong.’

MESSIAEN

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PRELUDE TO THE AFTERNOON OF A FAUN

Branch of the Seine, near Giverny (1897) by Claude Monet (Musée d’Orsay, Paris/Giraudon/The Bridgeman Art Library)

Monet’s paintings of the same motif under different atmospheric

conditions are inherently musical in their attempt to capture time and

fluid sensation.

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Branch of the Seine, near Giverny, Mist (1897) by Monet (Mr and Mrs Martin A Ryerson Collection, The Art Institute of Chicago)

GLOSSARY

COUNTERPOINT – two or more differentmusical lines or melodies played at thesame time.

EPODE – in ancient Greek choral odes, thethird section of the structure.

SERIALISM – serialism commonly refers to the technique (devised by ArnoldSchoenberg) of organising a musicalcomposition by means of a tone row, inwhich each of the 12 available notes in theoctave (‘black’ and ‘white’ notes) must beplayed in the given sequence before anynote can be repeated. Rows can betransposed, inverted, mirrored and so on,giving an almost limitless number of pitchcombinations. The goal in a ‘pure’ use ofthe 12-note technique is to undermineconventional tonality and to thwart theear’s natural inclination to hear tonalrelationships between different pitches.

STROPHE – the first section in an ancientGreek choral ode; the ANTISTROPHE thenfollows as the second section.

TERNARY FORM – a more or lesssymmetrical three-part structure in whichthe material of the first section returnsafter a contrasting middle section.

TONALITY – another word for referring to‘key’ in music. In Western music there aretwo main categories of scale or tonality,major and minor, which are differentiatedby the patterns of intervals between thenotes. Aurally, a major scale will sound‘brighter’ or more cheerful, while a minorscale will sound sombre or mournful(‘Happy Birthday’ is in a major key, funeralmarches are in minor keys). The keynote or main note of a scale gives it its name(e.g. C minor, a minor scale beginning onthe note C, or F major, a major scalebeginning on F).

This glossary is intended only as a quick and easyguide, not as a set of comprehensive and absolutedefinitions. Most of these terms have many subtleshades of meaning which cannot be included forreasons of space.

Claude Monet (1840–1926) in his garden (silver print, 1880) (b/w photo) attributed to Theodore Robinson (1852–96) Musée Marmottan, Paris, France / Giraudon / The Bridgeman ArtLibrary

Stéphane Mallarmé (1842–98) (b/w photo, 19th century) byFrench photographer Bibliothèque Nationale, Paris, France / Archives Charmet / The Bridgeman Art Library

Claude Debussy (1862–1918) (b/w photo) by Paul Nadar(1856–1939) Private Collection / The Bridgeman Art Library

Branch of the Seine Near Giverny (oil on canvas, 1897) byClaude Monet (1840–1926) Musée d’Orsay, Paris, France / Giraudon / The Bridgeman Art Library

Manuscript of Debussy’s L’après-midi d’un faune, 1st page

The Robert Owen Lehman Collection, on deposit at the PierpontMorgan Library, New York

Branch of the Seine Near Giverny (Mist) from the Mornings

on the Seine series (oil on canvas, 1897) by MonetMr and Mrs Martin A Ryerson Collection, The Art Institute ofChicago. Photograph ©The Art Institute of Chicago.

Morning on the Seine, Giverny (oil on canvas, 1897) by MonetMead Art Museum, Amherst College, Amherst, MA. Bequest ofSusan Dwight Bliss.

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Morning on the Seine, Giverny (oil on canvas, 1897) by MonetMuseum of Fine Arts, Boston

Morning on the Seine, near Giverny (oil on canvas, 1897) by MonetThe Metropolitan Museum of Art / Art Resource / Scala, Florence

The Seine at Giverny, Morning Mists (oil on canvas) by MonetNorth Carolina Museum of Art, Raleigh, Purchased with funds from the Sarah Graham Kenan Foundation and the NorthCarolina State Art Society (Robert F. Phifer Bequest).

Three panels from Water Lilies (oil on canvas, 1920) by MonetPhotograph SCALA, Florence ©2008. Image ©The MetropolitanMuseum of Art / Art Resource / Scala, Florence

Gamelan Orchestra in Java, Indonesia (photograph)©J Highet / Lebrecht Music and Arts

‘The Second Coming of Christ’ – Rose Window from the

south transept of Chartres Cathedral

Photograph: akg-images / Erich Lessing

Polar Red by Sam FrancisLicensed by VISCOPY, Australia, 2008

Blue Poles by Jackson PollockLicensed by VISCOPY, Australia, 2008

Do-Do-Do by Yves KleinLicensed by VISCOPY, Australia, 2008

Image Credits

Production CreditsStephanie Mirow, Producer/Image researchRaff Wilson, Supervising producerInteractive Originals, Image design and production

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MORE MUSIC

Selected Discography

DAVID ROBERTSON

Acclaimed for his performances of 20th-centuryrepertoire, David Roberton’s discography includes:

Bartók: The Miraculous Mandarin

Lyon National Orchestra and Chorus perform Bartók’sstunning ballet score. Also on the disc: Dance Suite for orchestra and Four Pieces for orchestra.HARMONIA MUNDI 901777

Boulez: Rituel in memoriam Bruno Maderna

This all-Boulez disc with the Lyon National Orchestraalso includes Notations for orchestra.NAIVE 82163

DEBUSSY

Pierre Boulez’s 1993 Grammy-nominated recording of Jeux with the Cleveland Orchestra is a benchmark.Also on this recording: La Mer, the Nocturnes, and the Première Rhapsodie for clarinet and orchestra, with the Cleveland Orchestra’s Franklin Cohen assoloist.DEUTSCHE GRAMMOPHON 439896

Boulez’s recording of Prélude à l’après-midi d’un faunewith the New Philharmonia Orchestra can be found on a 2-CD set of Debussy’s orchestral works. This setalso includes Jeux (also with the New Philharmonia).SONY 68327

Both Jeux and the Prélude… are available in anexcellent Philips Duo release that includes most ofDebussy’s orchestral music. The orchestra is the Royal Concertgebouw and Bernard Haitink is theconductor. Also in the collection is La Mer, Imagesfor orchestra, and the three Nocturnes, as well as theconcertante works featuring harp and clarinet.PHILIPS 438742

MESSIAEN

Boulez’s recording of Chronochromie with theCleveland Orchestra is matched with La ville d’en hautand Et exspecto resurrectionem mortuorum.DEUTSCHE GRAMMOPHON 445827

SEPTEMBER

5 September, 8pmGRIEG’S PIANO CONCERTO

Eivind Gullberg Jensen conductorGabriela Montero pianoGrainger, Grieg, Honegger

9 September, 8pmSYMPHONY AUSTRALIA

YOUNG PERFORMERS AWARDS

STAGE III FINAL – STRINGS

Adelaide Symphony OrchestraVladimir Verbitsky conductorInclude Sydney Symphony double bassDavid Campbell performing Bottesini’s Double Bass Concerto No.2 in B minor

20 September, 8pmGELMETTI’S FAREWELL

Gianluigi Gelmetti conductorBeethoven, Wagner, Verdi, Mascagni, Verdi, Ravel

24 September, 1.05pmWEST SIDE STORY

Wayne Marshall conductorGoldmark, Bernstein

27 September, 8pmMOZART & GRIEG

Michael Dauth violin-directorJasminka Stancul pianoGrieg, Mozart, Bridge

Broadcast Diary

Selected Sydney Symphony concerts are recorded forwebcast by BigPond and are available On Demand.Visit: sydneysymphony.bigpondmusic.comJuly webcast:MAHLER 1

Available On Demand

sydneysymphony.com

Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.

2MBS-FM 102.5

SYDNEY SYMPHONY 2008

Tue 9 September, 6pm

What’s on in concerts, with interviews and music.

Webcast Diary

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JEUX (GAMES)

The rich variety in Monet’s Water Lilies is composed through careful

observation and blending of the same few elements. In Debussy’s Jeuxthe complex musical textures are created out of the interaction of a small

number of ideas which are in constant flux.

Central panel from Water Lilies by Monet (Metropolitan Musem of Art/SCALA, Florence)

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CHRONOCHROMIE (TIME-COLOUR)

‘The Second Coming of Christ’ – Rose Window from the south transept of Chartres Cathedral (akg-images/Erich Lessing)

Messiaen was both profoundly religious and blessed with synæsthesia,

so when he observed a stained glass window, it sounded to him like the

music of light.

ABOUT THE ARTIST

David Robertson conductor and presenter

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ODavid Robertson is currently Music Director of the St Louis Symphony Orchestra and Principal GuestConductor of the BBC Symphony. He was the firstartist ever to simultaneously hold the posts of MusicDirector of the Orchestre National de Lyon and ArtisticDirector of that city’s Auditorium (2000–2004). From1992 to 2000 he was Music Director of the Paris-basedEnsemble Intercontemporain. David Robertsoncontinues to guest conduct nationally andinternationally. Additional credits have included theLondon Symphony Orchestra, Orchestre de Paris, andNHK Symphony, among others. In North America, heregularly guest conducts the New York Philharmonic,Chicago Symphony Orchestra, Philadelphia Orchestra,and San Francisco Symphony. With over 45 operas in his repertoire, his opera house credits include theMetropolitan Opera, La Scala, Opéra de Lyon, BavarianState Opera, Théâtre du Châtelet, Hamburg State Operaand San Francisco Opera.

Born in Santa Monica, California, David Robertsonwas educated at London’s Royal Academy of Music,where he studied French horn and composition beforeturning to conducting. He is the recipient of ColumbiaUniversity’s 2006 Ditson Conductor’s Award, and he and the St Louis Symphony received the ASCAP MortonGould Award for Innovative Programming for the2005–06 season from the American Symphony OrchestraLeague. Musical America named him Conductor of theYear for 2000.

David Robertson is credited with creating and leading many outreach programs with the EnsembleIntercontemporain and Orchestre National de Lyon,and has worked with students at the Paris Conservatory,Juilliard, Tanglewood, the National Orchestra Institute in Maryland, Aspen Music Festival and as part ofCarnegie Hall’s Perspective series. His recordings includeworks by composers such as Adams, Bartók, Boulez,Carter, Dusapin, Dvorák, Ginastera, Lalo, Milhaud,Reich, Saint-Saëns, and Silvestrov.

David Robertson first conducted the SydneySymphony in 2003, and most recently in 2006.

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THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Last year theOrchestra celebrated its 75th anniversaryand the milestone achievements duringits distinguished history.

Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.

Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon,Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, a positionhe holds in tandem with that of MusicDirector at Rome Opera. Maestro Gelmetti’sparticularly strong rapport with Frenchand German repertoire is complementedby his innovative programming in theShock of the New concerts.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonyalso maintains an active commissioningprogram promoting the work ofAustralian composers, and recentpremieres have included major works byRoss Edwards and Brett Dean, as well asLiza Lim, who was composer-in-residencefrom 2004 to 2006.

In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.

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PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales

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MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13 14

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate Concertmaster

03 Kirsty HiltonAssistant Concertmaster

04 Fiona ZieglerAssistant Concertmaster

05 Julie Batty06 Sophie Cole07 Amber Gunther08 Rosalind Horton09 Jennifer Hoy10 Jennifer Johnson11 Georges Lentz12 Nicola Lewis13 Alexandra Mitchell

Moon Design Chair of Violin14 Léone Ziegler

Second Violins

01 Marina MarsdenPrincipal

02 Emma WestA/Associate Principal

03 Shuti HuangA/Assistant Principal

04 Susan DobbiePrincipal Emeritus

05 Pieter Bersée06 Maria Durek07 Emma Hayes08 Stan W Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Leigh Middenway First Violin

Michele O’Young First Violin

Emily Qin First Violin#

Martin Silverton First Violin

Manu Berkeljon Second Violin†

Rohana Brown Second Violin

Alexandra D’Elia Second Violin#

Belinda Jezek Second Violin

Alexander Norton Second Violin#

Jacqueline Cronin Viola#

Jennifer Curl Viola#

Tahlia Petrosian Viola

Minah Choe Cello

Rowena Crouch Cello#

Anna Rex Cello

Timothy Walden Cello

Lauren Brandon Double Bass

Jill Griffiths Double Bass

Gordon Hill Double Bass#

Ann Peck Oboe

Robert Llewellyn Bassoon#

Joshua Clarke Trumpet

Ian Cleworth Percussion

Timothy Constable Percussion

Philip South Percussion

Miriam Lawson Harp

# = Contract Musician† = Sydney Symphony

Fellow

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council

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08Cellos

09 10 11 01 02 03

01Violas

02 03 04 05 06 07

04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

Harp01 Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe

Cellos

01 Catherine Hewgill Mr Tony & Mrs Frances Meagher Chair of Principal Cello

02 Nathan Waks Principal

03 Leah LynnAssistant Principal

04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Neil BrawleyPrincipal Emeritus

04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Gordon Hill(contract, courtesy Auckland Philharmonia)

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal

25 | Sydney Symphony

Cor Anglais Clarinets Bass Clarinet

Oboes

01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Euan Harvey06 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet

03 John Foster04 Anthony Heinrichs

Trombone

01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipal

02 Adam JeffreyAssistant Principal Timpani/Tutti Percussion

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 06 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

02

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE

PRINCIPAL PARTNER

PLATINUM PARTNER

MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS

26 | Sydney Symphony

27 | Sydney Symphony

The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Austrian National Tourist Office

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please call (02) 8215 4619.

01 02 03 04 05

06 07 08 09 10

11 12

DIRECTORS’ CHAIRS

01Mulpha Australia Chair of Principal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul SalteriChair of Artistic DirectorEducation, Richard Gill OAM

04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris

05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing

06Brian and Rosemary White Chair of Principal DoubleBass, Kees Boersma

07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding

08Gerald Tapper, Managing Director RogenSi withRogenSi Chair of Trombone, Nick Byrne

09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell

10Andrew Kaldor and RenataKaldor AO Chair of PrincipalOboe, Diana Doherty

GR

EG B

AR

RET

T

KEI

TH S

AU

ND

ERS

13

KEI

TH S

AU

ND

ERS

11Andrew Turner and VivianChang Chair of PrincipalViola and Artistic Director,Fellowship Program, Roger Benedict

12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild

13 Mr Tony & Mrs FrancesMeagher Chair of PrincipalCello, Catherine Hewgill

28 | Sydney Symphony

29 | Sydney Symphony

Mrs Catherine Gaskin Cornberg§Jen Cornish °Mr Stan Costigan AO &

Mrs Mary Costigan °*Mr Michael Crouch AO *M Danos °Lisa & Miro Davis *Joan De Hamel °Mr Peter & Mrs Mary Doyle °*Mr Colin DraperMrs Francine J Epstein °Mr and Mrs David Feetham Mr Steve GillettIn memory of Angelica Green §Dr & Mrs C Goldschmidt §Beth Harpley *Mr Ken Hawkings °*Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Doctor Faith M Jones §Mr Noel Keen *Mrs Jannette King *Iven & Sylvia Klineberg *Dr Barry LandaDr & Mrs Leo Leader °Margaret Lederman §Ms A Le Marchant *Mr Joseph Lipski °*Mrs A Lohan *Mr James McCarthy *Mr Matthew McInnes §Ms Julie Manfredi-HughesMs J Millard *‡Helen Morgan *Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A Oppen §Mrs S D O’TooleMrs Roslyn Packer AO °Mr Tom PascarellaDr Kevin Pedemont *Mr & Mrs Michael Potts Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol

Reid §Mr M D Salamon §In Memory of H St P Scarlett §Mr John Scott °William Sewell *‡Dr John Sivewright &

Ms Kerrie Kemp ‡Margaret Suthers °Mrs Elizabeth F Tocque °*Mr & Mrs Richard Toltz °Mr Andrew & Mrs Isolde

TornyaRonald Walledge °Louise Walsh & David Jordan °Mrs Lucille Warth ‡Mrs Christine WenkartA Willmers & R Pal °‡Dr Richard Wing §Mr Robert Woods *Jill WranMiss Jenny Wu Mrs R Yabsley °§Anonymous (31)

PLAYING YOUR PART

MaestriBrian Abel & the late Ben

Gannon AO °Geoff & Vicki Ainsworth *Mrs Antoinette Albert §Mr Robert O Albert AO *‡Mr Terrey & Mrs Anne Arcus §†Alan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§†Mr John Curtis §Eric Dodd†Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*In memory of Hetty Gordon §Mr Harcourt Gough §Mr James Gragam AM &

Mrs Helen Graham †Mr David Greatorex AO &

Mrs Deirdre Greatorex §The Hansen Family §Mr Stephen Johns §†Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mrs T Merewether OAM &

the late Mr EJ Merewether Mr James & Mrs Elsie Moore °Mr B G O’Conor °§The Paramor Family *The Ian Potter Foundation °Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Dr John Roarty in memory of

Mrs June RoartyRodney Rosenblum AM &

Sylvia Rosenblum *Mr Paul & Mrs Sandra Salteri °†David Smithers AM & Family °§Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (2) *

VirtuosiMr Roger Allen & Mrs Maggie

GrayMr Charles Barran §Ms Jan Bowen °§Mr Robert & Mrs L Alison Carr §Mrs Emily Chang §Mr Bob & Mrs Julie Clampett °§Mr Greg Daniel Ian Dickson & Reg Holloway°

Mr Ross Grant †Mr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM Helen Lynch AM & Helen Bauer°Mr & Mrs David Milman §The Perini Family FoundationMrs Helen Selle §Ms Ann Sherry AO °Ms Gabrielle Trainor °In memory of Dr William &

Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1)

SoliMr David Barnes °Mr Anthony Berg AMMr Alexander & Mrs Vera

Boyarsky §Mr Peter Coates Ms Elise Fairbairn-SmithMr Robert Gay §Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mr Philip Isaacs OAM °§Mr Bob Longwell Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Mrs Mora Maxwell °§Mr and Mrs John van OgtropMs Robin Potter °§Ms Julie Taylor ‡Mr Geoff Wood & Ms Melissa

Waites †Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (6)

TuttiRichard Ackland °Mr C R Adamson §Mr Henri W Aram OAM §Mrs Joan Barnes °Doug & Alison Battersby °Mr Stephen J Bell *‡Mr Phil Bennett Nicole Berger *Mr Mark BethwaiteGabrielle Blackstock °‡Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §A I Butchart °*Debby Cramer & Bill Caukill §Joan Connery OAM °§Mr & Mrs R Constable °‡Mr John Cunningham SCM &

Mrs Margaret Cunningham °§Mrs Ashley Dawson-Damer °Mr & Mrs J B Fairfax AM §Mr Russell Farr Mr Ian Fenwicke & Prof Neville

Wills §Anthony Gregg & Deanne

Whittleston ‡Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr Charles Hanna †Rev H & Mrs M Herbert °*Mr A & Mrs L Heyko-Porebski°

Dr & Mrs Michael Hunter §Ms Judy JoyeMr & Mrs E Katz §Mrs Margaret Keogh °*Miss Anna-Lisa Klettenberg §Mr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §Dr Garth Leslie °*Erna & Gerry Levy AM §Mrs Belinda Lim & Mr Arti Ortis §Mr Gary Linnane °§Mr & Mrs S C Lloyd °Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM °Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee Markovic °§Wendy McCarthy AO °Mr Ian & Mrs Pam McGaw *Mrs Barbara McNulty OBE §Kate & Peter Mason °†Justice Jane Matthews §Ms Margaret Moore & Dr Paul

Hutchins *Mr Robert Orrell °Mrs Jill Pain ‡Timothy & Eva Pascoe §Ms Patricia Payn °§Mrs Almitt PiattiMr Adrian & Mrs Dairneen Pilton Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Pamela Rogers °‡Mr Brian Russell & Mrs Irina

SinglemanMs Juliana Schaeffer §Robyn Smiles §The Hon. Warwick SmithDerek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Michael and Mrs Georgina

SuttorMr Georges & Mrs Marliese

Teitler §Dr Heng & Mrs Cilla Tey §Mr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Merle Turkington °Mrs Kathleen Tutton §Ms Mary Vallentine AO §Henry & Ruth WeinbergAudrey & Michael Wilson °Anonymous (14)

Supporters over $500Ms Madeleine AdamsPTW Architects §Mr John Azarias Mr Chris & Mrs Mary Barrett °Ms Wendy BlackBlack CommunicationsMr G D Bolton °Dr & Mrs Hannes Boshoff §M BulmerHugh & Hilary Cairns *Ms C Cathels °Marty Cameron §Hon. Justice J C & Mrs

Campbell °*Mr Brian CaseyMr B & Mrs M Coles °Dr Malcolm Colley °

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 givingopportunities, please call (02) 8215 4619.

° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter † Italian Tour supporter

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace 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.

30 | Sydney Symphony

Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Matthews AO*Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen Pearse

Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna SchaefferLeo Schofield AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC

Minister for Primary Industries, Energy, MineralResources and State Development

Dr Richard Sheldrake Director-General, Department of Primary Industries

Mark Duffy Director-General, Department of Water and Energy

Colin Bloomfield Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBilliton

Romy Meerkin Regional Express Airlines

Peter Freyberg Xstrata

Tony McPaul Cadia Valley Operations

Terry Charlton Snowy Hydro

Sivea Pascale St.George Bank

Paul Mitchell Telstra

John Azarias Deloitte Foundation

Greg Jones

Peter King Royal Agricultural Society

Gerard Lawson Sunrice

Grant Cochrane The Land

Sydney Symphony Staff

MANAGING DIRECTOR

Libby ChristieEXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff WilsonARTIST LIAISON MANAGER

Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR

Lisa Davies-GalliADMINISTRATION ASSISTANT

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret MooreEDUCATION COORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Development

CORPORATE RELATIONS MANAGER

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Seleena SemosDEVELOPMENT EXECUTIVE

Kylie Anania

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

Public Relations

PUBLIC RELATIONS MANAGER

Yvonne ZammitPUBLICIST

Stuart Fyfe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark Elliott

Customer Relations

MARKETING MANAGER – CRM

Rebecca MacFarlingDATA & ONLINE TECHNOLOGY MANAGER

Marko LångONLINE MANAGER

Kate Taylor

Marketing Communications

MARKETING MANAGER – TRADITIONALMARKETS

Simon Crossley-MeatesMARKETING MANAGER – NEW MARKETS& RECORDINGS

Penny EvansMARKETING COORDINATOR

Antonia Farrugia

Box Office

BOX OFFICE MANAGER

Lynn McLaughlinBOX OFFICE COORDINATOR

Peter GahanCUSTOMER SERVICE REPRESENTATIVES

Michael DowlingErich GockelNatasha Purkiss

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRAMANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Greg LowTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian Spence

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTS ASSISTANT

Li LiOFFICE ADMINISTRATOR

Rebecca WhittingtonPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

COMMERCIAL ENTERPRISES

COMMERCIAL ENTERPRISES MANAGER

David PrattRECORDING ENTERPRISES EXECUTIVE

Philip Powers

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EXECUTIVE CHAIRMAN

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EDITORIAL DIRECTOR

Jocelyn Nebenzahl

By arrangement with the Sydney Symphony, this publication isoffered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out orotherwise circulated without the publisher’s consent in writing.It is a further condition that this publication shall not be circulatedin any form of binding or cover than that in which it was published,or distributed at any other event than specified on the title page ofthis publication.

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SYMPHONY AUSTRALIA LIMITED

Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007GPO Box 9994, Sydney NSW 2001Telephone (02) 8333 1651Facsimile (02) 8333 1678

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

Please address all correspondence to the Publications Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email program.editor@sydneysymphony.com

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO

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Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

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