WELCOME TO THE Boo… · Welcome to this evening’s concert at the Sydney Opera House. Often we listen to classical music to ‘unwind’ and ‘relax’, but this promises to be

Welcome to this evening’s concert at the Sydney Opera House. Often we listen to classical music to ‘unwind’ and ‘relax’, but this promises to be one of those programs where the excitement and sheer energy of classical music comes to the fore.

We’re thrilled to be welcoming Roy Goodman to Sydney for his debut with the orchestra. As a baroque specialist, he’ll bring genuine insight to the music by Bach and Handel as well as the baroque-inspired Concerto for double string orchestra by Michael Tippett. And cellist Jian Wang makes a welcome return to the Sydney Opera House stage after his impressive performances of the Elgar Cello Concerto here in 2008.

With one of the most recognised names in the energy industry, and with more than 1.4 million customers in NSW, the ACT, Victoria and Queensland, we are proud to be associated with the Sydney Symphony, and we’re very excited to be linked to the orchestra’s fl agship Master Series.

We trust that you will enjoy tonight’s performance and look forward to seeing you at future concerts in the EnergyAustralia Master Series throughout the year.

George MaltabarowManaging Director

WELCOME TO THE ENERGYAUSTRALIA MASTER SERIES

2010 SEASON ENERGYAUSTRALIA MASTER SERIESWednesday 14 April | 8pmFriday 16 April | 8pmSaturday 17 April | 8pmSydney Opera House Concert Hall

PYROTECHNICARoy Goodman conductorJian Wang cello

JOHANN SEBASTIAN BACH (1685–1750)Orchestral Suite No.4 in D, BWV1069OuvertüreBourrée I and IIGavotteMenuett I and IIRéjouissance

EDOUARD LALO (1823–1892)Cello Concerto in D minorPrelude (Lento – Allegro maestoso)Intermezzo (Andantino con moto – Allegro presto)Introduction (Andante) – Allegro vivace

INTERVAL

MICHAEL TIPPETT (1905–1998)Concerto for Double String OrchestraAllegro con brioAdagio cantabileAllegro molto

GEORGE FRIDERIC HANDEL (1685–1759)Music for the Royal FireworksOuverture (Adagio – [Allegro] – Lentement – Allegro)BourréeLa Paix (Largo alla Siciliana)La Réjouissance (Allegro)Menuet I and I

PRESENTING PARTNER

Saturday night’s performance will be broadcast live across Australia on ABC Classic FM.

Pre-concert talk by Robert Johnson at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 20 minutes, 26 minutes, 20-minute interval, 24 minutes, 20 minutesThe concert will conclude at approximately 10pm.

6 | Sydney Symphony

PRIVATE COLLECTION / THE BRIDGEMAN ART LIBRARY

A View of the Fireworks and Illuminations at his grace the Duke of Richmond’s at Whitehall and on the River Thames, on Monday 15 May 1749 (coloured engraving, 18th century).

The Duke’s party was to entertain the Duke of Modena, as well as to celebrate the peace treaty of Aix-la-Chapelle. According to art historian Rosemary Baird, the Duke of Richmond used fi reworks which had been intended for the King’s own celebration of the treaty, three weeks earlier (for which Handel’s Royal Fireworks Music had been commissioned and performed). The fi reworks had been drenched by rain and failed to ignite; the enterprising Duke purchased them, dried them out, and used them for his own illuminations.

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7 | Sydney Symphony

INTRODUCTION

Pyrotechnica

This concert is framed by two baroque suites for orchestra. The mood is festive and the clues are in the music: Bach’s suite introduces the military brilliance of trumpets and drums in their preferred key of D major; Handel’s Royal Fireworks Music, also in D, was designed for a noisy outdoor celebration, with plenty of oboes, bassoons, horns, trumpets, and more drums. There’s another clue: both suites include a movement called ‘Réjouissance’ – rejoicing.

We don’t know the occasion of Bach’s orchestral suite, but the circumstances surrounding Handel’s have become famous: a royal celebration, a fi reworks display and a few mishaps. The music has become famous too, not least because it’s so exhilarating. Handel knew exactly what kind of music was required for 18th-century pyrotechnics.

In a typical concert program the metaphorical pyrotechnics are to be found in the concerto, where the soloist has a chance to display brilliant technique as well as musical artistry. Lalo’s Cello Concerto is more singing in character than fl ashy, but even so, its fi nale is music for a true virtuoso. The whole concerto has a French elegance to complement the French infl uences of the two baroque works.

Tippett’s concerto is not for a soloist but for the orchestra – for two orchestras in fact. His use of the double orchestra allows him to pursue an almost baroque intricacy of texture, with ten independent parts weaving together. The eff ect is a richness of sound in music that’s vibrant and full of energy – dazzling in its own way.

PLEASE SHARE YOUR PROGRAM

To conserve costs and reduce our environmental footprint, we ask that you share your program with your companions, one between two. You are welcome to take an additional copy at the end of the concert if there are programs left over, but please share during the performance so that no one is left without a program.

If you don’t wish to take your program home with you, please leave it in the foyer (not in the auditorium) at the end of the concert so it can be reused at the next performance.

All our free programs can be downloaded from: www.sydneysymphony.com/program_library

Visit www.sydneysymphony.com.au/eamusic to download music from the Masters Series for your listening pleasure, courtesy of EnergyAustralia.

8 | Sydney Symphony

Keynotes

BACH

Born Eisenach, 1685Died Leipzig, 1750

In his lifetime Johann Sebastian Bach was renowned fi rst as an organist. He never left Germany, although as a young man he journeyed more than 200 miles on foot to hear the great organist-composer Dietrich Buxtehude, and his professional appointments took him to Arnstadt, Weimar, Cöthen and Leipzig. In the century after his death his name was kept alive by enthusiasts, and then – spurred in part by Mendelssohn’s revival of the Matthew Passion – he gained new and enduring fame as a great master of the Baroque era.

ORCHESTRAL SUITE NO.4

It’s thought that Bach’s orchestral suites were composed, or substantially revised, in Leipzig, where he had access to the excellent instrumentalists of the Collegium Musicum. The suites use different ensembles (the second features a solo fl ute) and the addition of trumpets and drums in the fourth suite suggests it may have been used for a ceremonial occasion. It begins with an overture in the French style (majestic music alternating with brilliant fast music), followed by a suite of four dance movements: a pair of running bourrées, the calmly measured gavotte, two sophisticated minuets, and a ‘rejoicing’ polonaise that restores the ceremonial mood of the opening.

Johann Sebastian BachOrchestral Suite No.4 in D, BWV1069

OuvertüreBourrée I and IIGavotteMenuett I and IIRéjouissance

Very little is known about the origins of Bach’s four orchestral suites. For many years, it was commonly believed that they dated from his time at Cöthen (1717–1723), largely because Bach’s situation there was so ideal for the composition of instrumental music: Prince Leopold of Cöthen was a great music lover, but also a Calvinist, so there was little call for church music and certainly no requirement for Bach to produce a new cantata every few weeks, as would be the case when he moved to Leipzig. But more recent studies, looking at original sources and the way Bach’s style gradually evolved over the years of his composing life, have come to the conclusion that the orchestral suites were actually written in Leipzig, or at least heavily revised there.

Despite the heavy workload associated with his position as Kantor of the Thomasschule and Musical Director for the whole of Leipzig, Bach in 1729 took on the responsibility of directing the Collegium Musicum, a voluntary association of professional musicians and university students which gave regular weekly public concerts. This was after six years of concentrated work producing sacred music, for authorities who consistently refused to place at his disposal the professional instrumentalists needed to do justice to his cantatas – the added workload must have seemed to Bach more of a relief than a burden!

The Collegium Musicum performed on Fridays between 8 and 10pm at the coff ee house of Gottfried Zimmermann; in summer, the concerts took place outdoors in his garden outside the city walls, on Wednesdays from 4 till 6. The Collegium also gave extra performances on special occasions. No programs survive to tell us how the concerts were constructed or what repertoire would have been performed there, but there are performing parts which indicate that the orchestral suites were among the works presented, along with violin and harpsichord concertos and fl ute sonatas, and works by Handel, Telemann and Bach’s cousin Johann Ludwig.

ABOUT THE MUSIC

9 | Sydney Symphony

The four orchestral suites would appear to have been written at diff erent times over a span of some 14 years, and were not intended as a set. Despite the numbering, No.4 is not the last of the four but was probably conceived second. (Its opening movement had been used by Bach for the initial chorus of his Cantata No.110, Unser Mund sei voll Lachen, written for Christmas 1725, but he didn’t fi nish his revised version of the suite until 1741.) The inclusion of trumpets and timpani in this suite suggest a public, ceremonial occasion in the open air.

Bach called the suites ‘Ouvertüren’ or Overtures, after the fi rst movement, which in each case is an overture in the French style. The French overture had been perfected by Jean-Baptiste Lully in the opera and ballet music he had composed for the court of Louis XIV, the Sun King (1643–1715). The form was quite regular: a slow, majestic fi rst section featuring dotted rhythms followed by a fast fugal section. (The overture of Handel’s Messiah is a well-known example of the contrast between these two musical styles.) A French overture would then close with a return to the slow dotted rhythms of the opening section.

In the French suite, the ouvertüre would be followed by a series of dances: minuets, gavottes, gigues, rondeaux, sarabandes… Bach’s orchestral suites follow this pattern, but he gives his French dances a hint of Italian fl avour, especially in his use of instruments. Thus in Suite No.4, he often treats the brass, woodwind and strings as independent ‘bands’ which can be set against each other in an antiphonal style, as in Bourrée I, or used selectively to create contrasts of textures, as in Bourrée II (which omits the brass and percussion), Menuett II (which is just for the strings), and a rustic-sounding passage for woodwind quartet (three oboes and bassoon) in the fast section of the Ouvertüre.

The bourrée was rhythmically speaking the least complex of all the French Baroque dances. Often marked ‘gay’ or ‘joyful’ or to be played ‘lightly’, it expresses what Baroque dance experts Meredith Little and Natalie Jenne have described as ‘a genuine, aristocratic joie de vivre’. Bach gives us a pair of bourrées, the second running straight on after the fi rst without a break. Bourrée II features an extraordinary virtuoso passage for the bassoon, which keeps up its fl ow of quavers almost without stopping until the end of the movement. Bourrée I is then repeated; this A–B–A pattern of paired dance movements was a common French practice (which has come down to us in the context of the Classical minuet with its central trio section).

Bach gives his French dances a hint of Italian fl avour…

11 | Sydney Symphony

The gavotte was a dance characterised above all by the ideals of regularity, proportion and a calm balance. Here Bach gives us a stately but joyful dance, spiced with frequent Italianate syncopations, or disruptions of the beat. His two Menuetts (paired A–B–A like the earlier Bourrées) also feature syncopation, often decorating the cross-rhythms with trills. The suite closes with a Réjouissance, literally a ‘rejoicing’: this one is in the style of a polonaise, the 18th-century French take on a Polish dance style used for ceremonial processions.

NATALIE SHEASYMPHONY AUSTRALIA ©2004

Bach’s Orchestral Suite No.4 calls for three oboes, bassoon, three trumpets, timpani, continuo and strings.

The Sydney Symphony fi rst performed this suite in 1950 at a Bach bicentenary concert conducted by Eugene Goossens, and most recently in 1971 with Fritz Rieger.

View of Bach’s Leipzig from Richter’s Coffee Garden (pictured on the title page of a 1736 song book). The St Thomas Church where Bach worked can be seen in the distance.


Keynotes

LALO

Born Lille, 1823Died Paris, 1892

Nowadays, Edouard Lalo is known primarily for two works: the Symphonie espagnole for violin and orchestra (last performed by the Sydney Symphony in 1998) and his cello concerto. But during his lifetime he was an infl uential fi gure in French music. Debussy, for example, admired his ballet Namouna (and supposedly clapped so enthusiastically he was asked to leave the theatre). His style had affi nities with the German tradition, and much of its appeal lies in its often vibrant and straightforward character.

CELLO CONCERTO

Lalo’s Cello Concerto begins in a striking way: the cello presents the majestic main theme against loud chords from the full orchestra before moving into the faster main part of the fi rst movement. The middle movement (Intermezzo) combines aspects of a lyrical slow movement – tenderly mournful – with more playful music in a Spanish style. (At this point commentators often draw attention to Lalo’s Spanish ancestry, even though his family had settled in Flanders during the 16th century.) The fi nale begins slowly before introducing the spirited main theme that recurs throughout.

The concerto was fi rst performed in 1877 by cellist Adolphe Fischer.

Edouard LaloCello Concerto in D minor

Prelude (Lento – Allegro maestoso)Intermezzo (Andantino con moto – Allegro presto) Introduction (Andante) – Allegro vivace

Jian Wang cello

The fi rst audiences may have been intrigued by the portentous orchestral beginning of this concerto, wondering how the cello, whose voice is not proportional to its size, would be able to compete. In Pasdeloup’s ‘Concerts populaires’, in Paris, where the fi rst performance was given on 9 December 1877, the public may also have expected a sequel to Lalo’s Symphonie espagnole, a display piece for the famous Spanish violinist Sarasate which had been Lalo’s fi rst great, indeed sensational, success, in 1875. The Cello Concerto was not quite another Symphonie espagnole, but eff ective enough to have stayed in the repertoire of most cellists, and is the only other work by Lalo regularly performed (the ballet Namouna and the opera Le Roy d’Ys, with its Aubade for tenor, notwithstanding).

The 19th century is not replete with memorable cello concertos, and until Dvorák’s (1895), the major contribution was French – Saint-Saëns’s First Concerto preceded Lalo by four years. Lalo’s concerto is one proof that Dvorák was not the fi rst to solve the problem of pitting cello against orchestra. Dvorák’s solution is wonderful, but Lalo’s is deft too. For example, that portentous opening presages giving the ‘big’ statements to the orchestra, so that the cello can have opportunities to sing.

‘Sing’ is the right word, because the relations of cello and accompanying orchestra, and the layout of the work, evoke the ‘scena’ for singer and orchestra, with the singer replaced by an instrument. Lalo calls his fi rst movement ‘Prelude’, recalling the same name given by Max Bruch to the opening of his Violin Concerto in G minor, premiered in 1868 (and soon taken up by Sarasate). It was German composers who did most to develop the concerto genre in the 19th century, and ‘behind’ Lalo is not only Bruch, but also Mendelssohn in his violin concerto, and Spohr’s Eighth Violin Concerto of 1816, played without pause ‘in the manner of a vocal scena’. Schumann’s Cello Concerto of 1850 is like these concertos in the continuity of its movements, and would have been known to Lalo. He was


one of the post-1870 generation of composers who sought to enrich the instrumental repertoire in France, and looked to German models for guidance.

Lalo’s opening, then, can be heard as an analogue of the singer’s dramatic recitative, punctuated by orchestral chords. There is a close relationship between the melodic material the cello presents here and the theme of the Allegro maestoso that follows, played strenuously by the soloist against off beat sforzando chords from the full orchestra. Relaxation comes with a beautiful theme in the cello’s high, expressive, tenor range, fl oating over rich harmonies and delicate colouristic splashes from the fl utes. A modifi ed version of the recitative-like opening brings on the reprise, where the powerful fi rst subject is delayed.

In the second movement, Intermezzo, the form recalls the alternating combination of scherzo character and slow movement sometimes found in Schumann and, following him, Brahms. Twice a sad, plaintive melody for the soloist, introduced by muted strings, is succeeded by a swift music in double time. Over constant plucked chords and a pattern for fl utes, the cello plays with a set of motifs, almost seeming to improvise. The folkloric character of this episode has been related to Lalo’s (distant) Spanish ancestry – the accompaniment is guitar-like – and more to the point, recalls the Symphonie espagnole.

Without a break the cello resumes its singer’s declamation in an introduction to the fi nale, where pointed rhythms and the lead taken by the horns suggest a cavalcade, with lively prancing. The second theme is the one outlined in the cello’s introduction. The writing for the cello in this movement shows that the 19th century had its share of true virtuosos on the instrument, including the Belgian Adolphe Fischer, with whom Lalo collaborated in writing the concerto, and who gave the fi rst performance. In spite of some German affi nities, Lalo’s writing for both cello and orchestra has the emotional discretion and elegance of profi le of a French idiom.

DAVID GARRETT ©2010

Lalo’s Cello Concerto calls for an orchestra comprising pairs of fl utes, oboes, clarinets and bassoons; four horns, two trumpets and three trombones; timpani and strings.

The Sydney Symphony performed Lalo’s Cello Concerto in 1946 with John Farnsworth Hall and soloist Edmund Kurtz; this is the fi rst performance on record by an ABC orchestra. Since then, the orchestra has performed it with Louis Frémaux and cellist Susan Blake (1979) and with Jean Fournet and cellist Frans Helmerson (1992).


Keynotes

TIPPETT

Born London, 1905Died London, 1998

Michael Tippett entered the Royal College of Music as a teenager, pursuing a thorough and wide-ranging music education. A concert of his own music after his graduation, however, sent him back to college, dissatisfi ed with his creations to date and seeking even more rigorous instruction in composition. At 30 he produced his fi rst acknowledged work, the String Quartet No.1, followed by his fi rst piano sonata and the Concerto for double string orchestra. Throughout his life he was interested in the social problems of his time and during the depression of the 1930s he became the conductor of the South London Orchestra, formed for unemployed professional musicians, which gave the premiere of the Concerto.

CONCERTO FOR DOUBLE

STRING ORCHESTRA

Despite being a relatively early work in Tippett’s output, the Concerto for double string orchestra (1939) reveals the confi dence and maturity that he’d acquired from his double education. The music is energetic and appealing, with clear and vibrant themes. The outer movements are deceptively ‘toe-tapping’, the lovely central movement is more obviously English in fl avour, with its folksong infl uences and expansive, lyrical style.

Michael TippettConcerto for double string orchestra

Allegro con brioAdagio cantabileAllegro molto

The Concerto for double string orchestra, one of Tippett’s most popular works, was premiered by the South London Orchestra. This probably means absolutely nothing to most people on fi rst reading – but the South London Orchestra was made up of unemployed cinema and theatre musicians, left in a parlous state when fewer cinemas employed their own pit orchestras; and when the Great Depression and a war or two meant less work for entertainers. Michael Tippett brought this band together in 1940 for a concert in Morley College, London, which included the premiere of the Concerto (a title used in the non-soloistic 18th-century sense, as in ‘concerto grosso’).

Political gestures were part and parcel of the Tippett persona. In the 1930s he worked in some of the poorest parts of Britain. The terrible situation of the Ironstone miners’ starving children may have been an early catalyst for his most famous work, the oratorio A Child of Our Time, which features American spiritual songs.

Although Michael Kemp Tippett came from what could be regarded as a privileged background, his father was something of a self-made man and his mother had been a suff ragette. So despite the childhood in Suff olk and Cannes, the governess, preparatory and grammar schools, Tippett was perhaps more aware of social issues than many other young gentlemen of his age.

Tippett was a comparatively late starter in composition. He studied at the Royal College of Music in London, but after he had graduated and given the fi rst concert of his own music he suddenly took stock and decided he needed to develop a completely diff erent approach. (One of the only identifi able benefi ts to Tippett from his formal study at the RCM was an increased knowledge of early music and folksongs.) The teacher he turned to was R.O. Morris, who was especially strong on counterpoint and fugue.

The Concerto for double string orchestra is an interesting mix of all of these infl uences: political, technical and melodic. A superfi cial hearing might dismiss it as a cheerful, lively work, not particularly harmonically complex. This illusion would go on to be Tippett’s chief compositional signature – almost a party trick. Despite


the extreme cleverness of his rhythmic and harmonic structures (the legacy of Morris’s lessons), the overall eff ect is as eff ortless as a madrigal and as immediately appealing as a folksong. Over a long life, Tippett produced a body of work which can be appreciated on both a technical and an aesthetic level.

The fi rst movement presents a real challenge for conductors. It comes across as the kind of vibrant, rhythmic piece late 20th-century listeners became accustomed to hearing from American composers such as Aaron Copland. But anyone trying to tap their foot will fi nd themselves continually tripped up.

The movement is mostly in 8/8 time (eight quavers in each bar), Tippett warns that sometimes the quavers are divided into two groups of four, and sometimes into three groups of three and three and two. The movement could arguably be in sonata form, as it is chiefl y based on two thematic ideas which undergo developmental change. What makes it so dramatic and exciting are the witty overlapping

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Why two orchestras?

The most common reason for a composer to use a double orchestra is to achieve spatial effects. The idea goes back to the dawn of the baroque period, when Giovanni Gabrieli placed opposing ‘choirs’ of brass instruments in different galleries in St Mark’s in Venice. Bartók did something similar in his Music for Strings, Percussion and Celesta from 1937, exploiting question-and-answer effects (antiphony) between two string groups. Tippett may well have known this. Or the idea might have come from closer to home: Vaughan Williams’ Fantasia on a Theme of Thomas Tallis, which uses distinct string groups. Tippett, however, doesn’t use his two orchestras for antiphony so much as to take advantage of the greater intricacy and richness of sound achieved by weaving together ten independent parts instead of fi ve.


…the overall effect is as effortless as a madrigal and as immediately appealing as a folksong.

syncopations, creating an energy which is accentuated in the context of two antiphonal ensembles.

The principal theme of the slow movement has been described by various commentators as being based on the folksong Ca’ the Yowes (which appears in Tippett’s Piano Sonata No.1), or else on a spiritual. With its fl attened sevenths and broad melody it could be either; but so disguised that perhaps it is simpler just to regard it as a 1930s continuance of the English style of lyricism entrenched by Vaughan Williams. This three-part movement fi nds Tippett luxuriating in the warmth of all the strings at his disposal, with violin and cello solos to act as bookends.

The ternary form of the middle movement seems to fi nd a larger echo in the overall work: the third movement begins almost as a recapitulation of the fi rst, in its energetic quavers and deceptive rhythmic accents. But it settles down to present one of Tippett’s most lovely melodies, soaring through both cello sections and passing to the upper strings. There is a touch of Prokofi ev’s Classical Symphony about the next section, tempered by harmonies of engaging sweetness and sudden dynamic and textural shifts. Despite occasional passing clouds of chromaticism, the driving vivacity never fl ags.

A crescendo beginning with the double basses and progressing upwards is clearly leading somewhere – unexpectedly, it opens out into the most forthright and anthemic of tunes, decorated by rolling triplets. It’s tempting to think of this theme, based on Northumbrian bagpipe music, as Tippett’s respectful nod to the working-class heritage of most of his performers in 1940; a song to take to a war, or to a protest march.

KATHERINE KEMPSYMPHONY AUSTRALIA ©2000

The fi rst performance by an ABC orchestra of Tippett’s Concerto for double string orchestra was given by the Sydney Symphony and Eugene Goossens 1954. It was performed again in 1975 with Okko Kamu, and the most recent performance was in 2000, conducted by Mark Elder.


Keynotes

HANDEL

Born Halle, 1685Died London, 1759

Handel shares a birth year with JS Bach, but you couldn’t imagine two more different composing personalities. Where Bach-the-traditionalist stayed at home in Germany, Handel travelled widely before bringing his cosmopolitan style to the hub of the 18th-century musical world, London. And there he stayed – a force to be reckoned with in the opera scene and then as the leader in a new kind of music-making, the English oratorio. (Messiah is his most famous oratorio, but not the most typical.) His instrumental and orchestral works represent an elegant and lively hybrid of the French and Italian styles.

ROYAL FIREWORKS MUSIC

Handel’s Music for the Royal Fireworks was commissioned by George II for the celebrations of the Treaty of Aix-la-Chapelle, which ended the War of the Austrian Succession in 1748. It was outdoor music to precede an elaborate display of fi reworks, and the required ensemble was more military band than orchestra, with more than 50 woodwind and brass instruments. Later the music was heard as Handel preferred it: with a smaller ensemble and the addition of strings. The music takes the form of a Baroque suite, with a majestic French overture, followed by dances, two of which have topical names: ‘Peace’ and ‘Rejoicing’.

George Frideric HandelMusic for the Royal Fireworks

Ouverture (Adagio – [Allegro] – Lentement – Allegro)BourréeLa Paix (Largo alla Siciliana)La Réjouissance (Allegro)Menuet I and II

Handel’s music was commissioned by King George II, through the Master of the Ordnance and the Comptroller of His Majesty’s Fireworks, to precede and accompany a fi reworks display in Green Park, on 27 April 1749, a celebration of the Peace of Aix-la-Chapelle, signed the previous October. So many Londoners thronged to Vauxhall Gardens for the public rehearsal of the music that traffi c on London Bridge was halted for three hours. The actual performance was literally something of a fi zzer – the rockets went up well, but the wheels which were to be the chief feature of the ‘machine’, a pavilion specially built by the stage designer Servandoni, were lit so slowly that many spectators left before the display fi nished, and Servandoni drew his sword on the Comptroller of the Fireworks, whose ineffi ciency he blamed for the failure. The right-hand pavilion caught fi re and burnt down in the middle of the show. Handel’s music wasn’t even mentioned in accounts of the fi reworks display, and we cannot be sure when, or even whether, it was played.

This must have been particularly vexing to the composer, because he had raised diffi culties about the commission all along. He had disagreed with the King, who had originally wanted no music at all, but was persuaded to agree to it when he was told that there would be the greatest possible number of military, outdoor instruments. He hoped ‘there would be no fi dles’. Handel, it was rumoured during the preparations, was reducing the number of trumpets and horns, and was writing for violins.

The eventual instrumentation was 9 trumpets, 9 horns, 24 oboes, 12 bassoons, a double bassoon, three pairs of kettledrums, and two or more side-drums. The Royal Fireworks Music is sometimes performed with this instrumentation (including one recording in 1959 under Charles Mackerras, who brought most of London’s leading wind players together in the middle of the night – the only time they were all available). This is perhaps taking authenticity a bit far, and should really only be done in the open air.


Portrait of Handel by Philip Mercier, 1748

It is clear that Handel’s own preference was for a performance with strings (doubling the oboe and bassoon parts), such as he gave on 27 May at the Foundling Hospital. Perhaps he was worried about the intonation and ensemble problems of a large wind band.

Strings or no strings, the Royal Fireworks Music was shaped by the circumstances. It is patterned on the French courtly tradition of outdoor music for ceremonial or hunting occasions, and takes the form of a very grand French overture, with the usual complement of dance movements. All the movement titles are in French, though the music, as Stanley Sadie says, has an Anglo-Italian accent.

The opening movement is an expansion of the usual French overture pattern. Handel took the opening material, which he had used before, and harmonised it in three diff erent ways. This is followed by a section in triple time, apparently designed to fi t the limitations of natural trumpets and horns, and providing opportunities for triple antiphony: reeds, horns and trumpets engaged in question-and-answer. There is a return to the slow music with dotted rhythms, then a shortened reprise of the Allegro.

The dances begin with a short Bourrée in three parts, then the Siciliana entitled ‘The Peace’, with prominent horn parts. The next dance, ‘The Rejoicing’, is not really a dance, but a genre piece, directed to be played three times – by trumpets, woodwinds and strings, by horns and woodwinds, and by everyone together. The Menuet, composed two years earlier for the Overture to the Occasional Oratorio, is also intended to be played three times, with the second minuet, in D minor, as ‘trio’.

DAVID GARRETT ©2000

In this performance of Handel’s Music for the Royal Fireworks the orchestra comprises three oboes, bassoon, contrabassoon, three horns, three trumpets, timpani, harpsichord continuo and strings (doubling the oboe and bassoon parts). A conjectural part for two side-drums has been added.

The Sydney Symphony fi rst performed the Fireworks Music in an arrangement by Hamilton Harty in 1941, conducted by Percy Code. Our most recent performance (in Handel’s original orchestration) was in a 1999 concert directed by Michael Dauth. The Sydney Symphony Brass Ensemble played an arrangement of the suite by Edgar Howarth in a regional tour in 2006.


GLOSSARY

ANTIPHONAL – from the Greek ‘sounding across’; groups of voices or instruments interacting in a ‘question and answer’ style.

BOURRÉE – a Baroque dance, usually in duple metre and characterised by quick running steps

CHROMATICISM – in tonal music, the presence of foreign notes and harmonies that do not belong to the home key, and a tendency to frequent modulation to other keys. The impression is one of harmonic richness.

CONCERTO GROSSO – a genre of concerto that fl ourished in the Baroque period, featuring a group of solo instruments (concertino) in concert and in contrast with a larger ensemble (ripieno).

COUNTERPOINT AND FUGUE – traditionally these are considered the most ‘academic’ of composing techniques, studied in the way that an artist would master classical draughtsmanship. Counterpoint is the combining of two or more diff erent musical lines played at the same time; fugue is a specialised form of counterpoint in which a short melody is fi rst sounded by one part or instrument alone, and is then taken up in imitation by other parts or instruments one after the other.

GAVOTTE – a French dance with a two-beat upbeat, which results in the phrases beginning and ending in the middle of a bar. It has a regular rhythm and a strong sense of balance.

INTERMEZZO – ‘in the middle’; originally an operatic term, in the 19th-century an intermezzo was an independent instrumental work of lyrical character.

MADRIGAL – a type of secular composition for (usually unaccompanied) voices that fl ourished in the Renaissance

MINUET – a French Baroque court dance in a moderately fast triple time. In later concert music the minuet would typically include a contrasting central section known as a TRIO.

POLONAISE – a stately Polish dance in triple time, processional in character.

QUAVER – rhythmic unit that divides a crotchet beat into two; except at very slow tempos, quavers will be heard as fairly quick notes.

RECITATIVE – in vocal music a recitative is a kind of ‘sung speech’; transferred to instrumental music, it refers to passages in which the melody and rhythms mimic the infl ections of speech.

SCENA – concert music for voice and orchestra in several sections; it can be both less formal and more elaborate than an operatic aria.

SFORZANDO – literally ‘forcing’, a strong accent.

SICILIANA – a gentle, lilting Baroque dance, often associated with pastoral scenes. The tune of ‘Silent Night’ is a siciliana at heart.

SYNCOPATION – unexpected accents, especially falling against the prevailing beat

TERNARY – a more or less symmetrical three-part structure in which the material of the fi rst section returns after a contrasting middle section.

TRIPLET – a rhythmic gesture, in which three notes are played in the time of two. Continuous use of triplets, especially at a fast tempo, can create a ‘skipping’ or ‘rolling’ eff ect, because each beat is eff ectively divided into three.

In much of the classical repertoire, movement titles are taken from the (usually) Italian words that indicate the tempo and mood. A selection of terms from this program is included here.

Adagio – slowAdagio cantabile – slow, in a singing styleAllegro – fast Allegro con brio – fast, with spiritAllegro maestoso – fast, majesticallyAllegro molto – very fastAllegro vivace – fast, livelyAndante – an easy walking paceLargo alla siciliana – broadly, in the style of a sicilianaLentement – slow, often regarded as the French equivalent for largoLento – slow

This glossary is intended only as a quick and easy guide, not as a set of comprehensive and absolute defi nitions. Most of these terms have many subtle shades of meaning which cannot be included for reasons of space.


MORE MUSIC

Selected Discography

ROY GOODMANIn 1963, as a boy treble, Roy Goodman sang the solos in the Kings College Choir recording of Allegri’s Miserere with David Willcocks. This remarkable performance is included on the “Double Decker” release, Great Choral Classics from Kings.DECCA 452 949

As a director, his recordings include performances with the Hanover Band, including the complete Haydn symphonies, released as individual discs on Hyperion’s Helios label.One of his recent releases is a recording of Thomas Arne’s Artaxerxes with the Parley of Instruments and a cast including Catherine Bott and Ian Partridge.HYPERION 22073

JIAN WANGJian Wang’s recent releases include Reverie, an attractive selection of shorter pieces, performed with guitarist Göran Söllscher.DEUTSCHE GRAMMOPHON 4776401

He has also recorded the complete Bach cello suites.DEUTSCHE GRAMMOPHON 389502

JS BACHRoy Goodman intersperses Bach’s four orchestral suites with selections from the cantatas in a 2-CD set recorded with the Brandenburg Consort and (for Suite No.2) baroque fl autist Rachel Brown.HYPERION DYAD 22002

LALO Torleif Thedéen’s recording of the Cello Concerto with Kees Bakels and the Malaysian Philharmonic Orchestra is included with two other Lalo works: the Symphony in G minor, and the ballet music Namouna.BIS 1296

TIPPETTAn excellent introduction to Tippett’s music, including the popular Concerto for double string orchestra and Fantasia concertante on a theme of Corelli, can be found in the Eloquence collection of his orchestral works, with performances by the London Symphony Orchestra and Colin Davis, among others. DECCA ELOQUENCE 476 7960

HANDELCharles Mackerras’s boldly enterprising recording (1959) of the Fireworks Music in its original instrumentation for massed winds and percussion is currently available on the Testament label.TESTAMENT 1253

For a more conventional approach to the Fireworks Music, closer to Handel’s preference, try Roger Norrington and the London Classical Players in a recording with the fi rst two Water Music suites.VIRGIN CLASSICS 91334

Broadcast Diary

APRIL–MAY

23 April, 8pm

VIVA ESPAÑA

Miguel Harth-Bedoya conductorSlava Grigoryan guitar

Turina, Rodrigo, Benzecry, Falla

6 May, 1.05pm

BELSHAZZAR’S FEAST (2009)

Vladimir Ashkenazy conductorPeter Coleman-Wright baritoneSydney Philharmonia Choirs

Sculthorpe, Bax, Walton

13 May, 2pm

FLOWER OF YOUTH (2009)

Michael Dauth violin-directorAmir Farid piano

Mendelssohn, Mozart

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ABOUT THE ARTISTS

Born in 1951, Roy Goodman achieved international fame with King’s College Choir as the treble soloist in their 1963 recording of Allegri’s Miserere. In 1970 he became a Fellow of the Royal College of Organists, and he completed his studies with diplomas in violin (Associate of the Royal College of Music) and teaching. In 1979 he was a founding member of Ton Koopman’s Amsterdam Baroque Orchestra; he then joined Trevor Pinnock’s English Concert, and became the fi rst concertmaster of the Orchestra of the Age of Enlightenment.

He is currently Principal Guest Conductor of the Auckland Philharmonia and the English Chamber Orchestra, and Conductor of the Holland Bach Choir accompanied by the Concertgebouw Chamber Orchestra. He was recently appointed Artistic Partner with the Västerås Sinfonietta, Sweden. He has worked as guest conductor with more than 120 orchestras and opera companies worldwide, appearing in venues such as Carnegie Hall, London’s Royal Albert Hall and the Berlin Philharmonie.

Roy Goodman is well known for his work as director and founder of the Brandenburg Consort (1975–2001), co-director/founder of The Parley of Instruments (1978–1986), Principal Conductor of the Hanover Band (1986–1994), Music Director of the European Union Baroque Orchestra (1898–2004), Principal Conductor of the Händel Festspiele at the Badisches Staatstheater in Karlsruhe (1990–1998), fi rst Principal Conductor of Umeå Symphony Orchestra and Northern Opera Sweden (1995–2001), Music Director of the Manitoba Chamber Orchestra in Winnipeg (1999–2005) and fi rst Principal Conductor of Holland Symfonia and Dutch National Ballet (2003–2006).

He has directed more than 120 recordings, in repertoire ranging from Monteverdi to Copland, including, during the 1980s, the fi rst-ever performances on historic instruments of the complete symphonies of Beethoven, Schubert and Weber, 60 symphonies by Haydn and 14 by Mendelssohn. His recordings of the complete Schumann symphonies (1993) received critical acclaim worldwide. He has also conducted more than 40 world premieres of contemporary works.

He is an honorary Doctor of Music (University of Hull) and in 2005 was made an honorary Fellow of the Royal College of Music (London) presented by HRH The Prince of Wales.

This is Roy Goodman’s Sydney Symphony debut.

Roy Goodman conductor

www.roygoodman.com


Jian Wang began studying cello with his father when he was four. While a student at the Shanghai Conservatoire, he was featured in the documentary fi lm From Mao to Mozart: Isaac Stern in China. Isaac Stern’s encouragement and support paved the way for him to go to the United States and in 1985 he entered the Yale School of Music to study with Aldo Parisot.

The following year he made his professional debut at Carnegie Hall. His early career highlights included concerts with the Mahler Youth Orchestra and Claudio Abbado, and with the Royal Concertgebouw Orchestra and Riccardo Chailly (in Amsterdam and on tour in China). Since then he has performed with many other leading orchestras, including the Philadelphia and Cleveland orchestras, the Boston and Chicago symphony orchestras, NHK Symphony, Zurich Tonhalle Orchestra, Royal Stockholm Philharmonic Orchestra, Hallé Orchestra, Scottish Chamber Orchestra, Mahler Chamber Orchestra, Camerata Salzburg and the National Orchestra of France. He has collaborated with conductors, such as Gustavo Dudamel, Charles Dutoit, Myung-Whun Chung, Alan Gilbert, Emmanuel Krivine, Wolfgang Sawallisch, Neeme Järvi, Christoph Eschenbach, Thomas Dausgaard, Mark Wigglesworth and Daniel Harding.

In addition to his current tour of Australia and New Zealand, his engagements for the 2009–10 season include the Malaysian Philharmonic Orchestra with Ludovic Morlot, Bournemouth Symphony with Thomas Dausgaard, Japan Philharmonic and Stavanger Symphony Orchestras. Last season his performances included concertos with the Rotterdam Philharmonic, Orchestre de Paris and Dresden Philharmonic.

Jian Wang has also performed at many festivals throughout the world, as soloist and chamber musician. These have included Verbier (Switzerland), Miyazaki (Japan), Aldeburgh (England), and Tanglewood and Mostly Mozart (USA). In 2008 he made his BBC Proms debut, performing Bach cello suites.

His most recent recordings are Reverie (arrangements for cello and guitar) and the Bach cello suites. He has also recorded a Baroque album with the Camerata Salzburg, Brahms’ Double Concerto, the Haydn concertos, Messiaen’s Quartet for the End of Time, and Brahms, Mozart and Schumann chamber music.

Jian Wang’s most recent appearance for the Sydney Symphony was in the 2008 Elgar Festival.

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Jian Wang cello

Jian Wang’s cello is graciously loaned to him by the family of the late Mr Sau-Wing Lam.


MUSICIANS

Vladimir AshkenazyPrincipal Conductor andArtistic Advisor

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council

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Performing in this concert…

FIRST VIOLINS Michael Dauth Concertmaster

Sun Yi Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonAmber Gunther Georges LentzNicole Masters Alexandra MitchellLéone Ziegler Claire Herrick†Katherine Lukey*

SECOND VIOLINS Kirsty Hilton Jennifer Hoy A/Assistant Principal

Sophie Cole Susan Dobbie Principal Emeritus

Maria Durek Shuti Huang Stan W Kornel Benjamin Li Philippa Paige Biyana Rozenblit Maja Verunica Mariana Green†

VIOLASAnne-Louise Comerford Yvette Goodchild Assistant Principal

Robyn Brookfi eld Jane Hazelwood Graham Hennings Stuart Johnson Mary McVarish Felicity Tsai Leonid Volovelsky Rosemary Curtin#

CELLOSCatherine Hewgill Timothy WaldenTimothy NankervisElizabeth NevilleRowena Crouch#Eszter Mikes-Liu*Patrick Murphy#Janine Ryan*

DOUBLE BASSESAlex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Janet WebbKate Lawson#

OBOESDiana DohertyDavid Papp Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco CelataChristopher Tingay

BASSOONSRoger BrookeFiona McNamara Noriko Shimada Principal Contrabassoon

HORNSRobert Johnson Geoffrey O’Reilly Principal 3rd

Euan HarveyAlexander Love*

TRUMPETSPaul GoodchildJohn FosterAnthony Heinrichs

TROMBONESScott KinmontNick Byrne Christopher Harris Principal Bass Trombone

TIMPANIRichard Miller

PERCUSSIONRebecca LagosColin Piper

HARPSICHORD Ray Harvey*

Bold = PrincipalItalic= Associate Principal# = Contract Musician* = Guest Musician † = Sydney Symphony Fellow

In response to audience requests, we’ve redesigned the orchestra list in our program books to make it clear which musicians are appearing on stage for the particular performance. (Please note that the lists for the string sections are not in seating order and changes of personnel can sometimes occur after we go to print.)

To see photographs of the full roster of permanent musicians and fi nd out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians fl yer.


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THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

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

Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the 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 world-wide recognition for artistic excellence, and in 2009 it made its fi rst tour to mainland Asia.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of 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. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton label, and numerous recordings on the ABC Classics label.

This is the second year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.


SALUTE

BRONZE PARTNER MARKETING PARTNERS

Vittoria Coffee Lindsay Yates & Partners 2MBS 102.5 Sydney’s Fine Music Station

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

SILVER PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNERS

PLATINUM PARTNERS MAJOR PARTNERS


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.

$20,000+Geoff & Vicki AinsworthMr Robert O Albert AO

Roger Allen & Maggie GrayTom Breen & Rachael KohnSandra & Neil Burns Mr John C Conde AO Robert & Janet ConstableThe Hon Ashley Dawson-Damer Mr J O Fairfax AC

Fred P Archer Charitable TrustThe Berg Family Foundation in memory of Hetty GordonThe Hansen Family Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Mrs Roslyn Packer AO Greg & Kerry Paramor and Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra Salteri Mrs Penelope Seidler AM

Mrs Joyce Sproat & Mrs Janet Cooke Mrs W SteningMr Fred Street AM & Mrs Dorothy Street In memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupThe Estate of the late G S WronkerRay Wilson OAM in memory of James Agapitos OAM

Anonymous

$10,000–$19,999Brian Abel Alan & Christine Bishop Ian & Jennifer Burton Libby Christie & Peter James Penny Edwards Dr Bruno & Mrs Rhonda GiuffreStephen Johns & Michele BenderHelen Lynch AM & Helen BauerIsabel McKinnonMrs Joan MacKenzie Justice Jane Mathews AO

Tony & Fran MeagherMrs T Merewether OAM Mr B G O’Conor June & Alan Woods Family BequestAnonymous (2)

$5,000–$9,999Mrs Antoinette AlbertAndrew Andersons AO

Jan Bowen Mr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrEmily Chang Bob & Julie Clampett

Michael & Manuela DarlingJames & Leonie FurberMr Robert Gay Mr David Greatorex AO & Mrs Deirdre Greatorex Irwin Imhof in memory of Herta Imhof Judges of the Supreme Court of NSWGary Linnane Ruth & Bob MagidDavid Maloney & Erin FlahertyDavid & Andree MilmanEva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum David Smithers AM & Family Mrs Hedy SwitzerIn memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Jill WranAnonymous

$2,500–$4,999David Barnes Marco Belgiorno-Zegna AM

Lenore P Buckle Paul & Susan HotzMark JohnsonAnna-Lisa KlettenbergMr Justin LamMora Maxwell Judith McKernanJames & Elsie Moore Mr & Mrs OrtisBruce & Joy Reid FoundationGeorges & Marliese TeitlerJ F & A van OgtropAnonymous (2)

$1,000–$2,499Adcorp Australia LimitedCharles & Renee AbramsMr Henri W Aram OAM Terrey & Anne ArcusClaire Armstrong & John SharpeRichard Banks OptometristsCharles Barran Doug & Alison Battersby Jo-Anne BeirneStephen J Bell Phil & Elesa BennettNicole Berger Gabrielle Blackstock Mr Alexander & Mrs Vera Boyarsky David S Brett Jane Brodribb & Colin DraperMr Maximo Buch M BulmerPat & Jenny BurnettThe Clitheroe FoundationDebby Cramer & Bill Caukill Ewen & Catherine Crouch

Lisa & Miro DavisMr James Graham AM & Mrs Helen Graham Ian Dickson & Reg HollowayPaul EspieRussell & Sue FarrRosemary & Max Farr-JonesJohn FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnnette FreemanRoss & Jill GavinWarren GreenAnthony Gregg & Deanne Whittleston Akiko Gregory In memory of Oscar GrynbergJanette Hamilton Ann Hoban The Hon David Hunt AO QC & Mrs Margaret HuntDr Michael Joel AM & Mrs Anna Joel Sam & Barbara LinzMallesons Stephen JaquesMr Robert & Mrs Renee MarkovicIan & Pam McGawMatthew McInnes Mrs Barbara McNulty OBE

Mr R A Oppen Mr Robert Orrell Jill Pain Mrs Almut PiattiAdrian & Dairneen PiltonRobin Potter Mr & Ms Stephen ProudErnest & Judith RapeePatricia H Reid Pamela Rogers Jerome & Pamela RowleyJuliana SchaefferVictoria SmythEzekiel SolomonCatherine Stephen Andrew & Isolde TornyaJohn E Tuckey Mrs Merle Turkington Andrew Turner & Vivian ChangMrs Kathleen TuttonA W Tyree FoundationEstate of B M WardenHenry & Ruth WeinbergAudrey & Michael Wilson Geoff Wood & Melissa WaitesAnonymous (11)

$500–$999Mr C R AdamsonDr Francis J AugustusMichael & Toni Baume AO

G D Bolton Dr & Mrs Hannes Boshoff Hon. Justice J C & Mrs Campbell Joan Connery OAM

Jen Cornish Bruce CutlerProf Christine DeerPeter English & Surry PartnersIn Memory of Mr Nick EnrightDr & Mrs C Goldschmidt In memory of Angelica Green Damien HackettThe HallwayMartin HanrahanDr Heng & Mrs Cilla Tey Rev H & Mrs M Herbert Dr & Mrs Michael Hunter Jannette King Iven & Sylvia KlinebergIan KortlangMr & Mrs Gilles T Kryger Dr and Mrs Leo LeaderMargaret LedermanErna & Gerry Levy AM Sydney & Airdrie LloydAlison Lockhart & Bruce WatsonLocumsgroup Holdings LPDr Carolyn A Lowry OAM & Mr Peter Lowry OAM

Wendy McCarthy AO Macquarie Group FoundationMelvyn MadiganMrs Silvana MantellatoKenneth N MitchellHelen MorganMr Graham NorthDr M C O’ConnorMrs Rachel O’ConorK B MeyboomA Willmers & R PalMr George A PalmerDr A J PalmerDr Kevin Pedemont L T & L M PriddleDr K D Reeve AM

Rowan & Annie RossRichard RoyleMr M D SalamonIn memory of H St P ScarlettCaroline SharpenRobyn Smiles E StuartMr John SullivanMr Ken Tribe AC & Mrs Joan Tribe Prof Gordon E Wall Ronald WalledgeThe Hon. Justice Anthony WhealyThe Hon. Edward G WhitlamMrs R YabsleyAnonymous (19)

To fi nd out more about becoming a Sydney Symphony patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


MAESTRO’S CIRCLE

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

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy Street

Westfi eld Group

Ray Wilson OAM

in memory of the late James Agapitos OAM

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Michael Dauth and Dene OldingBoard and Council of the Sydney Symphony support the Concertmaster Chairs

04Nick ByrneTromboneRogenSi Chair with Gerald Tapper, Managing Director RogenSi

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

09Roger Benedict Principal ViolaRoger Allen and Maggie Gray Chair

01 02 03

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For information about the Directors’ Chairs program, please call (02) 8215 4619.

DIRECTORS’ CHAIRS


BEHIND THE SCENES

CHAIRMAN John C Conde AO

Ewen Crouch Stephen Johns David Smithers AM

Jennifer Hoy Andrew Kaldor Gabrielle TrainorRory Jeffes Goetz Richter

Sydney Symphony Board

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC Minister for State and Regional Development, Forest and Mineral ResourcesDr Richard Sheldrake Director-General, NSW Department of Industry and InvestmentMark Duffy Deputy Director-General, Energy and Minerals Division, NSW Department of Industry and InvestmentColin Bloomfi eld Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBillitonJim David Regional Express AirlinesPeter Freyberg XstrataTony McPaul Cadia Valley OperationsTerry Charlton Snowy HydroSivea Pascale St.George BankPaul Mitchell Telstra Grant Cochrane The Land

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinJohn Curtis AM

Greg 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 LoveHelen Lynch AM

The Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE

David Maloney

David Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen PearseJerome RowleyPaul Salteri

Sandra SalteriJacqueline SamuelsJuliana SchaefferLeo Schofi eld AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

SYDNEY OPERA HOUSE TRUSTMr 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 Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

EXECUTIVE MANAGEMENTCHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, BUILDING DEVELOPMENT & MAINTENANCE . . . . . .Greg McTaggartDIRECTOR, TOURISM & VISITOR OPERATIONS. . . . . . . . . . . . . . .Maria SykesDIRECTOR, FINANCE & INNOVATION . . . . . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, MARKETING & DEVELOPMENT. . . . . . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rachel Healy

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COMMUNICATIONSHEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine Stevenson

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

COMMERCIAL ENTERPRISESCOMMERCIAL ENTERPRISES MANAGER

Patrick Smith

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Stephanie MirowOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoASSISTANT ACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Li LiPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

Anna Kearsley

Documents

WELCOME TO THE Boo… · Welcome to this evening’s concert at the Sydney Opera House. Often we listen to classical music to ‘unwind’ and ‘relax’, but this promises to be