WELCOME [ ] · PDF fileWELCOME Welcome to this ... “My ﬁ rst score for The Lord of the Rings trilogy, The Fellowship of the Ring, was the ... Dwarf music is blocky and stout, full

WELCOME

Welcome to this special performance by the Sydney Symphony in the Sydney

Opera House.

We’re delighted to be supporting one of the orchestra’s acclaimed programs that

bring together different art forms and musical genres in collaboration. In this

concert we celebrate the longstanding role the symphony orchestra has played in

the sound world of the movies, with a screening of Peter Jackson’s Fellowship of

the Ring accompanied by the Sydney Symphony, choirs and soloists, performing

Howard Shore’s award-winning score. If you were thrilled by the movie in the

cinema, you’ll be blown away by it in the concert hall.

The Ausgrid network includes the poles, wires and substations that deliver

electricity to more than 1.6 million homes and businesses in New South Wales.

Ausgrid is transforming the traditional electricity network into a grid that is

smarter, greener, more reliable and more interactive – something we are very

proud of.

We’re also extremely proud of our partnership with the Sydney Symphony and

our support of the orchestra’s Master Series and Meet the Music series, as well as

concerts such as this one.

We trust that you will enjoy this performance and we look forward to seeing you

again at other Sydney Symphony concerts this year.

George Maltabarow

Managing Director

Pre-concert talk by Rod Webb in the Northern Foyer, 45 minutes before each performance.

Visit sydneysymphony.com/talk-bios for speaker biographies.

The presentation will conclude at 10.20pm (Friday and Saturday) and 5.20pm (Sunday).

PRESENTING PARTNER

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PRESENTING PARTNER AUSGRID

Friday 6 May | 7pmSaturday 7 May | 7pmSunday 8 May | 2pm

Sydney Opera House Concert Hall

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RINGLudwig Wicki conductorKaitlyn Lusk vocalsSydney Philharmonia ChoirsSydney Children’s Choir

Howard Shore’s Academy Award-winning scoreperformed live to Peter Jackson’s epic motion picture

PART I

Prologue: One Ring to Rule Them AllThe ShireBag EndVery Old FriendsFarewell Dear BilboKeep It Secret, Keep It SafeA Conspiracy UnmaskedThree is CompanySaruman the WhiteA Shortcut to MushroomsStriderThe NazgûlWeathertopThe Caverns of IsengardGive Up the Halfl ingOrthancRivendellThe Sword that was BrokenThe Council of Elrond AssemblesThe Great Eye

INTERVAL

PART II

The Pass of CaradhrasThe Doors of DurinMoriaGollumBalin’s TombKhazad-dûmCaras GaladhonThe Mirror of GaladrielThe Fighting Uruk-haiParth GalenThe Departure of BoromirThe Road Goes Ever On…

6 | Sydney Symphony

INTRODUCTION

The four hobbits of the Fellowship: Merry (Dominic Monaghan), Frodo the Ring-bearer (Elijah Wood), Pippin (Billy Boyd) and Sam (Sean Astin)

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The Lord of the Rings: The Fellowship of the RingOriginal score composed by Howard Shore

Composer Howard Shore brings JRR Tolkien’s literary imagination to vivid life with his Academy- and Grammy Award-winning score to The Lord of the Rings: The Fellowship of the Ring. Shore’s music expresses Peter Jackson’s fi lm as an immense symphonic work – a uniquely developed vision drawn from centuries of stylistic tendencies.The music of The Lord of the Rings is counted among fi lm music’s most complex and comprehensive works. This unique performance sets the score to the fi lm, but allows the music to bear the narrative weight, creating a wholly new and dramatic live concert experience.Shore’s score not only captures Fellowship’s sweeping emotion, thrilling vistas and grand journeys, but also

7 | Sydney Symphony

“My fi rst score for The Lord of the Rings trilogy, The Fellowship of the Ring, was the beginning of my journey into the world of Tolkien and I will always hold a special fondness for the music and the experience.”HOWARD SHORE

echoes the very construction of Tolkien’s Middle-earth. Styles, instruments and performers collected from around the world provide each of Tolkien’s cultures with a unique musical imprint. The rural and simple hobbits are rooted in a dulcet weave of Celtic tones. The mystical Elves merit ethereal Eastern colors. The Dwarves, Tolkien’s abrasive stonecutters, receive columns of parallel harmonies and a rough, guttural male chorus. The industrialised hordes of Orcs claim Shore’s most violent and percussive sounds, including Japanese taiko drums, metal bell plates and chains beaten upon piano wires, while the world of Men, fl awed yet noble heirs of Middle-earth, is introduced with stern and searching brass fi gures. In operatic fashion, these musical worlds commingle, sometimes combining forces for a culminated power, other times violently clashing…and always bending to the will of the One Ring and its own ominous family of themes.

The music’s vast scope calls for symphony orchestra, mixed chorus, boys chorus and instrumental and vocal soloists singing in the Tolkien-crafted languages Quenya, Sindarin, Khuzdûl, Adûnaic, Black Speech, as well as English. Original folk songs stand alongside diatonic hymns, knots of polyphony, complex tone clusters and seething, dissonant aleatoric passages. It is purposeful, knowing writing, as contained in execution as it is far-reaching in infl uence; for within this broad framework resides a remarkably concise musical vision. Shore’s writing assumes an earthy, grounded tone built on sturdy orchestral structures and a sense of line that is at once fl uid yet stripped of frivolous ornamentation.

DOUG ADAMS

Doug Adams is a Chicago-based musician and writer. He is the author of the The Music of the Lord of the Rings Films.

8 | Sydney Symphony

Gandalf (Ian McKellen) confi rms his fears about Bilbo’s ring

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9 | Sydney Symphony

ABOUT THE MUSIC

The One Ring The One Ring is the story’s most proactive element. It has three distinct themes to represent its multidimensional nature.

The History of the Ring If the scores can be said to have a central theme, then this minor-moded, time-weary melodic wisp is it. The tune is fi rst heard as ‘The Lord of the Rings’ text appears in The Fellowship of the Ring, and reappears whenever the One Ring changes hands or marks signifi cant progress in its journey. The tune rises and falls in a slow breath-like pattern that serves to anthropomorphise the Ring’s power while suggesting its circular shape.

The Seduction of the RingThis theme, set in pure, clean choral tones and punctuated by rumbling bass drum strokes, represents the One Ring’s overwhelming allure. The melody drifts through minor scale fragments creating a distant and elusive incantation. The Seduction of the Ring appears three times in Fellowship – fi rst for humming boy chorus; next set to a Quenya text and sung by the boys; and, fi nally, sung by both boys and women. The Ring’s seductive prowess grows ever more prominent, as does the Seduction theme.

The Evil of the Ring (Mordor/Sauron)The third theme for the One Ring is an impervious snarl, limited to only four or fi ve pitches, and unwavering in its focus. As with the other ancient races of Middle-earth, Shore treats this theme to Eastern tinted harmonic infl ections suggesting a past age. This material stands for the most villainous

The Themes of The Lord of The Rings: The Fellowship of The Ring

Notes by Doug Adams

inclinations of the Ring and for Mordor itself. In Tolkien’s writing, the Evil of the Ring and the evil of Mordor are one and the same – Sauron’s power is intrinsically bound to his forged creation.

The Shire and the HobbitsThis theme doesn’t appear until the fi lm reveals Hobbiton; Bilbo’s appearance in Gollum’s cave does not earn the tune. It’s a concept directly from Tolkien’s writing: until we’ve seen the Shire we don’t know the true nature of a hobbit. In a way, the bravery inherent in this theme develops because it represents the most simple and unheroic aspects of hobbit life – food and drink, comfort and community – yet the hobbits of the Fellowship persevere despite their basic nature. The melody serves a crucial purpose in The Lord of the Rings. It establishes a sense of home, a regular and safe way of life that is threatened by Sauron and the Ring. For all its spectacle and fl ourish, The Lord of the Rings is primarily about simple themes: friendship, loyalty and the sanctity of home. As situations in Middle-earth worsen, the Shire theme provides a tangible sense of what is at stake.

This theme is composed of basic and unadorned musical elements. The diatonic melody hints at a simple pentatonic scale while the harmonies present only a sensitive handful of chord changes. Because this tune is so simply and fl exibly constructed, Shore is able to create four distinct variations out of the material: the Celtic-fl avoured Rural Setting, the more orchestral Pensive Setting, the religioso Hymn Setting, and the developed Hobbit’s Understanding, which isn’t fully realised until the end of The Fellowship of the Ring.

10 | Sydney Symphony

GollumThe Pity of Gollum (Sméagol’s Theme) This melody stands for Gollum’s sad state of existence, and is tellingly reprised throughout the fi lm whenever Bilbo and Frodo begin to exhibit the creature’s same slavish devotion to the Ring. The theme is based on a series of loosely related minor arpeggios, through which a knobby, twisted melody traipses, bestowing an unusually slippery profi le. Gollum is motivationally the most complicated character, and is appropriately matched with this tonally elusive theme.

The ElvesElven culture hit its zenith centuries before the story of The Lord of the Rings. Appropriately, Shore’s Elf music feels as if it’s from another era. The writing is awash in chromatic harmonies, Eastern infl uences and unique instruments. The choral

passages are also constructed diff erently, utilising only gentle women’s voices. Shore favours the more transparent tones of the orchestra – higher voices, clean fi gures devoid of plush harmonisations, tidy, artful worlds of music.

LothlórienThe Lothlórien theme is fi rst heard in The Fellowship of the Ring as Galadriel begins her voice-over introduction. It returns in a more developed form once the Fellowship reaches Caras Galadhon in Lothlórien. In style it’s the most Eastern and exotic of all the Elves’ music. The writing is emotionally unreadable – neither sad, happy, aggressive nor passive, but mysterious and aloof. ‘Rivendell is more about learning and knowledge,’ says Shore, ‘but this is diff erent. This is a creepier world of Elves who are more mysterious. They could be bad; they could be good – you’re not really sure.’

Galadriel (Cate Blanchett) and Frodo

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RivendellThe Elves of Rivendell are more open to outsiders than other Elven societies, so hile their musical material is still touched with a shimmer, it’s less exotic than the Lothlórien theme. Here more familiar orchestral instruments fl ourish in layers of writing that place an acclivous fi gure for female chorus and a series of arcing arpeggios amidst glinting chimes, harps and string harmonics. Both principal melodies are built out of vaulting lines that suggest augmented harmonies. The two interrelated Rivendell fi gures are constructed so that the motive’s contour is recognisable even when the pitch content is changed. This contour appears throughout the scenes in the Elf realm, constantly ebbing back and forth in its signature style, but presenting diff erent faces of prestige and concern.

The DwarvesIn contrast to his fl orid Elf music, Shore’s Dwarf music is blocky and stout, full of basso profundo timbres and hard-cornered rhythms. It, too, depicts a culture in decline, though the ruins of Dwarf society are seen specifi cally relating to the danger of Moria. So while the Elf music is distantly extravagant, the Dwarves’ is frequently threatening and haunting.

MoriaThe Moria theme, a stony rising line in parallel fi fths, is scattered throughout the Fellowship’s journey through the dark. Peter Jackson’s directive was that Moria’s music should be ‘voices from hell’. ‘It’s all men singing in ancient Dwarvish,’ explains Shore. The music of Moria is an unsettling reminder of what the Dwarves’ unchecked expansion awoke in the deep. The gruff singing is transformed into unrelentingly brutal chanting as the Balrog begins its approach.

DwarrowdelfThe Dwarrowdelf writing contains fewer references to the coarseness of Dwarf culture because this was the Dwarves’ greatest accomplishment: a grand city expressing the loftiest aspirations of the generally utilitarian Dwarves. The theme expresses the Dwarves’ pride as well as their folly. It’s scored with bold French horn lines to create a sense of weight and solidity, but each leap upwards droops sadly back down almost immediately.

The Dwarrowdelf theme is twice reiterated in downtrodden variations: as Gimli discovers Balin’s tomb, and as Merry and Pippin leap onto the Cave Troll’s back to avenge Frodo. ‘Merry and Pippin jump on the cave troll and, with their little daggers, try to bring down this huge monster. They’re on his head just poking into it, which probably feels like little pinpricks. It shows the hobbits and their bravery, but you hear this theme of the ancient world – the grandeur and the glory of this once great place,’ explains Shore.

The World of Men: GondorThe Fellowship of the Ring marks the fi rst appearance of two themes related to the world of men: the Realm of Gondor theme and the Minas Tirith (Silver Trumpets) theme. However, in this fi rst fi lm each of these melodies appears only once, hinting at the future signifi cance of the material. The Realm of Gondor debuts during the Council of Elrond when Boromir learns of Aragorn’s heritage and speaks of the burden borne by Gondor and his father, Denethor. The melody begins in solo French horn, but drops deeper in the orchestra with each iteration. It eventually comes to reside in the double basses – Gondor has fallen upon hard times.

Later in the fi lm, as Aragorn and Boromir rest in Lothlórien and discuss the future of Gondor, Shore plays the Minas Tirith (Silver Trumpets) theme, another beautiful brass line that represents everything that


mankind can be, should it chose the nobler path. Although they pass rather quickly in The Fellowship of the Ring, these foretelling glimpses into primary material of The Return of the King illustrate the level of detail and forethought running through the scores.

The Fellowship of the RingLike the courageous coalition itself, Shore’s theme for the Fellowship of the Ring is assembled by fragments throughout the fi rst fi lm and scattered into shards thereafter. Its

fi rst tentative tones accompany Frodo and Sam’s passage through a Shire cornfi eld – the de facto beginning of the Fellowship. These snippets are expanded slightly as new members join the hobbits, but it’s not until they reach Rivendell that the theme completely forms. During the Council of Elrond the melody begins to stir in the midrange strings and low brass, as members of the future Fellowship volunteer their services. When Elrond declares them the Fellowship of the Ring, Shore opens the

Frodo in Rivendell, an Elven outpost and “the last homely house west of the mountains”


melody into a fully realised heroic theme. ‘It’s the fi rst time you hear it in its full orchestration,’ comments Shore. ‘It’s such a great moment. It had to be just right.’

The Fellowship theme strikes a unique posture. It is receptive and sympathetic, but at the same time steely and unaff ected – a theme for a benevolent yet steadfast mission. Though the writing is harmonically modern (the tune itself is in a minor mode while its harmonisation is major), the theme suggests the relics of Middle-earth’s ancient glory.

After Gandalf falls in the Mines of Moria the Fellowship theme begins to break down, and is seldom heard in the same heroic guise.

IsengardTolkien scholars have long designated the confl icting goals of the industrial and natural worlds as one of The Lord of the Rings’ major dramatic themes, and Shore’s material follows suit with Isengard’s asymmetrically mechanical music. ‘It’s the industrial might of Middle-earth,’ describes the composer.

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CONDUC T A SYMPHONY AT YOUR PL ACE

THINGS YOU NEED TO KNOW: BigPond® is a registered trade mark of Telstra Corporation Limited ABN 33 051 775 556 BWMTEL11407

You can enjoy ten selected live performances of the Sydney Symphony during its 2011 season in the

comfort of your own home, only at BigPond® Music online. Visit bigpondmusic.com/sydneysymphony


Isengard/Orc ThemeThis is Isengard’s equivalent of the Fellowship theme, defying its burnished heroism with a sinewy show of impious force. It’s generally scored for low brass in their deepest registers. Like Isengard’s vicious culture, this theme is free of any artifi ce or decoration. It is simple, cruel music; music of metal and wheels.

Five-Beat PatternIt is the Five-Beat Pattern that most often represents Isengard’s presence in the fi lm. This thunderous, hammering rhythm is scored for collections of metal bell plates, anvils, bass drum, Japanese taiko drum, and metal chains beating the strings inside a grand piano.

MordorShore’s music for the Land of Mordor is set as the diametric opposite of the music for the hobbits and the Shire. Each setting receives a bundle of primary and secondary thematic material, but where the Shire’s music is familiar and warmly inviting, Mordor’s is morbid, threatening and off -putting. This music favours low strings and the deepest registers of brass, fused to create a thick fog of overtones. Mixed choruses erupt into primal rhythms with abnormally close-spaced harmonies for a towering, ritualistic eff ect.

Mordor/Sauron (The Evil of the Ring) The primary motif for Barad-dûr and Sauron is identical to the One Ring’s Evil theme. (The three are practically interchangeable story elements.) Each step of the quest brings the Fellowship closer to Sauron, and the unrest the Ring sows grows more potent over time. Shore uses this theme to portray the Ring’s ‘character’, but it also represents its eff ect upon the world. In a chilling moment, this theme appears during the Council of Elrond as the Ring drives the participants into heated argument.

The Ringwraiths The Ringwraiths, Sauron’s malicious ambassadors to Middle-earth, earn the most prominent and ritualistic of the Mordor themes. Philippa Boyens wrote the Black Speech text, ‘The Revelation of the Ringwraiths’, as an aggressive renouncement for the ghostly fi gures in black. Shore sets the text as a gathering storm of musical forces. Although it is sometimes presented in a purely instrumental guise, the theme is primarily choral, adding to its ceremonial fl avor. The melody line is almost mono-rhythmic and without contour, creating its sense of deadly anticipation through ever-expanding instrumentation and harmony.

Nature’s ReclamationIn Shore’s score, Nature maintains its own music culture the same as the hobbits, Elves or Dwarves. It is a world slower to react, more reluctant to marshal its forces against Sauron and his minions, and so the Nature music emerges gradually over the course of the fi lms. One of The Fellowship of the Ring’s most ethereally beautiful moments arrives courtesy of a moth to which Gandalf entrusts his rescue from Orthanc. Shore introduces a boy soprano singing what will become the Nature’s Reclamation theme. This melody is an antidote to the industrial beating of the Isengard music: broad and organic in shape, gentle and natural in expression. It represents Nature’s resistance of encroaching evil with simple constructions: scale steps trickling upward and downward, set in the purest tone colours in Shore’s arsenal. Though Nature’s Reclamation does not recur in The Fellowship of the Ring, by the end of The Two Towers it will have achieved operatic proportions.

DOUG ADAMSORIGINAL TEXT COPYRIGHT © 2005, 2008

Additional information is available in the book The Music of the Lord of the Rings Films by Doug Adams, in The Lord of the Rings: The Fellowship of the Ring – The Complete Recordings (Reprise), and online at www.musicofl otr.com


MORE MUSIC MORE MUSIC

THE LORD OF THE RINGS

The comple te recordings of Howard Shore’s music for The Lord of the Rings (with, for the most part, the London Philharmonic Orchestra) are available on the Reprise label.

REPRISE 49454-2 (The Fellowship of the Ring)REPRISE 44376-2 (The Two Towers)REPRISE 162044-2 (The Return of the King)

Author Doug Adams has made a thorough and authoritative analysis of Howard Shore’s soundtrack for the trilogy, The Music of the Lord of the Rings Films. Defi nitely a fi rst stop for anyone wanting to explore this music in depth.www.musicofl otr.com

A truly dedicated enthusiast, Marilynn Miller, has compiled an unoffi cial website with a wealth of information about The Lord of the Rings movie soundtracks. A Magpie’s Nest, LOTR – check it out:www.amagpiesnest.com

And visit Howard Shore’s website for links to sheet music and to recordings of his other fi lm soundtracks.www.howardshore.com

A special extended trilogy edition of Jackson’s Lord of the Rings (12-DVD set) is available in Australia from Roadshow. The individual movies from the trilogy are also available on Blu-ray disc.

Finally, for another take – musical and dramatic – on The Lord of the Rings, seek out the BBC Radio dramatisation from 1981, available in a 13-CD set. The performances feature Ian Holm (as Frodo in this version) and Michael Horden (Gandalf), with music by Stephen Oliver. Available from ABC shops.

Selected Discography and Reading

Selected Sydney Symphony concerts are webcast live on BigPond and made available for later viewing On Demand. Visit: bigpondmusic.com/sydneysymphony:

Webcasts

2MBS-FM 102.5

SYDNEY SYMPHONY 2011

Tuesday 10 May, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Broadcast Diary

MAY

Friday 13 May, 8pm

MAHLER 10Vladimir Ashkenazy conductorPascal and Ami Rogé pianosHindson, Mahler

Wednesday 18 May, 8pm

MAHLER 3 (2010)Vladimir Ashkenazy conductorLilli Paasikivi mezzo-sopranoSydney Philharmonia ChoirsSydney Children’s Choir

Friday 20 May, 8pm

MAHLER 9Vladimir Ashkenazy conductorSteven Osborne pianoMozart, Mahler

Friday 27 May, 8pm

“RACH 2” (2010)Mark Wigglesworth conductorBernd Glemser pianoShostakovich, Rachmaninoff, Rossini

Monday 30 May, 8pm

PASCAL & AMI ROGÉ IN RECITAL

Schumann, Brahms, Poulenc, Dukas, Ravel

Sydney Symphony Online

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Legolas, son of King Thranduil of Mirkwood and a Sindarin elf. Tolkien describes him as: “tall as a young tree, lithe, immensely strong, able swiftly to draw a great war-bow and shoot down a Nazgûl…”

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The Black Riders pursue Frodo

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Merry and Pippin with Gimli (John Rhys-Davies) who represents the Dwarves in the Fellowship

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Representing Men and Elves: Boromir of Gondor (Sean Bean), Legolas (Orlando Bloom) and Aragorn (Viggo Mortensen)

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CREATORS

Howard Sh ore composer

Howard Shore conducted the world-premiere performance of The Lord of the Rings Symphony in Wellington, New Zealand in November 2003 celebrating the release of The Lord of the Rings: The Return of the King. Since its premiere, the work has been performed by some of the world’s most prestigious orchestras and in such famous venues as Moscow’s Kremlin Palace Theatre, the Odeon Herod Atticus in Athens, London’s Royal Albert Hall and Cleveland’s Severance Hall. His scores for The Lord of the Rings trilogy have received four Grammy Awards and three Oscars including Best Song for ‘Into the West’ as well as honours and awards from leading critic associations.

The music of Howard Shore has been performed live in concerts throughout the world. He performed his Oscar- and Grammy-winning score The Lord of the Rings: The Fellowship of the Ring with the London Philharmonic Orchestra at the Royal Festival Hall. Other concerts include the Seville Film Music Festival in Spain; Cinesonic’s 1st International Conference on Film Scores and Sound Design in Melbourne; and the National Arts Centre in Ottawa, Canada. In November 2000, he conducted the world-premiere Concert to Projection of his original score to David Cronenberg’s Naked Lunch. The performance was part of the Belfast Festival at Queens, and featured Ornette Coleman and the Ulster Orchestra. Naked Lunch Concert to Projection was performed in March 2001 at the Barbican Centre in London as part of the Barbican performance series Only Connect: A Series of Extraordinary Live Events. It was also performed at Pan Hall in Tokyo, Japan. The Brood was performed as part of a David Cronenberg retrospective in Paris. It was also performed in June 2003 in Mexico City along with the world premiere of music from Spider. In addition,

his chamber music has been featured on Arabesque Record’s Reel Life – The Private Music of Film Composers Vol.1.

In 2008, Howard Shore’s opera The Fly premiered at the Théâtre du Châtelet in Paris and at Los Angeles Opera. Other recent works include Fanfare for the Wanamaker Organ in Philadelphia and the piano concerto Ruin and Memory for Lang Lang, premiered in Beijing, China on 11 October 2010. He is currently working on his second opera and looks forward to a return to Middle-earth with JRR Tolkien’s The Hobbit.

Shore received the Career Achievement for Music Composition Award from the National Board of Review of Motion Pictures and New York Chapter’s Recording Academy Honors, ASCAP’s Henry Mancini Award, the Frederick Loewe Award, and the Max Steiner Award from the city of Vienna. He holds honorary doctorates from Berklee College of Music and York University and he is an Offi cier de l’ordre des Arts et des Lettres.

Fran Walsh lyricist

In 2004, Fran Walsh was awarded Academy Awards for Best Adapted Screenplay, Best Original Song, and Best Picture for The Lord of the Rings: The Return of the King. For her work co-writing The Lord of the Rings: The Fellowship of the Ring, she was nominated for an Oscar, a British Academy of Film and Television Arts award and Writers Guild of America Screen Award, and (along with Peter Jackson, Barrie Osborne and Tim Sanders) won the AFI Film Award. She fi rst garnered an Academy Award nomination for Best Screenplay for the feature Heavenly Creatures, which she co-wrote with her collaborator Peter Jackson. Fran Walsh, who has a background in music, began her writing career soon after leaving Victoria University where she majored in English Literature.


Philippa Boyens writer

Since being named by Variety in their list of Ten Writers to Watch in 2000, Philippa Boyens, who made her debut as a screenwriter with The Lord of the Rings trilogy, has won an Academy Award for Best Adapted Screenplay for The Lord of the Rings: The Return of the King and was previously nominated for an Oscar, a British Academy of Film and Television Arts Award and a Writers Guild of America Award, among others. Philippa Boyens worked in theatre as a playwright, teacher, producer and editor. She moved to fi lm via a stint as Director of the New Zealand Writers Guild. Her love of JRR Tolkien’s work brought her to this project, having been a fan since she was eleven years old.

Peter Jackson director

Jackson has made cinema history in making The Lord of the Rings fi lm trilogy, comprising nine hours of a continuous cinema that can be enjoyed by audiences worldwide. The fi lms have become a phenomenon cross culturally around the world, not only embracing the respect of established Tolkien fans and scholars, but introducing young audiences to Tolkien’s classic novels. He was awarded three Academy Awards for Best Director, Best Picture and Best Adapted Screenplay for The Lord of the Rings: The Return of the King.

Film Credits

New Line Cinema presents a Wingnut Films Production, The Lord of the Rings: The Fellowship of the Ring. The fi lm is directed by Peter Jackson from a screenplay by Fran Walsh, Philippa Boyens and Peter Jackson based on the book by J.R.R. Tolkien. The producers are Barrie M. Osborne and Peter Jackson. The producers are Fran Walsh and Tim Sanders. The executive producers are Robert Shaye and Michael Lynne. Also executive producing are Mark Ordesky, Bob Weinstein and Harvey Weinstein. The director of photography is Andrew Lesnie, A.C.S. The production designer is Grant Major. The editor is John Gilbert. The co-producers are Rick Porras and Jamie Selkirk.

The fi lm stars Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Christopher Lee, Hugo Weaving, featuring Sean Bean, and Ian Holm, with Andy Serkis as Gollum. The fi lm also stars Marton Csokas, Craig Parker and Lawrence Makaoare.

Casting is by John Hubbard & Amy MacLean (UK), Victoria Burrows (US), Liz Mullane (New Zealand) and Ann Robinson (Australia). Costume designers are Ngila Dickson and Richard Taylor. Music is composed, orchestrated and conducted by Howard Shore. Ellen M. Somers is the associate producer. Special makeup, creatures, armour and miniatures are by Richard Taylor. Jim Rygiel is the visual effects supervisor. The fi lm features the songs “May It Be” and “Aníron (Theme for Aragorn and Arwen)” composed by Enya. The fi lm is released worldwide by New Line Cinema. www.lordoftherings.net

The Lord of the Rings, the characters, names and places therein (TM) The Saul Zaentz Co., trading as Tolkien Enterprises under license to New Line Productions, Inc. All rights reserved.


ABOUT THE ARTISTS

Ludwig Wicki conductor

Born and raised in the canton of Lucerne, Swiss conductor Ludwig Wicki studied trombone with Rolf Bodendorfer and Branimir Slokar. He also studied choral direction and orchestral conducting with Martin Flämig, Ewald Körner and Donato Renzetti. From 1980 to 1989 he played the trombone in the AML orchestra of Lucerne (Lucerne Symphony Orchestra) and was a founding member of the San Marco wind instrumentalists and of the Lucerne Philharmonic Brass Quintet. He was the conductor and trombonist on many television, radio and CD recordings, and won prizes in various solo and chamber music competitions. In 2007 he was given the Award of Appreciation of the city of Lucerne.

Since 1989, Ludwig Wicki has been professor of trombone and chamber music at the Lucerne Music Academy, and in 2004 he was appointed lecturer for conducting at the College of Liberal Arts in Bern. Since 2007, he has been the academic supervisor for the department of wind instruments at both schools.

He is chief conductor of the brass band Bürgermusik Luzern (since 1991) and conductor at the cathedral (Hofkirche) of Lucerne (since 1998). He is also artistic director of the Renaissance ensemble Il Dolcimelo Lucerne and of the Ensemble Beaufort wind section.

Ludwig Wicki is the founder and artistic director of the 21st Century Orchestra, which presents regular special fi lm music concerts, and he has collaborated with Howard Shore, Randy Newman, Martin Böttcher, and other composers of fi lm music. In 2008 he conducted the 21st Century Orchestra for the world premiere of The Fellowship of the Ring at the Lucerne Concert Hall (KKL). This was the fi rst complete live performance of the original fi lm music for the fi rst part of the Lord of the Rings trilogy.


Kaitlyn Lusk vocals

In her already impressive career Kaitlyn Lusk has demonstrated extraordinary versatility and musical depth. Whether it is the interpretations of her original songs, music of the young Judy Garland or the epic score to The Lord of the Rings, Kaitlyn Lusk performs with a youthful exuberance matched with poise beyond her years.

Since making her major-orchestral singing debut with the Baltimore Symphony Orchestra in 2003 at the age of 14, Kaitlyn Lusk has been sought-after for solo appearances with many of North America’s leading orchestras. Show-stopping performances at the New Year’s Eve showcase with the Boston Pops led by Keith Lockhart and a follow-up engagement featuring her refreshing renditions of classic MGM songs made famous by the young Judy Garland garnered her standing ovations from the sold-out concerts.

Since 2004, Kaitlyn Lusk has been the featured vocal soloist in Howard Shore’s Lord of the Rings Symphony, performing this role with more than 25 orchestras in the United States and Canada, including the Philadelphia Orchestra, San Francisco Symphony, Houston Symphony and the Minnesota Orchestra.

She has appeared with conductors such as Keith Lockhart, Alexander Mickelthwate, Alastair Willis, Stuart Malina, Nicolas Palmer and Markus Huber, and in 2007, she made her European debut in Leipzig, performing with John Mauceri and the Gewandhaus Orchestra. Since then she has returned to Europe to perform in Vienna and Krakow. Also in 2007, as part of an encore performance of The Lord of the Rings Symphony with the Cleveland Orchestra, she again appeared with Howard Shore, who had previously invited her to perform the Academy Award-winning song ‘Into the West’ as part of the Grammy Honors of Howard Shore in New York City.

In addition to her live performances, Kaitlyn Lusk has released her fi rst studio album No Looking Back, produced by the award-winning composer and arranger, Kim Scharnberg.

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Sydney Children’s ChoirUnder the direction of Lyn Williams oam, the Sydney Children’s Choir has built a worldwide reputation for choral excellence, inspiring audiences with a distinctive Australian choral sound. The choir has commissioned more than 100 works from leading Australian composers and performs a signifi cant number of Australian works each year. The choir has toured extensively throughout Australia and to Indonesia, Singapore, Finland, Estonia, France, the United Kingdom and Japan. In 2010, the choir celebrated its 21st birthday with a gala concert at the Sydney Opera House and a tour to China. The choir regularly performs with the Sydney Symphony, most recently in Mahler’s Third and Eighth symphonies, conducted by Vladimir Ashkenazy, and earlier this year the choir also performed in the YouTube Symphony Orchestra project conducted by Michael Tilson Thomas. The choir appears on the soundtracks of Moulin Rouge, Happy Feet and Australia, and on their CD Voices of Angels. www.sydneychildrenschoir.com.au

Lyn Williams OAM Artistic DirectorLyn Williams’ exceptional skill as a director of choirs for young people has been recognised internationally for its artistic quality and innovation, and she is the founder of the Sydney Children’s Choir (1989), the national children’s choirs Gondwana Voices (1997) Gondwana Chorale, Gondwana Singers and Junior Gondwana, and the Gondwana National Indigenous Children’s Choir (2008). She frequently directs and conducts for major events, tours internationally with her choirs, and has conducted the Sydney, Adelaide, Melbourne symphony orchestras, Australian Chamber Orchestra, Australian Youth Orchestra and Sydney Philharmonia Choirs. In 2004 she was awarded a Medal of the Order of Australia in recognition of her services to the Arts. Lyn Williams is a Churchill Fellow and also an award-winning composer.

Sydney Children’s Choir

Rhiona-Jade ArmontNiamh ArmstrongMadeleine BensonZoe BrownAlex BruceAlison CampbellCourtney ChongLeona CohenMeta CohenLiam CrisantiMarta Davis

Stella DavySophie Ellison CraddockMimi GreenbaumRebecca HartVictoria Hoffl inEdwina HowesFelix JamesRebecca JohnsonVincent KerinHarry Kerr

Helena KerteszOscar KirkEleanor KozakAdele KozakTabitha LeeMarley LiyanagamaClaudia MackayThomas Mahony-BrackLachlan MasseyEve McEwen

Anita MoserMadeleine PicardIndiana PooleySofi e RejtoLara Rogerson-WoodTimothy SampsonMackenzie ShawAmelia SmilesMorgan SmithCharlotte Snedden

Tristan SpiteriChristina SyrkiewiczHarrison TaranecZoe TaylorZoe TombsNicholas Tracy-SumnersYulina WalkerEdie WarneJacqueline WesiakSelina Williamson

Lyn Williams OAM Artistic Director and FounderDan Walker Choral PreparationSally Whitwell PianistAlexandra Cameron-Fraser General Manager

John Nolan Artistic AdministratorAllison Harrigan Choral Education DirectorJessica Chambers Operations CoordinatorJocelyn O’Brien Administrator

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Sydney Philharmonia ChoirsFormed in 1920, Sydney Philharmonia Choirs is Australia’s largest choral organisation. The principal choirs – the Chamber Singers, Symphony Chorus and the youth choir Vox – perform a diverse repertoire each year, ranging from early a cappella works to challenging contemporary music. Sydney Philharmonia presents an annual concert series featuring sacred and secular choral masterpieces, and has premiered several commissioned works, most recently Peter Sculthorpe’s To Music. In 2002, Sydney Philharmonia was the fi rst Australian choir to sing at the BBC Proms, performing Mahler’s Eighth Symphony under Simon Rattle. Appearances with the Sydney Symphony have included Mahler’s Eighth for the Olympic Arts Festival in 2000 and again in 2010, Mahler’s Third Symphony, Stravinsky’s Oedipus Rex and Symphony of Psalms (2010 Sydney Festival), and ‘Midsummer Shakespeare’ for this year’s Symphony in the Domain. In February, Vox made its fi rst independent appearance with the orchestra, performing in Grieg’s Peer Gynt. Last year, Sydney Philharmonia celebrated 90 years of music-making and made a return appearance at the Proms.www.sydneyphilharmonia.com.au

Elizabeth Scott Musical Director, VOXElizabeth Scott graduated from the Sydney Conservatorium of Music in 1995 as a fl ute major and completed postgraduate studies in choral conducting, vocal performance and aural training in Hungary and Germany, returning to Australia in 2004. Before her appointment as Musical Director of Vox, she was the Sydney Philharmonia Choirs Assistant Chorusmaster (2006–2008). She is also Associate Conductor of the Sydney Chamber Choir and a guest choral director for ensembles including Coro Innominata, Macquarie University Singers and Orpheus Choral Music. She is currently the Instrumental Music program coordinator at Fort St High School, and is Music Projects Offi cer at The Arts Unit (Department of Education and Training). Since 2007, she has participated in the Symphony Australia Conductor Development Program, and in 2008 was awarded the Sydney Choral Symposium Foundation Choral Conducting Scholarship. Elizabeth Scott sings with Cantillation and has performed with Pinchgut Opera and The Song Company.

David Anthony Taylor Assistant ChorusmasterBorn in London, David Anthony Taylor began his career as a young chorister. From the age of seven he studied piano with Clara Rodriguez, later taking up organ and percussion. In 1999 he completed an honours degree in music, and during the early part of his career was a member of the London Philharmonic Choir. He went on to take up the position of Organist and Choirmaster at St John the Divine Church, Merton, and pursued a career in choral direction, studying with Paul Spicer at the Royal College of Music. David Anthony Taylor is now Organist and Director of Music at St Mary the Virgin Anglican Church and has recently completed a master’s degree with a view to further postgraduate research.


Publishing Rights Credits

All Compositions by Howard Shore (ASCAP) except:“Aníron (Theme for Aragorn and Arwen)” and “May It Be” Music by Enya/Nicky Ryan, Lyrics by Roma Ryan featured in “The Council of Elrond Assembles” and “The Road Goes Ever On…” respectively.“Flaming Red Hair” Composed by Janet Roddick, David Donaldson, Stephen Roche and David Long; Performed by Janet Roddick, David Donaldson, Stephen Roche and David Long with Chris O’Connor, Peter Daly, Ruairidh Morrison and Grant Shearer.The Song “The Road Goes Ever On” featured in “Bag End” performed by Ian McKellen and reprised in “Keep It Secret, Keep It Safe” performed by Ian Holm: Music Composed by Fran Walsh, Lyrics by J.R.R. Tolkien.“Lament For Gandalf” Featured in “Caras Galadhon” Music by Howard Shore, Lyrics by Philippa Boyens.“In Dreams” Featured in “The Road Goes Ever On…” Music by Howard Shore, Lyrics by Fran Walsh.Choral Text by J.R.R. Tolkien, Philippa Boyens and Fran Walsh.

Published by New Line Tunes (ASCAP) Except for “Gandalf’s Lament” and “In Dreams” which are co-published by New Line Tunes (ASCAP) and South Fifth Avenue Publishing (ASCAP), “Aníron (Theme for Aragorn and Arwen)” and “May It Be” Published by EMI Music Publishing Ltd. c/o EMI Blackwood Music Inc. (BMI). © 2001 All Rights Reserved.

The Lord of the Rings and the name of the characters, events, items and places therein, are trademarks of The Saul Zaentz Company trading as Tolkien Enterprises under license to New Line Productions, Inc. All Rights Reserved.

Howard Shore would like to thank: Peter Jackson, Fran Walsh, Philippa Boyens, J.R.R. Tolkien, Stephen Einhorn, Michael Mulvihill, Ronald Wilford, Jean-Jacques Cesbron, New Line Cinema, Mark Ordesky, Paul Broucek, Danny Bramson, Lori Silfen, Elizabeth Cotnoir, Alan Frey, Ludwig Wicki, Pirimin Zängerle, Erik Ochsner, Doug Adams, Joshua Mehr, James Sizemore, Jesse Pynigar, Tim Starnes, Jeffrey Markowitz, Jeff Halsey, Sarah Davis and for these performances Ludwig Wicki, Kaitlyn Lusk, Sydney Philharmonia Choirs, Sydney Children’s Choir and the Sydney Symphony

ProducersColumbia Artists Music, LLC:Ronald A. Wilford – Chairman and CEOJean-Jacques Cesbron – President Jeffrey Markowitz – Technical Director

Howard ShorePrince in New York Music CorporationJesse Pynigar and Tim Starnes – Auricle

Publishing Rights Credits

SOPRANOSJacqui BinetskyClaire Burrell- McDonaldVictoria CampbellCharlotte CampbellCharmaine CusackFreya ColeVanessa EdeSerena FernandezNohemy GarciaCaroline Gude Meredith Harrison-BrownIsabel HernandezEllen HopperClare Kenny

Yi-Hsia KohVictoria LaverickAlexandra LittleGillian MarkhamGeorgia MelvilleEve OsbornDanielle PascoeRebekah PetersonLaura PlattsAlessandra RussekMaya SchwenkeElizabeth ScottKimberley StuartChristine Wong

ALTOSNaomi BaggaRebecca CampbellErin ChapmanNaomi CooperKerry FrancisRebecca Gladys-LeeJemma GoldingEmma HancockKaren HenwoodMarta KrzanowskiKate McCallum Harriet ScandolKaila SercombeMaree TyrrellChela WeitzelBrigitte Wirfl er

TENORSGregory BennettLanhowe ChenDion CondackZac GoughTodd HawkenHamish LaneDavid LarkinStephen McDonnellAndrew MulhollandJack PengellyIan SeppeltHayden Sip Robert ThomsonBruce TurnerAlex Walter*

BASSESTimothy BennettDominic BlakeWilliam BondEdwin CarterHubert ChanDaryl ColquhounPaul Cunningham*Ian Davies*Tristan EntwistleTom FrithAngus JohnsonHarold Lander Sebastian LushSam MerrickRyan TanRobert TotonjianRyan WilbinBen Wirfl er

* = Section Leaders

Sydney Philharmonia ChoirsBrett Weymark Artistic and Musical Director Elizabeth Scott Musical Director, VOX David Anthony Taylor Assistant Chorusmaster Josephine Allan, Luke Byrne Rehearsal Pianists


MUSICIANS

Performing in this concert…

FIRST VIOLINSDene Olding Concertmaster

Kirsten Williams Associate Concertmaster

Jennifer Booth Brielle ClapsonNicola Lewis Nicole Masters Alexandra MitchellClaire Herrick*Maria Lindsay*Alexander Norton*Emily Qin#

Martin Silverton*

SECOND VIOLINS Kirsty Hilton Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Emily Long Ella Bennetts*Monique Irik*Belinda Jezek*Lisa Stewart*

VIOLASRoger Benedict Sandro CostantinoJane Hazelwood Justine Marsden Leonid Volovelsky Jacqueline Cronin#

David Wicks#

Leah Zweck-Bain*

CELLOSLeah Lynn Assistant Principal

Kristy ConrauFenella Gill Timothy NankervisAdrian Wallis David Wickham Patrick Suthers*Rachael Tobin#

DOUBLE BASSESAlex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson David MurrayBenjamin Ward Mark Lipski*

FLUTES Emma Sholl Rosamund Plummer Principal Piccolo

Lamorna Nightingale*

OBOESShefali Pryor David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSLawrence Dobell Craig Wernicke Principal Bass Clarinet

Sue Newsome*

BASSOONSMatthew Wilkie Noriko Shimada Principal Contrabassoon

Jennifer McLachlan*

HORNSBen Jacks Principal

Geoffrey O’Reilly Principal 3rd

Lee BracegirdleMarnie Sebire Euan Harvey

TRUMPETSMichael Kirgan*John FosterAnthony Heinrichs Andrew Evans*

TROMBONESRonald Prussing Scott Kinmont Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIMark Robinson Assistant Principal

PERCUSSIONRebecca Lagos Colin PiperChiron Meller*Brian Nixon*Philip South*

HARP Louise Johnson

KEYBOARDJosephine Allan#

ACCORDIONJames Crabb*

MANDOLINStephen Lalor*

Bold = PrincipalItalic= Associate Principal* = Guest Musician # = Contract Musician

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.

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse


THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s 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 worldwide recognition for artistic excellence, most recently in a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s 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. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

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

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SALUTE

Emanate 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

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

REGIONAL TOUR PARTNERS

BRONZE PARTNER MARKETING PARTNER

GOLD PARTNERS

SILVER 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.

PLATINUM PATRONS $20,000+Brian AbelGeoff & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Greg & Kerry Paramor & Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopThe Estate of Ruth M DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreMr David Greatorex AO & Mrs Deirdre GreatorexMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie Clampett

Mrs Gretchen M DechertIan Dickson & Reg HollowayJames & Leonie FurberMr James Graham AM & Mrs Helen GrahamStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationEva & Timothy PascoeRodney Rosenblum AM & Sylvia RosenblumDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleKylie GreenJanette HamiltonAnn HobanPaul & Susan HotzIrwin Imhof in memory of Herta ImhofMr Justin LamR & S Maple-BrownMora MaxwellJudith McKernanJustice George Palmer AM QC

James & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsMr Henri W Aram OAM

Terrey Arcus AM & Anne ArcusClaire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesPhil & Elese BennettColin Draper & Mary Jane BrodribbM BulmerPat & Jenny BurnettDebby Cramer & Bill CaukillEwen & Catherine CrouchMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro Davis

John FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergMrs E HerrmanMrs Jennifer HershonBarbara & John HirstBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergWendy LapointeMacquarie Group FoundationMelvyn MadiganMr Robert & Mrs Renee MarkovicKevin & Deidre McCannMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeePatricia H ReidMr M D SalamonJohn SaundersJuliana SchaefferCaroline SharpenMr & Mrs Jean-Marie SimartCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMs Baiba B. Berzins & Dr Peter LovedayMrs Jan BiberDr & Mrs Hannes Boshoff Dr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs Campbell

Mrs Catherine J ClarkJoan Connery OAM & Maxwell Connery OAM

Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie CameronRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n AM

Jules & Tanya HallMr Hugh HallardDr Heng & Mrs Cilla TeyRoger HenningRev Harry & Mrs Meg HerbertMichelle Hilton-VernonMr Joerg HofmannDominique Hogan-DoranMr Brian Horsfi eldGreta JamesIven & Sylvia KlinebergDr & Mrs Leo LeaderMargaret LedermanMartine LettsErna & Gerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mrs Silvana MantellatoGeoff & Jane McClellanIan & Pam McGrawMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

Mrs Rachel O’ConorA Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersDr Mark & Mrs Gillian SelikowitzMrs Diane Shteinman AM

Robyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMr D M SwanMs Wendy ThompsonProf Gordon E WallRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsMr & Mrs Glenn WyssAnonymous (11)

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 – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO Credit Suisse, AustraliaAlan Fang, Chairman, Tianda Group

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

We also gratefully acknowledge the following patrons: Ruth & Bob Magid – supporting the position of Elizabeth Neville, cello Justice Jane Mathews AO – supporting the position of Colin Piper, percussion.

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

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg & Neil LawrenceChair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

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DIRECTORS’ CHAIRS

BEHIND THE SCENES

Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

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

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

EVERYONE HAS A STORY

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Bernie HeardEDUCATION ASSISTANT

Rachel McLarin

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENTHEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Stephen Attfi eldHEAD OF PHILANTHROPY & PUBLIC AFFAIRS

Caroline SharpenDEVELOPMENT COORDINATOR

Amelia Morgan-Hunn

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR MARKETING MANAGER,SINGLE SALES

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MANAGER

Eve Le Gall

MARKETING & MEDIA SERVICES COORDINATOR

Alison Martin GRAPHIC DESIGNER

Lucy McCulloughDATA ANALYST

Varsha Karnik

Box Offi ceMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Natasha PurkissCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingLisa MullineuxDerek ReedJohn RobertsonBec Sheedy

COMMUNICATIONSHEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine Stevenson

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRAL COORDINATOR

Georgia StamatopoulosOPERATIONS 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

Sydney Symphony Staff

Documents

WELCOME [ ] · PDF fileWELCOME Welcome to this ... “My ﬁ rst score for The Lord of the Rings trilogy, The Fellowship of the Ring, was the ... Dwarf music is blocky and stout, full