jonathan sweeney managing director · pdf filecandide: overture this concert will be recorded...
TRANSCRIPT
Trust is proud of its long standing partnership with the SydneySymphony and is delighted to bring you the Thursday AfternoonSymphony series in 2008.
The series offers perfect afternoons with some of the best-lovedcomposers – Ravel, Bernstein, Elgar, Mozart, Stravinsky, and manyothers. These concerts bring together some of the world’s mosttalented conductors and soloists – you’re in for a truly delightfulexperience.
Just like the Sydney Symphony, which has been the sound of thecity for more than 75 years, entertaining hundreds of thousands of people each year, Trust has been supporting Australians for over 120 years.
Whether it be in administering an estate or charity, managingsomeone’s affairs or looking after their interests via estate planning,financial planning or funds management, people come to Trustbecause of our personal service and commitment to ensuring theirinterests are being looked after.
We hope you enjoy a delightful Thursday afternoon with the Sydney Symphony.
Jonathan SweeneyManaging DirectorTrust Company Limited
SEASON 2008
THURSDAY AFTERNOON SYMPHONY
SUPPORTED BY TRUST
WEST SIDE STORY
Thursday 13 March | 1.30pm
Sydney Opera House Concert Hall
Wayne Marshall conductor
KARL GOLDMARK (1830–1915)
Rustic Wedding Symphony, Op.26
Wedding March (Variations)Bridal Song (Intermezzo)Serenade (Scherzo)In the Garden (Andante)Dance (Finale)
INTERVAL
LEONARD BERNSTEIN (1918–1990)
Symphonic Dances from West Side Story
Prelude (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero) Mambo (Presto) Cha-Cha (Andantino con grazia) Cool, Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)
The movements are played without pause.
Candide: Overture
This concert will be recorded forbroadcast across Australia on ABC Classic FM 92.9.
Pre-concert talk by Ilmar Leetbergat 12.45pm in the Northern Foyer.Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.
Estimated timings:43 minutes, 20-minute interval, 22 minutes, 5 minutes
The concert will conclude atapproximately 3.15pm
SUPPORTING PARTNER
Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and offering a common platform forvaried cultures and communities to come together. It is for these reasonsthat the Sydney Symphony – a first class orchestra in one of the world’smost diverse and beautiful cities – is an ideal partner for Emirates Airline.
With more than 300 major international awards for excellence, Emirateshas developed an international reputation for providing a standard ofservice and an inflight experience to which other airlines aspire.
And like the Sydney Symphony, Emirates reaches out to a truly globalaudience, flying to every continent in the world from its hub in Dubai. We also have a long term growth strategy for Emirates in Australia.Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of 2009. This will include a third daily flight from Sydney, makingconnections to our expanding network across Europe, Middle East,Africa, Asia and the Americas easier for local travellers.
Emirates continues to take great pleasure in supporting the SydneySymphony and fostering the growth of arts in the community.
We look forward to an exciting and memorable 2008.
HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP
SEASON 2008
EMIRATES METRO SERIES
WEST SIDE STORY
Friday 14 March | 8pm
Sydney Opera House Concert Hall
Wayne Marshall conductor
KARL GOLDMARK (1830–1915)
Rustic Wedding Symphony, Op.26
Wedding March (Variations)Bridal Song (Intermezzo)Serenade (Scherzo)In the Garden (Andante)Dance (Finale)
INTERVAL
LEONARD BERNSTEIN (1918–1990)
Symphonic Dances from West Side Story
Prelude (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero) Mambo (Presto) Cha-Cha (Andantino con grazia) Cool, Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)
The movements are played without pause.
Candide: Overture
This concert will be recorded forbroadcast across Australia on ABC Classic FM 92.9.
Pre-concert talk by Ilmar Leetbergat 7.15pm in the Northern Foyer.Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.
Estimated timings:43 minutes, 20-minute interval, 22 minutes, 5 minutes
The concert will conclude atapproximately 9.45pm
Welcome to the concert
Apia is pleased to bring you this performance in the GreatClassics series for 2008.
Like you, we’re an enthusiastic supporter of the SydneySymphony. We understand that a world-class performance canonly be assured when people work in a concerted effort.
It’s this understanding that’s at the heart of all our endeavours.It enables us to deliver a range of insurance productsspecifically designed for people over 50 and not working full-time.
If that sounds like you, Apia can offer you an insurance dealthat best reflects your life experience. We have policies toprotect your home, investment property, car, caravan,motorhome or boat. And when you call us on 13 50 50, you’llsoon discover that our focus on looking after our customersnever wavers.
We hope you enjoy the upcoming performance. We’ve certainlyenjoyed bringing it to you.
David AtchisonNSW Regional Manager
Australian Pensioners Insurance Agency Pty Ltd is an authorised representative of Australian Alliance Insurance Company Limited.
SEASON 2008
GREAT CLASSICS
PRESENTED BY APIA
WEST SIDE STORY
Saturday 15 March | 2pm
Sydney Opera House Concert Hall
Wayne Marshall conductor
KARL GOLDMARK (1830–1915)
Rustic Wedding Symphony, Op.26
Wedding March (Variations)Bridal Song (Intermezzo)Serenade (Scherzo)In the Garden (Andante)Dance (Finale)
INTERVAL
LEONARD BERNSTEIN (1918–1990)
Symphonic Dances from West Side Story
Prelude (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero) Mambo (Presto) Cha-Cha (Andantino con grazia) Cool, Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)
The movements are played without pause.
Candide: Overture
This concert will be recorded forbroadcast across Australia on ABC Classic FM 92.9.
Pre-concert talk by Ilmar Leetbergat 1.15pm in the Northern Foyer.Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.
Estimated timings:43 minutes, 20-minute interval, 22 minutes, 5 minutes
The concert will conclude atapproximately 3.45pm
PRESENTING PARTNER
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INTRODUCTION
West Side Story
Leonard Bernstein is the key to this concert. That’sBernstein the composer, of course, but also Bernstein the conductor. He began his conducting career followingthe modernist bent of mentors such as Koussevitsky,conducting, for example, the American premiere ofBritten’s opera Peter Grimes. His appointment as musicdirector of the New York Philharmonic when he was 40resulted in a diversified repertoire that embraced theclassics and provided an opportunity for his Romanticinstincts to emerge. As one writer has put it, Bernsteinwas less interested in sound, or in structure, than in‘revealing the narrative of the music’.
That narrative instinct may have been one of thethings that drew him to Karl Goldmark’s Rustic WeddingSymphony, which is not so much a symphony (in thesense of a ‘battleground’ of musical ideas) as it is anexpansive serenade that paints charming and joyousimages. This is an obscure work, but a delightful one,and Bernstein was one of the few conductors of the 1960swho took it to his heart (Sir Thomas Beecham was anearlier champion). So it seems right to program thesymphony alongside Bernstein’s own compositions.
As Shirley Apthorp observes in her article ‘SeriouslyLenny’ (page 16), Bernstein agonised about being takenseriously as a composer. Although his dramatic worksmade his name (On the Town, Candide, and above all West Side Story), it was with concert works such as hissymphonies that he most wanted to prove himself. But the craft, invention, wit and beauty of his Broadwayshows ultimately provide all the evidence we need ofhis genius as a ‘serious’ composer. This concert is theproof.
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ABOUT THE MUSIC
Karl Goldmark
Rustic Wedding Symphony, Op.26
Wedding March (Variations)Bridal Song (Intermezzo)Serenade (Scherzo)In the Garden (Andante)Dance (Finale)
Not quite a symphony but more than a suite, with lipsticktraces of Brahms, Wagner and the ballet in its pages,Goldmark’s Rustic Wedding Symphony should prove to be a delightful discovery for anyone who believes that charmand style mean as much in music as weight andprofundity.
It’s the work of a man who is something of a footnotein musical history and is remembered, if at all, for onlythree works out of a considerable output: his first violinconcerto, his opera The Queen of Sheba and this symphony,all of which once hovered on the fringes of the repertoire.All three works date from the years of his first successes asa composer. His later music – five more operas, a secondsymphony and much else – fell into early obscurity.
Goldmark was one of 20 children. Born into anorthodox Jewish family in rural Hungary (his father wascantor to the local Jewish congregation), he played violinin theatre orchestras in Vienna in the 1850s, where hewould have learned a great deal about orchestration andtheatrical craft. As his work began to be performed in the early 1860s his career diversified in ways only possiblein a thriving centre for music: he conducted a male-voice choir, taught piano and wrote music reviews forÖsterreichische constitutionelle Zeitung. As a critic, he was achampion of Wagner yet remained a life-long friend ofBrahms. This neutral position in the great musical culturewars of his day is reflected in his music. The Queen ofSheba strives at times for Wagner’s level of heightenedexpression, while the opening of the Rustic Weddingsymphony could have come from a Brahms Serenade.
It’s that word ‘serenade’ that comes to mind whenlistening to this work, despite its title and its length (some40 minutes). It is symphonic in the sense that it calls for amid-19th-century symphony’s orchestral resources and inthat its first movement is an extensive theme and variationsthat displays a symphonist’s technical skill. But if we thinkof a romantic symphony, idiomatically, as an abstractbattleground of ideas, the Rustic Wedding is another creature
Keynotes
GOLDMARK
Born Keszthely, Hungary,1830Died Vienna, 1915
Karl Goldmark grew up near
the Austro-Hungarian border,
studied violin in Vienna, and
played in theatre orchestras
when he was in his 20s.
As a composer he claimed
to be self-taught and his
music reveals an attractive
multiplicity of influences.
When he was 39 he received
a grant from the Hungarian
government that allowed
him to write his first opera,
The Queen of Sheba. The
opera brought him relative
fame in Vienna and
Budapest and remained in
the Hungarian repertoire
until the 1930s – it is still one
of Goldmark’s best-known
works. The others are
tonight’s symphony and the
Violin Concerto in A minor,
both written in 1877.
RUSTIC WEDDING
The Rustic Wedding(Ländliche Hochzeit)
Symphony is closer in spirit
to the orchestral serenade
than to the romantic
symphony. It is in five
rather than four movements,
following the loose narrative
of wedding day events,
and the music sets out to
charm and divert rather than
impress.
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entirely: a five-movement charm offensive. It is a pictureof a country wedding (one of some grace, judging by theway Goldmark depicts it) including the happy couple, thewedding ceremony itself and its attendant celebrations.Opening with a march, as it does, it is also reminiscentof the term Serenade in a Mozartean sense. But its open-air atmosphere is wonderfully intrinsic, stemming asmuch from Goldmark’s musical personality as from anyperceived sense of musical homage.
Listening Guide
The opening movement, indeed simply called March, ismuch more than that. The direct, open-hearted theme that sets this movement in motion comes to us at first oncellos and double basses before we hear 12 spectacularlyvaried variations on it. At first the tune may suggest to youthe broad sweep of the melodies that dominate the finalesof Beethoven’s Ninth and Brahms’ First symphonies, butthe first variation steers us closer to Goldmark’s world:bird calls in the form of woodwind chirrups adorn themelody in a manner that anticipates Mahler in his ‘natureawakens’ mode. The upper strings do not appear at all inthe work until Variation 2, the first to suggest the tenderaffections of the young couple. Goldmark expands on thismood in Variation 4, the warmth of which anticipates thecontours of the Symphony’s fourth movement, In the Garden.
Other points of interest include the fleet sixth variation,a chattering allegretto in the spirit of Mendelssohn, whilethe autumnal three-in-a-bar of Variation 7 might havewandered straight out of Brahms’ Third Symphony. After variations in still more varied moods (including abeautiful passage for the winds in Variation 12 suggestingthe singing of a wedding madrigal), the trumpets utter acall to action, after which we hear the march in full-dressregalia before it gradually returns to the simpler tone withwhich it began the movement.
The next two movements act as interludes in Goldmark’sscheme. The first (Bridal Song) is an evocative portraitof the bride on her wedding day, the halting phrases and hairpin crescendos marvellously suggestive of herexcitement. The Serenade that follows finds Goldmark’sconsiderable craft working at full stretch to create apicture of excited happiness.
To the modern temperament, the title In the Garden
suggests merely the long hiatus between the wedding
…if we think of a
romantic symphony
as an abstract
battleground of ideas,
the Rustic Wedding is another creature
entirely: a five-
movement charm
offensive.
9 | Sydney Symphony
ceremony and the reception, during which the guests cool their heels while man and wife have their photostaken. For Goldmark this is the heart of the symphony, aheartfelt song of love in which the clarinet’s long, archingsolo opens a movement suffused with an atmosphere both sweet and fervent. In its fluid alternations between a chaste simplicity and passionate intensity, In the Gardenis the most suggestive of Goldmark’s broad musicalsympathies.
The Dance with which the symphony ends – aHungarian Dance in all but name – is based on the Marchtheme we heard at the Symphony’s outset. The vigour and exuberance of the dance is interrupted only once, nearthe end, by a beautiful reminder of the ‘Garden’ music,shifting the spotlight momentarily from the merry throngto the happy couple.
* * * *The Rustic Wedding Symphony aims for a directpictorialism, but does so aided in large measure byGoldmark’s sophisticated approach to his material. Wemay regret some moments of bluster, but it is impossiblenot to admire the sensitive writing for individualorchestral sections, particularly the lower strings and thewoodwind group: the moments when they get to shine are some of the most distinctive in the symphony.
The work’s proportions look idiosyncratic on paper but in practice are part of the charm, for the symphonymanages to combine a sense of scale with one of almostunalloyed joy and affection. That the piece can still cast aspell may be vouched for by this posting onto an internetforum, in which one young man said of a recentrecording:
What a beautiful Symphony. My fiancée and I are using thisCD for our wedding ceremony instead of the more traditionalmusic. It reminds me of fairies in flight. It’s perfect for our rusticwedding!
You may kiss the bride.
PHILLIP SAMETZ ©2008
Goldmark’s Village Wedding Symphony calls for pairs of flutes, oboes, clarinets and bassoons; four horns, two trumpets and threetrombones; timpani and percussion (bass drum, cymbals, triangle);and strings.
The Sydney Symphony gave the first Australian performance of the Village Wedding Symphony in a 1941 studio concert under Percy Code.
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Leonard Bernstein
Symphonic Dances from West Side Story
Prelude (Allegro moderato) Somewhere (Adagio) Scherzo (Vivace leggiero)Mambo (Presto) Cha-Cha (Andantino con grazia) Cool, Fugue (Allegretto) Rumble (Molto allegro) Finale (Adagio)
The movements are played without pause.
In a 1984 documentary about the making of the West SideStory recording with opera singers Kiri Te Kanawa and José Carreras, Leonard Bernstein at one point describeshow he can’t get over how ‘funky’ this music is. Theimage of the composer praising his own music is gallingat first, until one recognises that he is describing a score which came off his desk nearly 30 years before –marvelling at the energy of his younger self – and thathe is right!
Keynotes
BERNSTEIN
Born Lawrence,Massachusetts, 1918Died New York, 1990
Bernstein was an all-round
musician: composer,
conductor and pianist – and
a gifted communicator as
well. He was the first
American to be appointed to
a chief conductor post in a
major orchestra (the New
York Philharmonic) and his
achievements made him the
most famous native-born
musician in the history of
American classical music.
Most significant of all, as a
conductor and a composer
he thrived equally on
Broadway and in the world
of ‘serious’ concert hall
music.
SYMPHONIC DANCES
Symphonic Dances fromWest Side Story is more than
a concert suite of hit tunes
from the musical. Instead
it threads and weaves
together motifs and themes,
transforming them into
a truly symphonic
construction. It was
composed in 1960, three
years after the show opened.
The central music in the Symphonic Dances is drawn from the dance scenes at
the gym – ‘neutral territory’ where the gangs make nice.
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If we think of American music as typically infectious,brash and exciting, and yet conversely accessible, simpleand touching, then West Side Story is surely one ofAmerica’s greatest scores. It has real urban heat, a graspon the rhythmic springboard that is American popularmusic’s beat, and a melodic simplicity which can getright to the heart of a character. On stage and screen itsbrilliantly constructed musical ensembles were matchedin the choreography and setting.
West Side Story is perhaps one of the most successful of orchestral music’s forays into ‘jazz influence’. It comesfrom a classically trained musician famous as thePrincipal Conductor of the New York Philharmonic for many years, but who was also one of music’s greatcommunicators, as his early telecasts, the Young People’sConcerts, attest. West Side Story was Bernstein’s fourthshow, following On The Town (1944), Wonderful Town (1953)and Candide (1956). It opened its New York run of 732performances in September 1957. The film version in1961 garnered ten Academy Awards, including bestpicture.
West Side Story is a 20th-century version of Romeo andJuliet. The idea originated in 1949, when choreographerJerome Robbins approached Bernstein and playwrightArthur Laurents with the idea of doing a ‘Romeo andJuliet story’ set on New York’s lower east side, the storyof a young Jewish boy and a Catholic girl. Busy workschedules prevented the collaborators bringing ‘East SideStory’ to fruition at this point. When they got around toresuming work on the project, the original ethnicconflict seemed old hat.
Instead, West Side Story is about Tony, the Americandescendant of Polish forebears, and Maria, the daughterof recent Puerto Rican immigrants, and their love,played out against the violent background of rival gangson the upper west side of town. Tony and Maria meetand fall in love at a dance at the local gym, but Maria’sbrother Bernardo kills Tony’s friend Riff, and Tony thenkills Bernardo in retaliation. When Maria learns the true circumstances of Bernardo’s murder – that he waskilled by Tony in the heat of the moment – she sends forTony but he is gunned down by another gang member,Chino, at the moment of their reconciliation.
West Side Story has
real urban heat, a
grasp on the rhythmic
springboard that is
American popular
music’s beat…
12 | Sydney Symphony
Listening Guide
Bernstein called this concert work collated from theshow ‘Symphonic Dances’ because of the way the musicalmaterial is built up from a small number of musicalthemes. Indeed those few themes, constituting the basicbuilding blocks of the whole score, are transformed andcombined symphonically to portray a wide variety ofmoods, action, songs and dances. The dances begin withthe Prelude, suggesting the growing rivalry andsmouldering tension between the two gangs: the ‘all-American’ Jets and the Puerto Rican Sharks. Somewhere
portrays an ideal oasis of peace in this turbulent world. In Stephen Sondheim’s lyrics: ‘There’s a place for us,somewhere a place for us. Peace and quiet and open airwait for us somewhere.’
An intriguing metre characterises the charmingScherzo, but the Mambo returns us to the world ofunderlying violence. This segues into the Cha-Cha, a deft variation of the ‘I’ve just met a girl called Maria’melody. Perhaps the most effective musicalrepresentation of barely-suppressed rage is Cool, whichBernstein turns into a particularly sinuous and finallyexplosive fugue.
Metric jolts and thematic interjections announce the Rumble (1950s slang for a fight), which in the stageversion ends Act I with the deaths of Bernardo and Riff. Then the Finale, based on the melody for ‘I Have aLove’, brings the music to a peaceful if sorrowfulconclusion.
GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©1997/2006
Bernstein’s Symphonic Dances from West Side Story calls for three flutes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, E flat clarinet, two bassoons, contrabassoon and alto saxophone; four horns, three trumpets, three trombones andtuba; timpani and a large percussion section (vibraphone, timbales,congas, bass drum, tom tom, drum kit, cymbals, tambourine, woodblock, triangle, tam-tam, xylophone, glockenspiel, chimes, tenordrum, pitched drums, snare drums, finger cymbals, maracas,cowbells, police whistle, bongos, suspended cymbal, guiro); harp,celesta, piano and strings.
The Sydney Symphony first performed the complete SymphonicDances from West Side Story in 1978 in a Family Pops concertconducted by David Measham, and most recently in 2004conducted by Steven Mercurio.
Bernstein in 1956, the year he
composed West Side Story.
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Keynotes
CANDIDE
The overture to Candideis a modern evocation of the
classical opera overture:
beginning with a fanfare
call to attention before
dashing through a brilliant
sequence of inspired
melodies from the show.
It is the perfect overture –
but it also makes a perfect
concert finale.
Bernstein
Candide: Overture
‘The greatest piece of slap-dash ever written,’ said LillianHellman of Candide, the 1759 novel by Voltaire thatformed the basis of her and Leonard Bernstein’s musicalof the same name. And Bernstein’s overture captures that– uproarious, high-spirited, felicitous. A perfect openingto a light-hearted night out at the theatre. Light-hearted?
Candide, the hero, endures wars, famines, shipwrecksand earthquakes, all the while remaining steadfastly loyalto the increasingly ridiculous philosophy of his teacher,Dr Pangloss, an adherent to the Leibniz philosophy that‘all is for the best…in this best of all possible worlds.’
In 1954, Hellman and Bernstein saw in Voltaire’ssatirical attacks on the Catholic Church and blandoptimism of the philosopher Leibniz a way of hittingback at President Dwight Eisenhower’s complacentAmerica. And Candide was to be their response to SenatorJoe McCarthy’s witch hunts (carried on under the gaze of that complacency). Hellman’s husband, novelistDashiell Hammett, was sentenced to six months jail for refusing to name people to the House Un-AmericanActivities Committee. The atmosphere was such thatBernstein had reservations (eventually dispelled) aboutworking on On the Waterfront with film director EliaKazan, one of the most reviled of HUAC turncoats.
Which meant that Candide had to carry a lot of freight.At one stage Bernstein conceived the work as a ‘big three-act opera with chorus and ballet’. By the end of1954 he saw nothing wrong with being a composer ofmusicals. (Next year he would entertain plans for a pieceto be called ‘East Side Story’.)
The original 1956 version – book by Lillian Hellmanwith lyrics by Richard Wilbur, John LaTouche andDorothy Parker – was accounted a failure on Broadway.Some blamed Hellman’s book (‘too intellectual’); othersTyrone Guthrie’s staging (‘too classical’). Over the yearssince its premiere, many writers tried their hand atknocking the piece into some sort of final shape; versionsteetered between opera and musical, until Bernstein’scomprehensively operatic Deutsche Grammophonversion of 1989, his last recording. Some have felt thatthe success of ‘the Original Cast Album’ should have beena clue: the work was a musical.
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But one thing was always clear. The show containedsome of Bernstein’s most exhilarating music. Lenny seemsto have torn ahead of all his collaborators, music pouringforth. If ever there was a case of ‘first the music and then the words’, this was it. As Andrew Porter says in the1989 liner notes: ‘Words that now form a memorable,apparently indissoluble match with the tunes to whichthey are sung prove not to have inspired the music butto have been inspired by it. It was as if Candide musicbubbled into Bernstein’s fertile brain and then waited todiscover its just verbal expression.’
‘The Baron…observing this cause and this effect, banished Candide from the
chateau with big kicks in the backside.’
Voltaire is satirising Leibnizian philosophy: The Baron’s daughter Cunégonde,
having witnessed Dr Pangloss’s private demonstration with the serving maid of
a lesson in advanced physics (the relative specific gravity of two bodies,
male and female), is caught experimenting with her bastard cousin Candide.
Engraving for the 1787 edition of Candide
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…uproarious, high-
spirited, felicitous
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Objection!
Like a latter-day Rossini,Bernstein gives the overturea brilliant main theme that is not heard again after thecurtain rises. Played bystrings and winds, it conveysthe spirit if not the tunes of Candide. The rest of theoverture, however, does draw on themes from themusical, beginning with the fanfare that punctuatesthe music: an echo of thestrident ‘Objections’ from Dr Pangloss’s students as he sings of ‘The Best of allPossible Worlds’.
Listening Guide
That is something that we could believe from hearingthe tearaway overture, a modern-day Marriage of Figarooverture, complete with a ‘missing’ development section(not such a contradiction as it sounds). Or, a harkingback to a 19th-century pot-pourri overture, since theoverture previews music that will be heard in the showincluding: the battle music for the Hessian invasion of‘Westphalia’; and then, for second subject, the music tothe lines ‘Soon, when we feel we can afford it…’ from the duet, ‘Oh Happy We’. All this is recapitulated andfollowed by the refrain from Cunegonde’s aria ‘Glitterand be Gay.’ But the listener barely has time to stop forrecognition.
Whatever the continuing debate over the merits andfinal form of Candide (the show), Leonard Bernstein’svolcanic musical inspiration has given our concertplatform one of its most effective and effervescentconcert-openers.
GORDON KALTON WILLIAMSSYMPHONY SERVICES AUSTRALIA ©2006
Bernstein’s Candide Overture calls for two flutes, piccolo, twooboes, two clarinets, E flat clarinet, bass clarinet, two bassoonsand contrabassoon; four horns, two trumpets, three trombones and tuba; timpani and percussion (bass drum, cymbal, side drum,tenor drum, triangle, glockenspiel and xylophone); harp andstrings.
The Sydney Symphony first performed the overture in 1966 underJohn Hopkins, and most recently in 2006, conducted by DavidPorcelijn. It was also on the program in 1978, when Aaron Coplandconducted the Orchestra.
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INTERLUDE
Seriously Lenny
Shirley Apthorp on Leonard Bernstein
In the middle of the 20th century, Leonard Bernstein(1918–1990) was wearing at least two hats: that of theclassical conductor, the first American to be appointedPrincipal Conductor of the New York Philharmonic; theother, that of the hugely popular composer of Broadwaymusicals. Now, more than a decade after his death, the two roles seem closer than they ever have before.
The last BBC Proms season of the 20th century includeda concert performance of Wonderful Town which exuberantlydemonstrated the point. The ‘serious’ forces of a symphonicorchestra, an all-star cast and conductor Sir Simon Rattlehad most of the audience dancing to the Conga – the eveningwas as much fun for all involved as it was a success inmusical terms.
With the passage of time, the distinction betweenpopular theatre and concert hall repertoire (at least as faras Bernstein’s output is concerned) has become increasinglyblurred. Today, leading conductors and major record labelsare eager to champion his music. He is regarded in somequarters as one of the great symphonists of his century.
Bernstein would have been pleased. It seems paradoxicalthat such an unashamed populist (‘Lenny’ to a nation;television personality; charismatic communicator in concert)should have agonised about being taken seriously as a composer. But he did, as his dealings with his mentor,Serge Koussevitsky, consistently showed.
Bernstein in 1945, determined to ‘get
down to serious business and never,
never write another show’.
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There was a time, just after On the Town had launcheditself so spectacularly, when Bernstein earnestly promisedKoussevitsky that he would ‘get down to serious businessand never, never write another show’. Almost immediately,he was approached by young entrepreneur Robert Fryerand offered the unlikely challenge of creating a musical of the play My Sister Eileen in the space of a month. BettyComden and Adolph Green, with whom he had written On the Town in 1944, were to complete the team. Bernsteinbarely hesitated – which is fortunate for us, as the resultwas Wonderful Town (1952).
The gentle nostalgia of Wonderful Town, set in 1930s NewYork, was a contrast to the earlier and more ebullient Onthe Town, a tale of three sailors with one day to spend inNew York on their way to war. One of the showstoppers in On the Town was the upbeat hymn to Manhattan: ‘NewYork, New York, it’s a helluva town!’ For the 1949 screenversion, this was bowdlerised to ‘it’s a wonderful town’,from which the title of Bernstein’s next ‘New York’ musicalwas drawn, replacing the staid ‘Eileen’.
The third of his NY musical trilogy was the one whichreally defined the reputation of Bernstein-as-composer.More than that, West Side Story (1957) marked the dawn ofthe blockbuster musical. However, it also challenged thenotion of what a Broadway musical should be – few otherworks of music theatre teeter so precariously between theworlds of Broadway and opera. In the end, West Side Storyhas made its home in both spheres, and found its place inconcert halls too. It was in many ways Bernstein’s greatestmasterpiece, and he capitalised on its musical strengths by transforming some of the themes into the SymphonicDances, a work which could have stood proudly on its ownas a vibrant example of compositional skill.
It also reflected Bernstein’s consummate ability toreconcile ‘serious’ music with popular styles. Hard thoughhe struggled with more ‘serious’ compositions in order toprove himself a composer of substance, his supposedly less‘serious’ works have done the job for him. The more welisten to his creations for the musical stage, the more werealise the peerless excellence of their construction, thegenius of their invention, the wit and beauty of their content.Now that Bernstein’s music is music of a previous century,we’re likely to see more and more of it on ‘serious’ concertprograms. Serge Koussevitsky, thank goodness, was wrong!
ABRIDGED FROM AN ARTICLE BY SHIRLEY APTHORP ©2000
…few other works of
music theatre teeter so
precariously between
the worlds of Broadway
and opera.LE
BR
ECH
T M
US
IC &
AR
TS
Program cover from the first
production of West Side Story.
18 | Sydney Symphony
GLOSSARY
FUGUE – a musical form in which a shortmelody, the subject, is first sounded byone part or instrument alone, and is thentaken up in imitation by other parts orinstruments one after the other. The Latinfuga is related to the idea of both ‘fleeing’and ‘chasing’.
HAIR PIN CRESCENDO – a crescendo occurswhen the music becomes graduallylouder. Composers have two methods ofinstructing musicians to make a crescendo.The first is to use the word or itsabbreviation (cresc.) at the beginning ofthe passage. The second is to mark it with a symbol – <– that looks a little like abobby pin.
INTERMEZZO – ‘in the middle’; in the 18th century an intermezzo was a shortcomic opera inserted between the acts ofa serious opera, later it came to refer to an instrumental work, without stage action, performed during an opera, and in the 19th-century to an independentinstrumental work of lyrical character. In symphonic music, an intermezzo can bea section or movement within a largerwork, as it is in the Rustic WeddingSymphony.
POT-POURRI OVERTURE – a dramaticoverture in which the composer provides a sampler of the main tunes that will beheard in the opera or musical.
SCHERZO – literally, a joke; generallyreferring to a movement in a fast, lighttriple time, with whimsical, startling orplayful elements and a contrasting centralsection called a ‘trio’.
SERENADE – the serenade of Mozart’s daywas a multi-movement work intended for outdoor performance in the evening or as incidental entertainment for privatefunctions. The tradition of the orchestralserenade was maintained in the 19th century
by composers such as Brahms. A Classicalserenade would often begin (and end) witha MARCH – played by the musicians as theyliterally marched into place.
SYMPHONY – the traditional symphonyhas four movements. The first movementis fast (although it can begin with a slowintroduction) and typically grand incharacter; the second is usually a slowmovement with a lyrical character; the third was at first a dance-like minuet butBeethoven transformed it into the scherzo,still with three beats to the bar but muchfaster and more playful. The finales ofearly symphonies would be light-hearted,exuberant and usually fairly short, butagain Beethoven worked a transformation,making the finale a weighty and importantculmination of the musical ideas that hadbeen developing through the symphony asa whole.
In much of the classical repertoire, movementtitles are taken from the Italian words thatindicate the tempo and mood. A selection ofterms from this program is included here.
Adagio – slowAllegretto – livelyAllegro moderato – moderately fastAndante – at a walking paceAndantino con grazia – a little faster than
Andante, with graceMolto allegro – very fastPresto – as fast as possibleVivace leggiero – lively and light
This glossary is intended only as a quick and easyguide, not as a set of comprehensive and absolutedefinitions. Most of these terms have many subtleshades of meaning which cannot be included forreasons of space.
19 | Sydney Symphony
MUSICIAN SNAPSHOT
Alexandre Oguey – my voice
For French-Swiss cor anglais playerAlexandre Oguey, moving to Australia withhis wife, oboist Diana Doherty, was alwaysan attractive prospect. Born in the smalltown of Neuchâtel in Switzerland,Alexandre always felt that the German partof his country was very foreign. ‘I hadmuch bigger cultural shock going to Zurichthan coming to Sydney. Australia and itseasy-goingness is somehow a bit morecloser to my heart I think.’
Some ten years ago, to stave off Diana’sgrowing homesickness, they decided tolook for jobs in Australia. As luck wouldhave it, at that time there were threevacancies in the Sydney Symphony.Although successful in securing bothSecond Oboe and Principal Cor Anglaispositions, the choice was clear. ‘The coranglais was the instrument I always loved.With the cor, I have my voice. It’s just whatsuits me.’ Alexandre confesses that hisinstrument – with a timbre well-suited toslow, expressive music – often misses outon playing the difficult fast passages. ‘ButI’m not a show-off, so I don’t do “show-off ”music. More often, I join the slow melodieswith the French horns, or violas and ’celli. I love it.’
Occupying a unique role within thewoodwind section, the cor anglais can claim a substantial collection of orchestralsolos. ‘Shostakovich’s Eighth Symphonyhas one of the best cor solos,’ enthusesAlexandre. ‘It’s quite a long solo, and nearlyall of it is very free. You practise what you’dlike to do, but you have to be ready to doexactly the opposite.’ Flexibility is the key.He recalls the challenge on one occasion of phrasing this solo with Estonian NeemeJärvi conducting – ‘He really looked at mein the eyes and didn’t let me go at all. He was taking me where he wanted to go,so I couldn’t be at all personal in any way.’
French music is also a favourite, ofcourse. ‘Debussy and Ravel are scrumptiousfor the woodwinds. They’re always veryhard, but it’s basically the best writing youcan find.’
Alexandre concedes that the focus is notalways on his instrument. ‘Strauss’s AlpineSymphony doesn’t have a great cor anglaispart because you can’t really hear much ofit. But it’s so fantastic to play. For me, it’s my Alps. It’s my mountains. I just absolutelylove it.’ The perfect thing to ward off a boutof homesickness for a Swissie far from hisnative land.
GENEVIEVE LANG ©2008
MORE MUSIC
Selected Discography
GOLDMARK
An ardent advocate for the Rustic Wedding Symphony,Leonard Bernstein recorded it for Columbia in 1968,conducting the New York Philharmonic. Available inSony’s Bernstein Century series.
SONY 61836
Another champion was Thomas Beecham, whorecorded it with the Royal Philharmonic Orchestra. A mono recording that may be out of print.
SONY SMK 87780
Goldmark’s Violin Concerto has always had itsadvocates, including Joshua Bell, who makes anunexpected pairing with Sibelius’ Violin Concerto inhis recording with the Los Angeles Philharmonic andEsa-Pekka Salonen.
SONY 65949
WEST SIDE STORY
Sony’s Bernstein Century series includes Bernsteinand the New York Philharmonic in performances ofthe Symphonic Dances as well as music from On theWaterfront and Fancy Free, and the Candide Overture.
SONY 63085
In 1984 Bernstein went into the studio to record WestSide Story with Kiri Te Kanawa and José Carreras.
DEUTSCHE GRAMMOPHON 457199
CANDIDE
The original cast recording of Candide, starringBarbara Cook, is available in a remastered release that includes Bernstein conducting the overture withthe New York Philharmonic.
SONY SK 86859
Or check out Bernstein’s 1989 recording of his finalversion with the London Symphony Orchestra.
DEUTSCHE GRAMMOPHON 429734
More recently, Bernstein’s protégé Marin Alsopconducted the New York Philharmonic in a delightfulsemi-staged version, available on DVD (Region 1 only).
WAYNE MARSHALL
Wayne Marshall’s award-winning Gershwin Songbookincludes preludes and improvisations on Gershwinsongs.
VIRGIN CLASSICS VC 5 45298-2
Also included in his extensive discography are severalrecordings of Gershwin orchestral repertoire with theAalborg Symphony orchestra, available on the VirginClassics label.
MARCH–APRIL
31 March, 1pmTHE GOLDEN SPINNING WHEEL (2002)Mark Elder conductorDvorák
1 April, 6.30pmEXOTICA
Matthew Coorey conductorScott Kinmont euphoniumRameau, Bracegirdle, Ravel, Bartók
11 April, 1pmWALTON VIOLIN CONCERTO (2007)Hugh Wolff conductorMichael Dauth violin
14 April, 7pmBRAHMS’ “FIFTH SYMPHONY”
Paul Daniel conductorRalph Kirshbaum celloDvorák, Bloch, Brahms orch. Schoenberg
16 April, 1.05pmJASMINKA STANCUL IN RECITAL
D. Scarlatti, Beethoven, Schumann
19 April, 12.05SHOSTAKOVICH 8
Steven Sloane conductorTabea Zimmermann violaLentz, Shostakovich
Broadcast Diary
Selected Sydney Symphony concerts are recorded forwebcast by BigPond. Visit: sydneysymphony.bigpondmusic.comAvailable now:RAVEL’S ROMANCES (OPENING GALA CONCERT)
April webcast:BRAHMS’ “FIFTH SYMPHONY”
Dvorák, Bloch, Brahms orch. SchoenbergLive webcast on Monday 14 April at 7pm.
sydneysymphony.com
Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.
2MBS-FM 102.5SYDNEY SYMPHONY 2008
Tue 8 April, 6pmWhat’s on in concerts, with interviews and music.
Webcast Diary
20 | Sydney Symphony
21 | Sydney Symphony
ABOUT THE ARTIST
Wayne Marshall conductor
Wayne Marshall was born in the UK and, after musicalstudies there and in Vienna, established an internationalreputation as organist and pianist. More recently he hasestablished a career as a conductor, and his other musicalactivities include improvisation, jazz, radio and televisionpresentation and composition.
He has an affinity with American music of the 20th century, conducting productions of Bernstein’sWonderful Town and West Side Story, and Gershwin’s Porgyand Bess, as well as performing the Gershwin repertoirefor piano and orchestra.
While continuing to appear as an organ and pianosoloist through Europe and the United States, WayneMarshall has conducted the Bournemouth Symphony,BBC Philharmonic, London Philharmonic, Hallé, HongKong Philharmonic, New Sinfonietta Amsterdam,Vienna Symphony Orchestra, Swedish Radio SymphonyOrchestra, National Orchestra of Belgium, Berlin RadioSymphony Orchestra, Bamberg Symphony, North German Radio Orchestra and the Flemish RadioSymphony Orchestra.
A regular visitor to the BBC Proms, he featured in the 1997 Last Night of the Proms as both organ and piano soloist and the following year made his Promsconducting debut with Porgy and Bess (a Gershwincentenary tribute). He made his Vienna conducting debut in 2000 with Wonderful Town (Austrian RadioSymphony). He conducted the same work for hisRotterdam Philharmonic conducting debut in 2002 and is now a regular guest. In 2003 and 2004 he conductedWest Side Story at the Bregenz Festival. In 2005/06 he made debuts with Washington National Opera (Porgyand Bess) as well as the Royal Stockholm Philharmonic,Maggio Musicale and Dresden Philharmonic. Lastseason he conducted several projects with the BochumSymphony Orchestra as their artist-in-residence. Hisfuture plans include Bernstein’s Mass at the GeorgeEnescu Festival, Bucharest, and Porgy and Bess for OpéraComique, Paris, and Dallas Opera.
In Australia he has appeared as a piano and organsoloist with the Australian Chamber Orchestra (1999),and in 2006 he made his Sydney Symphony debutconducting an all-Gershwin program for Symphony in the Domain.
22 | Sydney Symphony
THE SYDNEY SYMPHONY
Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities. Last year the Orchestracelebrated its 75th anniversary and themilestone achievements during itsdistinguished history.
Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.
Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon,Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.
Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, aposition he holds in tandem with that ofMusic Director at Rome Opera. MaestroGelmetti’s particularly strong rapportwith French and German repertoire iscomplemented by his innovativeprogramming in the Shock of the Newconcerts.
The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonyalso maintains an active commissioningprogram promoting the work of Australiancomposers, and recent premieres haveincluded major works by Ross Edwards and Brett Dean, as well as Liza Lim, whowas composer-in-residence from 2004 to2006.
In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.
JOH
N M
AR
MA
RA
S
PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
23 | Sydney Symphony
MUSICIANS
01First Violins
02 03 04 05 06 07
08 09 10 11 12 13
01Second Violins
02 03 04 05 06 07
08 09 10 11 12 13
First Violins
01 Sun YiAssociate Concertmaster
02 Kirsten WilliamsAssociate ConcertmasterKirsty HiltonAssistant Concertmaster
03 Fiona Ziegler04 Julie Batty05 Gu Chen06 Amber Gunther07 Rosalind Horton08 Jennifer Hoy09 Jennifer Johnson10 Georges Lentz11 Nicola Lewis12 Alexandra Mitchell
Moon Design Chair of Violin13 Léone Ziegler
Sophie Cole
Second Violins
01 Marina MarsdenPrincipal
02 Emma WestA/Associate Principal
03 Shuti HuangA/Assistant Principal
04 Susan DobbiePrincipal Emeritus
05 Pieter Bersée06 Maria Durek07 Emma Hayes08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica
Guest Musicians
Manu Berkeljon First Violin†
Emily Qin First Violin#
Martin Silverton First Violin
Robin Wilson First Violin
Michele O’Young First Violin
Leigh Middenway First Violin
Emily Long First Violin#
Alexander Norton Second Violin#
Rohana Brown Second Violin†
Alex D’Elia Second Violin#
Thomas Dethlefs Second Violin
Jennifer Curl Viola#
Yilin Zhu Viola†
Jacqueline Cronin Viola#
Patrick Suthers Cello†
Rowena Crouch Cello#
Josephine Costantino Cello
Anna Rex Cello
Gordon Hill Double Bass#
David Papp Oboe†
Robert Llewellyn Bassoon#
Simone Walters Bassoon
Brian Nixon Drum Kit
Philip South Percussion
Josephine Allan Piano
Catherine Davis Piano
James Nightingale Saxophone
# Contract Musician† Sydney Symphony
Fellow
Gianluigi GelmettiChief Conductor andArtistic Director
Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council
Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council
24 | Sydney Symphony
08Cellos
09 10 11 01 02 03
01Violas
02 03 04 05 06 07
04 05 06 07 08 09
01Double Basses
02 03 04 05 06 07
Harp01 Flutes
02 03Piccolo
MUSICIANS
Violas
01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola
02 Anne Louise ComerfordAssociate Principal
03 Yvette GoodchildAssistant Principal
04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe
Cellos
01 Catherine Hewgill Principal
02 Nathan Waks Principal
03 Leah LynnAssistant Principal
04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham
Double Basses
01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass
02 Alex HeneryPrincipal
03 Neil BrawleyPrincipal Emeritus
04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray
Gordon Hill(contract, courtesy Auckland Philharmonic)
Harp
Louise JohnsonMulpha Australia Chair of Principal Harp
Flutes
01 Janet Webb Principal
02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute
03 Carolyn Harris
Piccolo
Rosamund PlummerPrincipal
25 | Sydney Symphony
Cor Anglais Clarinets Bass Clarinet
Oboes
01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe
02 Shefali PryorAssociate Principal
Cor Anglais
Alexandre OgueyPrincipal
Clarinets
01 Lawrence Dobell Principal
02 Francesco CelataAssociate Principal
03 Christopher Tingay
Bass Clarinet
Craig WernickePrincipal
Bassoons
01 Matthew WilkiePrincipal
02 Roger BrookeAssociate Principal
03 Fiona McNamara
Contrabassoon
Noriko ShimadaPrincipal
Horns
01 Robert JohnsonPrincipal
02 Ben JacksPrincipal
03 Geoff O’ReillyPrincipal 3rd
04 Lee BracegirdleEuan Harvey
05 Marnie Sebire
Trumpets
01 Daniel Mendelow Principal
02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet
03 John Foster04 Anthony Heinrichs
Trombone
01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone
02 Scott KinmontAssociate Principal
03 Nick ByrneRogen International Chair of Trombone
Bass Trombone
Christopher Harris Trust Foundation Chair of Principal Bass Trombone
Tuba
Steve RosséPrincipal
Timpani
01 Richard MillerPrincipalAdam JeffreyAssistant Principal Timpani/Tutti Percussion
Percussion
01 Rebecca LagosPrincipal
02 Colin Piper
Piano
Josephine AllanPrincipal (contract)
01Bassoons Contrabassoon Horns
02 03 01 02 03
01Oboes
02 01 02 03
04 05 01Trumpets
02 03 04
01Trombones
02 03Bass Trombone Tuba
01Timpani
01Percussion
02Piano
MUSICIANS
The Company is assisted by the NSW Government through Arts NSW
SALUTE
26 | Sydney Symphony
PRINCIPAL PARTNER
PLATINUM PARTNER
MAJOR PARTNERS
GOVERNMENT PARTNERS
GOLD PARTNERS
27 | Sydney Symphony
The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.
SILVER PARTNERS
REGIONAL TOUR PARTNERS
BRONZE PARTNERS MARKETING PARTNERS PATRONS
Australia Post
Austrian National Tourist Office
Beyond Technology Consulting
Bimbadgen Estate Wines
J. Boag & Son
Vittoria Coffee
Avant Card
Blue Arc Group
Lindsay Yates and Partners
2MBS 102.5 –Sydney’s Fine Music Station
The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.
A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contact Alan Watt on (02) 8215 4619.
28 | Sydney Symphony
01 02 03 04 05 06
07 08 09 10 11 12
DIRECTORS’ CHAIRS
01Mulpha Australia Chair ofPrincipal Harp, Louise Johnson
02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl
03Sandra and Paul Salteri Chair ofArtistic Director Education,Richard Gill OAM
04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris
05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing
06Brian and Rosemary White Chair of Principal Double Bass,Kees Boersma
07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding
08Gerald Tapper, Managing Director Rogen International withRogen International Chair of Trombone, Nick Byrne
09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell
10Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty
11Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict
12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild
GR
EG B
AR
RET
T
KEI
TH S
AU
ND
ERS
29 | Sydney Symphony
Beth Harpley *Rev H & Mrs M Herbert °*Dr & Mrs Michael Hunter §Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &
Mrs Anna Joel °Professor Faith M Jones §Ms Judy JoyeMr Noel Keen *Mrs Margaret Keogh °*Iven & Sylvia Klineberg *Dr Barry LandaMrs Joan Langley °Dr & Mrs Leo Leader °Mrs Margaret Lederman §Ms A Le Marchant *Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthy *Mr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesKate & Peter Mason °Justice Jane Matthews §Ms J Millard *‡Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A Oppen §Mrs Roslyn Packer AO °Mrs Jill Pain ‡Dr Kevin Pedemont *Mr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol Reid §Mr Brian Russell & Mrs Irina
SinglemanMr M D Salamon §In memory of H St P Scarlett °*Mr John Scott °Ms Ann Sherry AO °Dr Agnes E SinclairDr John Sivewright &
Ms Kerrie Kemp ‡Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mrs Merle Turkington °Ronald Walledge °Louise Walsh & David Jordan °Mrs Christine WenkartDr Richard Wing §Mr Robert Woods *Jill WranMrs Lucille Wrath ‡Mrs R Yabsley °§Anonymous (14)
PLAYING YOUR PART
Maestri
Brian Abel & the late Ben Gannon AO °
Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§Mr John Curtis §Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*Mr Harcourt Gough §Mr David Greatorex AO &
Mrs Deirdre Greatorex §The Hansen Family §Mr Andrew Kaldor & Mrs
Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mr E J Merewether &
Mrs T Merewether OAM *Mr B G O’Conor °§The Paramor Family *The Ian Potter Foundation °Dr John Roarty in memory of
Mrs June RoartyMr Paul & Mrs Sandra Salteri °Mrs Joyce Sproat & Mrs Janet
Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (2) *
Virtuosi
Mrs Antoinette Albert §Mr Roger Allen & Mrs Maggie
GrayMr Robert & Mrs L Alison Carr §Mr Greg Daniel Ian Dickson & Reg Holloway°Mr & Mrs Paul Hoult Irwin Imhof in memory of
Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM
Helen Lynch AM & Helen Bauer °
Mr & Mrs David Milman §Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Rodney Rosenblum AM &
Sylvia Rosenblum *Mrs Helen Selle §David Smithers AM & Family °§Ms Gabrielle Trainor °In memory of Dr William &
Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1)
SoliMr Anthony Berg AMMs Jan Bowen °§Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mrs Mora Maxwell °§Mr James & Mrs Elsie Moore °Mr Geoff Wood & Ms Melissa
Waites Ray Wilson OAM & the late
James Agapitos OAM*Anonymous (4)
Tutti
Mr C R Adamson §Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J Bell *‡Mr Alexander & Mrs Vera
Boyarsky §Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &
Mrs Margaret Cunningham °§Lisa & Miro Davis *Mrs Ashley Dawson-Damer °Mr Peter & Mrs Mary Doyle °*Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof Neville
Wills §Mrs Dorit & Mr William
Franken °§Mr Arshak & Ms Sophie
Galstaun §In memory of Hetty Gordon §Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski°Mr Philip Isaacs OAM °§Mr & Mrs E Katz §Miss Anna-Lisa Klettenberg §Mr Andrew Korda & Ms Susan
Pearson Mr Justin Lam §
Dr Paul A L Lancaster &Dr Raema Prowse
Dr Garth Leslie °*Mrs Belinda Lim & Mr Arti
Ortis §Mr Gary Linnane °§Ms Karen Loblay §Mr Bob Longwell Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM °Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee
Markovic °§Mrs Alexandra Martin & the
Late Mr Lloyd Martin AM §Wendy McCarthy AO °Mrs Barbara McNulty OBE §Ms Margaret Moore & Dr Paul
Hutchins *Mr Robert Orrell °Timothy & Eva Pascoe §Ms Patricia Payn °§Mr Adrian & Mrs Dairneen Pilton Ms Robin Potter °§Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Ms Juliana Schaeffer §Derek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese
Teitler §Mr Ken Tribe AC & Mrs Joan
Tribe §Mr John E Tuckey °Mrs Kathleen Tutton §Ms Mary Vallentine AO §Henry & Ruth Weinberg §Audrey & Michael Wilson °Anonymous (10)
Supporters over $500
Richard Ackland °PTW Architects §Mr Chris & Mrs Mary Barrett °Doug & Alison Battersby °Mr Phil Bennett Gabrielle Blackstock °‡Mr G D Bolton °Dr & Mrs Hannes Boshoff §A I Butchart °*Marty Cameron §Mr B & Mrs M Coles °Mrs Catherine Gaskin
Cornberg§Mr Stan Costigan AO &
Mrs Mary Costigan °*Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Mr Russell Farr Mr and Mrs David Feetham Mr Steve GillettIn memory of Angelica Green §Anthony Gregg & Deanne
Whittleston ‡Dr & Mrs C Goldschmidt §
Patron Annual
Donations Levels
Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999
To discuss givingopportunities, please callAlan Watt on (02) 8215 4619.
° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter
The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace is limited we are unable to list donors who give between $100 and $499 –please visit sydneysymphony.com for a list of all our patrons.
30 | Sydney Symphony
Sydney Symphony Board
BEHIND THE SCENES
CHAIRMAN
John Conde AO
Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM
Gabrielle Trainor
Sydney Symphony Council
Geoff AinsworthAndrew Andersons AO
Michael Baume AO
Christine BishopDeeta ColvinGreg Daniel AM
John Della Bosca MLC
Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM
Donald Hazelwood AO OBE
Dr Michael Joel AM
Simon Johnson Judy JoyeYvonne Kenny AM
Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC
Joan MacKenzieSir Charles Mackerras CH AC CBE
David MaloneyDavid Malouf
Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Matthews AO
Danny MayWendy McCarthy AO
John MorschelGreg ParamorDr Timothy PascoeStephen PearseJerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna SchaefferLeo Schofield AMIvan UngarJohn Van OgtropJustus VeeneklaasPeter Weiss AM
Anthony Whelan MBE
Rosemary WhiteKim Williams AM
31 | Sydney Symphony
Sydney Symphony Staff
MANAGING DIRECTOR
Libby ChristieEXECUTIVE ASSISTANT
Eva-Marie Alis
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC OPERATIONS
Wolfgang Fink
Artistic Administration
ARTISTIC ADMINISTRATION MANAGER
Raff WilsonARTIST LIAISON
Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR
Lisa Davies-GalliADMINISTRATION ASSISTANT
Catherine Wyburn
Education Programs
EDUCATION MANAGER
Margaret MooreEDUCATION COORDINATOR
Bernie Heard
Library
LIBRARIAN
Anna CernikLIBRARY ASSISTANT
Victoria GrantLIBRARY ASSISTANT
Mary-Ann Mead
Recording Enterprises
RECORDING ENTERPRISES MANAGER
Aimee Paret
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Rory Jeffes
Development
CORPORATE RELATIONS MANAGER
Leann MeiersCORPORATE RELATIONS EXECUTIVE
Julia OwensCORPORATE RELATIONS EXECUTIVE
Seleena SemosPHILANTHROPY MANAGER
Alan WattDEVELOPMENT EXECUTIVE
Kylie Anania
Publications
PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER
Yvonne Frindle
Public Relations
PUBLIC RELATIONS MANAGER
Yvonne ZammitPUBLICIST
Stuart Fyfe
Public Affairs
PUBLIC AFFAIRS MANAGER
Claire Duffy
SALES AND MARKETING
Customer Relations
MARKETING MANAGER – CRM
Rebecca MacFarlingDATA & ONLINE TECHNOLOGYMANAGER
Marko LångONLINE MANAGER
Kate Taylor
Marketing Communications
MARKETING MANAGER – TRADITIONALMARKETS
Simon Crossley-MeatesMARKETING COORDINATOR
Antonia Farrugia
Groups & Tourism
NETWORK GROUP-SALES MANAGER
Paul Murray
Box Office
BOX OFFICE MANAGER
Lynn McLaughlinBOX OFFICE COORDINATOR
Peter GahanCUSTOMER SERVICEREPRESENTATIVES
Wendy AugustineMichael DowlingErich Gockel
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRAMANAGEMENT
Aernout KerbertDEPUTY ORCHESTRA MANAGER
Lisa MullineuxORCHESTRAL COORDINATOR
Greg LowOPERATIONS MANAGER
John GlennTECHNICAL MANAGER
Derek CouttsPRODUCTION COORDINATOR
Tim DaymanPRODUCTION COORDINATOR
Ian SpenceSTAGE MANAGER
Marrianne Carter
BUSINESS SERVICES
DIRECTOR OF FINANCE & COMPANYSECRETARY
David O’KaneFINANCE MANAGER
Janet LeungACCOUNTS ASSISTANT
Li LiOFFICE ADMINISTRATOR
Rebecca WhittingtonPAYROLL OFFICER
Caroline HallINFORMATION TECHNOLOGY MANAGER
Tim Graham
HUMAN RESOURCES
HUMAN RESOURCES MANAGER
Ian Arnold
This is a /SHOWBILL publication.
Publisher
Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064
Head Office:
1017 Pacific Highway, Pymble, NSW 2073
Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected]: www.playbill.com.au
Operating in Sydney, Melbourne, Canberra, Brisbane,
Adelaide, Perth, Hobart and Darwin
EXECUTIVE CHAIRMAN AND ADVERTISEMENT DIRECTOR
Brian Nebenzahl OAM, RFD
MANAGING DIRECTOR
Michael Nebenzahl
EDITORIAL DIRECTOR
Jocelyn Nebenzahl
DIRECTOR – PRODUCTION
Chris Breeze
By arrangement with the Sydney Symphony, this publication isoffered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out orotherwise circulated without the publisher’s consent in writing.It is a further condition that this publication shall not be circulatedin any form of binding or cover than that in which it was published,or distributed at any other event than specified on the title page ofthis publication.
Overseas Operations:
New Zealand: Playbill (N.Z.) Limited, Level 5, 94 Dixon Street, PO Box 11-755, Wellington, New Zealand; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose,Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148,Email: [email protected] London: Playbill UK Limited, C/- Everett Baldwin BarclayConsultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill (Malaysia) Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3)7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum ConsultantsPte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett ChownInc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.
All enquiries for advertising space in this publication should bedirected to the above company and address.
Entire concept copyright. Reproduction without permission inwhole or in part of any material contained herein is prohibited.
Title ‘Playbill’ is the registered title of Playbill Proprietary Limited.
Title ‘Showbill’ is the registered title of Showbill ProprietaryLimited.
Additional copies of this publication are available by post from thepublisher; please write for details.
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SYMPHONY AUSTRALIA LIMITED
Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007GPO Box 9994, Sydney NSW 2001Telephone (02) 8333 1651Facsimile (02) 8333 1678
www.symphony.net.au
Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Facsimile (02) 8215 4646
Customer Services:GPO Box 4338, Sydney NSW 2001Telephone (02) 8215 4600Facsimile (02) 8215 4660
www.sydneysymphony.com
All rights reserved, no part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanical,including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in thispublication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.
Please address all correspondence to the Publications Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO
Ms Jacqueline Kott Mr Robert Leece AM RFD
Ms Sue Nattrass AO
Mr Leo Schofield AM
Ms Barbara WardMr Evan Williams AM
EXECUTIVE MANAGEMENT
CHIEF EXECUTIVE OFFICER . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . . . . . .Maria Sykes
SYDNEY OPERA HOUSE
Bennelong PointGPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com