welcome to the...the sydney symphony is a ﬁ rst-class orchestra based in one of the world’s most...

WELCOME TO THE EMIRATES METRO SERIES

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVEEMIRATES AIRLINE AND GROUP

The Sydney Symphony is a fi rst-class orchestra based in one of the world’s most beautiful cities, and Emirates, as a world-class airline, is proud to continue as the orchestra’s Principal Partner in 2011.

A fi rst-class experience is always a memorable one. Whether it be exiting your personal Emirates chauffeur driven car at the airport, ready to be whisked away to the Emirates lounge, or entering a concert hall for an unforgettable night of music, the feeling of luxury and pleasure is the same.

Emirates views sponsorships such as the Sydney Symphony not just as an alignment of values, but also as a way of extending commitments to the destinations the airline serves around the world. Emirates has been a partner of the Symphony since 2000, the same year the airline launched fl ights to Sydney.

Through the support of sponsors and customers in New South Wales over the past ten years, Emirates has grown and now operates double-daily fl ights between Sydney and Dubai, with convenient connections to more than 100 destinations, as well as daily trans-Tasman fl ights to Auckland and Christchurch.

Australia-wide, Emirates operates 63 fl ights per week from Sydney, Melbourne, Brisbane and Perth to Dubai, and 28 fl ights per week trans-Tasman.

Sydneysiders can experience the state-of-the-art features of Emirates’ ultra-modern A380 aircraft which operates daily from Sydney to Dubai and Auckland. These features include onboard lounges where First and Business Class passengers can socialise while enjoying canapés and beverages on demand, and onboard Shower Spas.

This is in addition to the other special touches premium passengers have come to experience from Emirates, such as chauffeur-driven airport transfers, access to dedicated airport lounges, private suites and lie-fl at seating, gourmet food and beverage service, plus more than 1000 channels of entertainment.

We look forward to working with the Sydney Symphony throughout 2011, to showcase the fi nest in both music and luxury travel.

METRO SERIES PRESENTING PARTNER

2011 SEASON

THURSDAY AFTERNOON SYMPHONYThursday 3 March | 1.30pm

EMIRATES METRO SERIESFriday 4 March | 8pm

GREAT CLASSICSSaturday 5 March | 2pm

Sydney Opera House Concert Hall

MAHLER 6:HAMMERBLOW OF FATEVladimir Ashkenazy conductorJean-Effl am Bavouzet piano

FRANZ LISZT (1811–1886)Piano Concerto No.2 in A, S125

Adagio sostenuto assai – Allegro agitato assai – Allegro moderato – Allegro deciso – Marziale, un poco meno Allegro –Allegro animato

(The sections of the concerto are played without pause.)

INTERVAL

GUSTAV MAHLER (1860–1911)Symphony No.6 in A minor

Allegro energico, ma non troppo. Heftig, aber markig (impetuous but plenty of vigour)Andante moderatoScherzo. Wuchtig (weighty)Finale. Allegro moderato – Allegro energico

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

Friday’s performance will be webcast by BigPond. Visit bigpondmusic.com/sydneysymphony

Pre-concert talk by David Garrett in the Northern Foyer, 45 minutes before each concert. Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 21 minutes, 20-minute interval, 80 minutesThe concert will conclude at approximately 3.40pm (Thu), 10.10pm (Fri), 4.10pm (Sat)

Emil Orlik’s portrait of Mahler, made in 1902, the year before the composer began work on the Sixth Symphony.

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INTRODUCTION

Mahler 6: Hammerblow of Fate

You’ll sometimes see Mahler’s Sixth billed as the ‘Tragic’ Symphony. This epithet was never endorsed as an offi cial subtitle, but that doesn’t mean there isn’t something in the name. The symphony begins grimly, with a heavy-footed march. When the music ends, one hour and twenty minutes later, it’s just as grim and even more despairing. Despite intervening moments of lyricism and poetry, the overwhelming impression is of music by a composer obsessed with fate.

At the same time, Mahler’s Sixth Symphony is a cautionary example against our romantic tendency to project onto composers’ lives the character and emotions of their music. This is music by a man who was enjoying increasing success as a conductor and a composer. He was also happily married to the beautiful and talented Alma, with two healthy daughters.

So what is the source of the tragedy in this music? Of the blows of fate which ‘fell the hero’? When Mahler conducted the premiere (a profoundly distressing experience, by Alma’s account) his tragedies were in the future: the death of one of his daughters in 1907, the loss of his directorship at the Vienna Court Opera, the discovery that he had heart disease. With the benefi t of hindsight, and a little imagination, Alma would claim the symphony was prophetic – an autobiography written in advance.

Even if this is taken with a grain of salt (and you should), it’s impossible to hear this music and be sceptical when Alma writes of the day Mahler completed it: ‘Not one of his works came so directly from his innermost heart as this. We both wept that day.’

If you’ve been following our Mahler Odyssey, you’ll have discovered a composer whose music is astonishingly intimate and deeply personal, despite the ambitiousness of its scale. It is music best heard in a concert hall, and yet it seems to beg for a private audience. Nowhere is this more apparent than in the Sixth Symphony.

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

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

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

Mahler Odyssey program covers

The covers for our Mahler Odyssey program books have been designed by Christie Brewster. They feature a stylised typeface characteristic of early 20th-century Viennese posters and publications, and sumptuous patterns inspired by the art of Gustav Klimt (1862–1918).

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ABOUT THE MUSIC

Keynotes

LISZT

Born Raiding, 1811Died Bayreuth, 1886

Hungarian-born Franz Liszt (or ‘Ferenc Liszt’ as he preferred to be known) was the greatest piano virtuoso of his time. His skills as a composer, combined with his extraordinary technique and charisma at the piano, allowed him to champion the orchestral music of composers such as Beethoven, Berlioz and Wagner through piano transcriptions and paraphrases. He also pioneered the genre of the ‘symphonic poem’ – large single-movement works conceived around a programmatic theme – paving the way for Sibelius and Richard Strauss.

PIANO CONCERTO NO.2

In 1855 Liszt was the soloist in the premiere of his fi rst piano concerto; two years later he was the conductor for the premiere of his second. (A pupil, the work’s dedicatee, played the solo.) The second concerto was a long time in the making, with a draft dating back to 1839, and many revisions, even after the fi rst performance.

Most signifi cant is Liszt’s working title: ‘Concerto symphonique’. This title refl ects a strategy he’d borrowed from Schubert, building thematic unity by drawing the various contrasting themes from the same material. This approach is further emphasised by the structure of the concerto, which is in one continuous movement, punctuated by shifts in mood and tempo.

Franz Liszt Piano Concerto No.2 in A, S125Adagio sostenuto assai – Allegro agitato assai – Allegro moderato – Allegro deciso – Marziale, un poco meno Allegro – Allegro animato

Jean-Effl am Bavouzet piano

Liszt wrote several works for piano and orchestra, but only two were published with the title ‘Concerto’. At the time of their composition, his principal career was that of a travelling virtuoso performer. This was a career virtually invented by him (with some inspiration from the Italian violinist Nicolò Paganini). From the age of 26, Liszt remained unchallenged in the role of lion of the keyboard, until 1848 after which he spent 40 years in retirement from the concert stage, pursuing, with equal intensity, subsequent careers as composer and teacher. Let us also not forget the romantic liaisons with famous beauties, and the last years as a devout churchman. A life lived to the full!

Opinions on his work as a composer were varied – and still are – but there was international unanimity about his prowess as a pianist. From his fi rst appearance at age nine, he amazed his listeners with his technical dexterity, his musical understanding and his ability to play anything at sight. His training under the strict and methodical Carl Czerny probably gave an edge of discipline to his wild pianism, and he was noted particularly for his uncanny ability to combine power and delicacy. He had a wide palette of tone colours and was famous for making the piano sound like an orchestra, an eff ect he was very proud of.

While all of Europe was in awe of his playing, there was great criticism of his work as a composer. Clara Schumann said, ‘I could almost detest him as a composer’; the feared Viennese critic, Eduard Hanslick, wrote: ‘false, bogus music, characterised by tangible symptoms of decay’. Even today, he has as many admirers as detractors, and the latter often describe his music as shallow, banal and uninspired. Some of his admirers sound slightly hesitant in their love, as if they feel somewhat guilty about such a weakness. Yet all of his major works for piano are as often played today as ever, and his orchestral and later works are full of astonishing invention.

Interestingly, his greatest supporters have always been other composers, such as Wagner, Ravel, Saint-Saëns

9 | Sydney Symphony

and Scriabin, who were all infl uenced by his works, both consciously and unconsciously.

He was a great disturber of comfortable musical forms (‘new wine needs new bottles’), and it was this aspect that interested many 20th-century composers. Bartók said that Liszt’s invention indicated ways of development that were only fully utilised by his successors. Liszt’s music needs to be approached in a mood of heightened poetic intensity, and with a willingness to accept wholeheartedly his world of extremes.

Listening Guide

The Piano Concerto No.2 is a splendid example of what must have been Liszt’s playing style. He worked on several versions of the piece, before publishing it in 1863, dedicated to his student Hans von Bronsart, who had premiered it in Weimar in 1857 with the composer conducting. It features extreme contrasts between the pathetic and the bombastic, the religiously contemplative and the wildly passionate. His son Daniel (who was to die of consumption before the age of 20), in a letter to his mother, claimed that it was an exact portrait of his father in all his contrasting aspects.

It is surprising to discover that Liszt never performed this work as a soloist. Imagine the pre-eminent pianist of his age, not playing this concerto, which was so ideally designed to display skill and taste. At the time of its premiere, however, Liszt was increasingly interested in conducting, perhaps a result of a growing dislike of ‘virtuoso’ performing as well as his interest in the championing of other composers.

11 | Sydney Symphony

The opening orchestral bars contain nearly everything you need to listen for in this concerto. The melodic and harmonic details form the basis of a theme which undergoes astonishing transformations, changing key, time signature, speed and character, throughout the concerto. Liszt was justly proud of this compositional technique of thematic transformation. The theme reappears in every possible guise: some of the more surprising include the one for solo cello with piano accompaniment in the slow section, the military alla marcia fortissimo version, and the declamatory piano solo in the second half of the work.

The concerto is not considered as ‘popular’ as the fi rst one in E fl at, but perhaps this is because it is marginally less showy. It is certainly just as virtuosic and even more poetic. It is written, as are all Liszt’s works for piano and orchestra, in a continuous unfolding cyclic structure, which often sounds like several diff erent movements. From a classical viewpoint, this type of structure might seem a disaster, but at no stage in the work are we in any doubt as to what is happening, and how it relates to what has gone before. Throughout, the melodic development in the solo piano part is constantly interesting and beautiful, while the coda is one of shining ingenuity.

George Bernard Shaw, in his obituary for Liszt in the Pall Mall Gazette, wrote, ‘Liszt was a man who loved his art, despised money, attracted everybody worth knowing in the 19th century, lived through the worst of it, and got out of it at last with his hands unstained.’

STEPHEN MCINTYRE © 2004

Liszt’s Piano Concerto No.2 calls for an orchestra of three fl utes (one doubling piccolo) and pairs of oboes, clarinets and bassoons; two horns, two trumpets, three trombones and tuba; timpani and percussion; and strings.

The Sydney Symphony fi rst performed this concerto in 1942 with soloist Winifred Burston and conductor Percy Code, and most recently in 2004 with Michele Campanella as soloist and Gianluigi Gelmetti conducting.

The opening bars contain nearly everything you need to listen for in this concerto.


Gustav Mahler Symphony No.6 in A minor

Allegro energico, ma non troppo. Heftig, aber markig (impetuous but plenty of vigour)Andante moderatoScherzo. Wuchtig (weighty)Finale. Allegro moderato – Allegro energico

Mahler was worried. His Sixth Symphony had just received its fi rst performance at the Allgemeiner Deutscher Musikverein’s festival in the German city of Essen, and his friend and colleague Richard Strauss had made the off hand remark that the work was ‘overscored’. Strauss’s remark may have been facetious; it was after all at around this time that his Salome was premiered, and Salome’s orchestration sounded to Giacomo Puccini like a ‘badly mixed Russian salad’. But Mahler was worried. According to the young conductor Klaus Pringsheim (who witnessed the exchange) Mahler kept coming back to Strauss’ comment. He ‘asked without envy, without bitterness, almost humbly, reverently, what might be the reason why everything came so easily to the other composer and so painfully to himself; and one felt the antithesis between the blond conqueror and the dark, fate-burdened man’.

In his monograph on Mahler, the infl uential Marxist writer Theodor Adorno caricatured Strauss as a ‘blond Siegfried, a balanced harmonious individual who is supposed, singing like a bird, to shower as much happiness on his listeners as is falsely ascribed to him’. By contrast, Adorno argued, Mahler’s music refl ects the increasing impotence of the individual in late bourgeois society. Mahler’s theme is ‘broken-ness’; his use of folk music, high romantic Angst, bird calls, cowbells and military marches are all ultimately ironic reminders of the fragmentation of society and the self. For Adorno, Mahler’s best music dramatises the discontinuity of the world.

Unlike Strauss, Mahler was suspicious of music which needed the explanatory prop of a ‘program’, but this is not to say that Mahler’s music is not at some level about non-musical ideas. In many ways Mahler’s Sixth Symphony is comparable to Strauss’s Ein Heldenleben: Mahler himself conceded that the work has a ‘hero’ who faces an inexorable fate – but the crucial diff erence is that Mahler’s music acknowledges the fear of inevitable oblivion. Mahler’s Fifth Symphony trod a familiar Beethovenian path from

Keynotes

MAHLER

Born Kalischt, 1860Died Vienna, 1911

Mahler is now regarded as one of the greatest symphonists of the late 19th century. But during his life his major career was as a conductor – he was effectively a ‘summer composer’. Mahler believed that a symphony must ‘embrace the world’. His are large-scale, requiring huge orchestras and often lasting more than an hour; they cover a tremendous emotional range; and they have sometimes been described as ‘Janus-like’ in the way they blend romantic and modern values, self-obsession and universal expression, idealism and irony.

SIXTH SYMPHONY

The Sixth Symphony was composed during a happy period for Mahler, and yet it is one of his darkest symphonies – the only one to end so grimly and without a hint of optimism. It has a tight ‘classical’ logic, with a traditional structure, fi rmly anchored in the key of A minor. Yet beneath the abstract formality are hints of autobiography. A soaring theme in the fi rst movement could be Mahler’s wife Alma; children might be heard in the Scherzo. And originally the fi nale felled ‘the hero’ with ‘three hammer blows of fate’ – Mahler later reduced these to two. Composed during 1903 and 1904, the symphony was premiered in Essen on 27 May 1906, the composer conducting.


darkness to light, dramatising the overcoming of various obstacles before fi nal victory. The Sixth by contrast off ers no such comfort. The hero may love and fi ght and occasionally triumph but we are all in the end ‘snared in an evil time’.

So the answer to Mahler’s own question about why everything came so much more easily to Strauss might be that in Mahler’s music there is much more at stake. According to the composer’s widow Alma ‘none of his works moved him so deeply at its fi rst hearing as this’. In her memoirs, Alma Mahler tells of how, after the dress rehearsal of the Sixth, she went backstage to fi nd ‘Mahler walking up and down in the artists’ room, sobbing, wringing his hands, unable to control himself…’

Alma Mahler’s accounts of her life have been described as unreliable and occasionally mendacious. Her description of the scene, for instance, continues with the appearance of – who else? – Strauss, who ‘came noisily in, noticing nothing. “Mahler, I say, you’ve got to conduct some dead march or other before the Sixth – their Mayor has died on them –so vulgar this sort of thing – But what’s the matter?” and out he went as noisily as he came, quite unmoved…’ (A marginal note Strauss wrote in his copy of her book amounts to a perplexed denial of the story.) Nevertheless Mahler’s emotions at having composed such a work as this must have been intense. As composer and writer Andrew Ford has noted, in the Sixth Symphony ‘it is as though Mahler has deliberately destroyed his own world, and if Alma Mahler’s story…is perhaps a little exaggerated, it’s not actually implausible’.

Mahler’s fi rst four symphonies mine his many song-settings of folk poetry from the collection Des Knaben Wunderhorn and three of them contain signifi cant vocal elements. His three central symphonies are all works of ‘absolute’ as against programmatic music. Nevertheless, his Fifth, Sixth and Seventh Symphonies derive some of their thematic material from two sets of songs to poetry by Friedrich Rückert (1788–1866), the song-cycle Kindertotenlieder (Songs on the death of children) and fi ve songs (which do not constitute a cycle) which include the masterpieces ‘Ich bin der Welt abhanden gekommen’ (I have lost touch with the world) and ‘Um Mitternacht’ (At midnight). Alma describes the Kindertotenlieder and Sixth Symphony as premonitions of the death of their daughter and the onset of Mahler’s heart condition.

Alma Mahler with her daughters Maria (‘Putzi’) and Anna (‘Gucki’). In the summer of 1907 both girls contracted scarlet fever and Maria, the elder of the two, did not survive. It was at this time, too, that Mahler learned of his heart condition.

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On the day of the concert, Mahler was so afraid that agitation might get the better of him, that out of shame and anxiety he did not conduct the symphony well. He hesitated to bring out the dark omen behind this terrible movement [the fi nale].

ALMA MAHLER recalls the premiere of the Sixth Symphony


Listening Guide

For all its epic scale, the Sixth is the work, as Mahler put it, of ‘an old-fashioned composer’ in that it is cast in a traditional four-movement design. From the outset, though, its tone – which led to the occasional use, even in Mahler’s time, of the nickname ‘Tragic’ – is unambiguous. A fully scored A major chord, underpinned by an obsessive rhythmic motif from the timpani, fades and, as it fades, changes to the minor mode. This is music which will end in darkness. The movement begins as a march, though, as scholar Michael Kennedy points out, it is not the triumphant approach of spring as in the third symphony, or the doom-laden funeral march of the Fifth. It is, as Kennedy puts it, ‘modern music [that] marches in with this sinister tramping start’. The movement’s starkly contrasting second subject is a lyrical tune which rises and falls largely by step. Alma describes how, when Mahler began work on the piece on their summer vacation in 1903, ‘after he had drafted the fi rst movement, he came down from [his study] to tell me he had tried to express me in a theme. “Whether I’ve succeeded, I don’t know; but you’ll have to

Hammer blows of fate

In his revisions of the symphony, perhaps from superstition, Mahler deleted the third of the hammer blows, representing the blows of fate which strike down the ‘hero’. With hindsight, these three blows seem prophetic indeed – within the following year, Mahler lost his position as Director of the Imperial Opera in Vienna, his eldest daughter died, and his heart disease was diagnosed.

This photo of Mahler was taken in the loggia of the Vienna Court Opera in 1907, the same year he was obliged to resign from his post as its Director.

Mahler amended his conducting score to delete the third hammer blow from the fi nale.


put up with it.”’ Its contour and mood certainly relate to any number of Romantic love-themes. Mahler’s treatment of it, too, reminds one of Berlioz’s use of the Beloved’s idée fi xe in the Symphonie fantastique: it is always slightly varied on each appearance. In any event, the yearning lyricism provides a perfect foil for the implacable march with which the movement begins – ‘change and confl ict are the secret of eff ective music’, as Mahler said.

Another unique aspect of this work is the celebrated evocation of alpine scenery fi rst heard toward the end of the movement. This striking sound world was said by Mahler to represent the ‘last earthly sounds heard from the valley below by the departing spirit on the mountain top’. Perhaps anticipating baffl ement from future performers he noted that ‘the cowbells should be played with discretion – so as to produce a realistic impression of a grazing herd of cattle, coming from a distance, alternately singly or in groups, in sounds of high and low pitch.’ Apparently unaware of the contradiction he went on to say that ‘special emphasis is laid on the fact that this technical remark admits of no programmatic interpretation’.

The ordering of the two central movements has a complicated history. In his manuscript, the Scherzo followed the fi rst movement, but Mahler then felt that the piece worked better with the Andante second and Scherzo third. The very fi rst edition had the Scherzo before the Andante but Mahler insisted on erratum slips in those fi rst printed scores and programs to indicate that the order had been changed. He always performed the piece using the Andante–Scherzo order. In 1919 however, the conductor Willem Mengelberg asked Alma for clarifi cation, and in a four word telegram she insisted that it should be Scherzo then Andante. (Alma elsewhere maintained that the order that Mahler had used in Amsterdam was correct; as it happens, Mahler never conducted the Sixth in Amsterdam!) Mengelberg, acting in good faith, used that order, and in 1963 the infl uential editor of the fi rst critical edition of Mahler’s scores, Erwin Ratz, insisted, on the basis of Alma’s telegram that Mahler had reverted to the Scherzo–Andante order. That is how the symphony appeared in Ratz’s edition and that is how many conductors had presented the work subsequently.

In what we must accept as Mahler’s preferred order, the Andante represents a complete contrast with both the fi rst movement and the Scherzo, but the tone is hardly tragic. Rather, with its horn calls and reminiscence of the cowbells it is poignant and romantic, a relaxation of the work’s dramatic tension.

‘My Sixth will provide puzzles which only a generation that has absorbed and digested my fi rst fi ve symphonies may hope to solve.’

MAHLER to his friend and critic Richard Specht

This cartoon appeared in Die Muskete on 19 January 1907, eight months after the premiere of the Sixth Symphony. It is labelled ‘Tragic Symphony’, and the caption reads: ‘Good gracious! Fancy leaving out the motor horn! Ah well, now I have an excuse for writing another symphony.’ (Mahler was already working on his Eighth.)

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Like the fi rst movement, with which it shares some thematic material, the Scherzo has an insistent rhythm to begin with (which may have prompted Mahler to delay it). There is much Mahlerian irony in this movement, both in the dry clattering of the xylophone and in what Kennedy calls the ‘delicate pastiche Haydn’. The oboe conjures up an innocent, rustic world, and the metrical changes – described by Mahler as altväterlich (literally ‘old-fatherly’) – may recall a Bohemian folk song. As a caution against over-interpreting, it should be noted that the scherzo has been interpreted as ‘diabolical’ and ‘catastrophic’ on one hand, where Alma’s reminiscences insist that it depicts the ‘tottering’ of their children at play before the intrusion of tragedy at the end of the movement.

The Finale is one of Mahler’s largest and most complex structures, and it bears the weight of the symphony as a whole, recalling material from earlier in the work. Its introductory section contains much of the material that will be developed as the movement unfolds, particularly the impassioned melody heard fi rst high in the violins. The movement depicts a nightmarish world, where the allegro energico builds intense excitement and momentum, straining towards climactic release, only to be brutally interrupted on three occasions. Mahler originally included a sickening thud ‘like an axe-stroke’ at each of these points, but later omitted the third out of superstition. Adorno wrote that in Mahler ‘happiness fl ourishes on the brink of catastrophe’, and that the immense climaxes of the Sixth’s fi nale ‘bear their downfall within themselves’. Mahler himself said that the movement describes ‘the hero on whom falls three blows of fate, the last of which fells him as a tree is felled’. The piece ends in dissolution: drum rolls, fragmentary motifs, a baleful and comfortless A minor. No wonder Mahler was worried.

GORDON KERRY ©2007

Mahler’s Sixth Symphony calls for a large orchestra of fi ve fl utes (three playing piccolo), fi ve oboes (three playing cor anglais), three clarinets, E fl at clarinet, bass clarinet, four bassoons and contrabassoon; eight horns, six trumpets, four trombones and tuba; two sets of timpani and percussion; two harps, celeste, and strings. The percussion section includes glockenspiel, xylophone, tam-tam, bass drum (also played with a rute or bunch of twigs), cowbells, three triangles, snare drum, cymbals, deep bell sounds offstage, and the powerful sound of the hammer (those sitting in the choir gallery are warned!).

The Sydney Symphony gave the fi rst Australian performance of Mahler’s Sixth Symphony in the 1971 Town Hall Proms under John Hopkins. Our most recent performance of the symphony was in 2007, conducted by Yannick Nézet-Séguin.

‘the only Sixth’

Mahler’s Sixth Symphony was admired by the following generation of composers, including Arnold Schoenberg and his students. Alban Berg wrote to Anton Webern that Mahler’s symphony was ‘the only Sixth, despite Beethoven’s Pastoral’.


INTERLUDE

Andante–Scherzo: The Inside Story

From at least the mid-1960s until fairly recently, most performances and recordings of Mahler’s Sixth Symphony have placed the Scherzo as the second movement and the Andante third. But Mahler never conducted the symphony this way. As the program page from the Munich premiere shows, when Mahler was conducting his Sixth, the Scherzo was always placed in third spot, as Vladimir Ashkenazy does in these performances.

So how did it come about that the Sixth Symphony was performed with the inner movements reversed for so long? We can blame Mahler’s initial indecisiveness, but his widow, the conductor Willem Mengelberg, and the editor of the 1963 critical edition played a part too.

Beethoven, who invented the scherzo genre as a development of the 18th-century’s third-movement minuet, compounded his legacy by occasionally switching the inner movements of the traditional four-movement structure found in symphonies and chamber music. He did this in the infl uential Ninth Symphony, where the scherzo is the second movement, and Mahler followed suit in his Fourth Symphony.

When Mahler set out to write the Sixth Symphony he had the same scheme in mind: scherzo fi rst, then the lyrical ‘adagio’ or slow movement. The symphony was completed, typeset and published this way; a thematic analysis appeared; a piano duet arrangement made – all within the space of a year. Then on 27 May 1906 Mahler conducted the premiere. By this time he had changed his mind, perhaps during the process of piano readings and orchestral rehearsals, and he conducted the symphony with the Scherzo following the Andante.

Mahler continued to conduct the symphony with this sequence, marking his autograph and conducting score to show the changes. Meanwhile, the publisher made erratum slips and prepared revised editions. Other conductors honoured Mahler’s preferred order.

Then in 1919, eight years after Mahler’s death, Alma Mahler sent a telegram to Mengelberg: ‘First Scherzo, then Andante’. (What she intended by this is unclear, as her Memories and Letters confi rms Mahler’s own order.)

On the basis of this telegram Mengelberg adjusted the sequence to match Mahler’s original – not fi nal – intention. But other conductors didn’t necessarily follow suit until the publication in 1963 of the International Gustav Mahler Society’s Critical Edition, prepared by Erwin Ratz.

This edition enshrined the Scherzo–Andante sequence,

In favour…

Other conductors supporting the Andante–Scherzo sequence include:

John BarbirolliLeon BotsteinMariss JansonsJames JuddCharles MackerrasZubin MehtaYannick Nézet-SéguinSimon RattleLeonard SlatkinMichael Tilson ThomasEdo de Waart


confi rmed in 1998 with the publication of the revised Critical Edition.

Much of Ratz’s decision and that of the subsequent editors was based not on the historical evidence of Mahler’s changes and performances, but on Alma’s telegram and an analytical interpretation of which sequence best supported the ‘internal structure’. Ironically, Reinhold Kubik, one of the editors of the revised Critical Edition, is among those scholars who have now rallied to restore Mahler’s fi nal intention for the Sixth to concert halls and recording studios in the 21st century. It is he who has brought to light a letter from Bruno Walter, which states that Mahler never contemplated reverting to the Scherzo–Andante order, and just three years ago the IGMS stated a new offi cial position: that the correct order of the inner movements is Andante–Scherzo.

The practical implications of a musicological decision like this are tremendous: publishers must now prepare revised editions and music librarians spend hours tagging the orchestral parts of previously published materials; musicians need to be especially alert when fl ipping back and forth from movement to movement. All to achieve the will of the composer. And for us? Perhaps a chance to listen with fresh ears and to pay attention to the power of Mahler’s emotional logic.

SYDNEY SYMPHONY ©2007

Further reading: The Correct Movement Order in Mahler’s Sixth Symphony, essays by Jerry Bruck and Reinhold Kubik, introduced by Gilbert Kaplan (New York, 2004)

Concert program for the Munich premiere of Mahler’s Sixth Symphony (8 November 1906), conducted by the composer.


GLOSSARY

CODA – literally ‘tail’, a small section at the end of a movement or work that ‘rounds off ’ the music.

COWBELLS – within Mahler’s spiritual imagination cowbells were the last earthly sound one heard when ascending the mountain-top toward heaven. Cowbells play a signifi cant role in his Sixth Symphony and in the Seventh (which the Sydney Symphony will perform next week), and wherever Mahler conducted these works, he travelled with his own personal set of bells.

CYCLIC STRUCTURE – refers to the use of thematic material throughout an extended work and often derived from a single thematic source.

IDÉE FIXE – literally a ‘fi xed idea’, Berlioz fi rst used the term to refer to the motto theme that recurs in diff erent guises throughout his Symphonie fantastique.

METRICAL CHANGES – changes in basic pulse, usually in close succession e.g. alternating between march time (four beats to the bar) and waltz time (three beats); metrical changes are characteristic of much European folk music.

ORCHESTRATION – the way in which an orchestral work employs the diff erent instruments and sections of the ensemble; also known as ‘scoring’. An ‘OVERSCORED’ work uses thick orchestral textures and many instrumental colours to extravagant eff ect (it might compared with overly rich food).

PROGRAM – ‘program music’ is inspired by and claims to express a non-musical idea, usually with a descriptive title and sometimes with a literary narrative, or ‘program’, as well. Program music has been known in some form since at least the 16th century, but fl ourished in the 19th century. In many instances there is evidence of confl ict in the composer’s mind: an obvious or stated program being assigned to the music with a simultaneous (or later) denial that there is any PROGRAMMATIC intent.

SCHERZO – literally, a joke; the scherzo as a genre was a creation of Beethoven. For composers such as Mozart and Haydn the third movement of a symphony had typically been a MINUET (in a dance-like triple time). In Beethoven’s hands it acquired a joking and playful mood (sometimes whimsical and startling) as well as a much faster tempo; later composers such as Mahler and Shostakovich often gave the scherzo a cynical, driven, or even diabolical character – less playful and more disturbing.

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

Adagio sostenuto assai – slow, very sustainedAllegro agitato assai – fast, very agitatedAllegro animato – fast, animatedAllegro deciso – fast, decisivelyAllegro energico ma non troppo – fast and energetically, but not too muchAllegro moderato – moderately fastAndante moderato – at a moderate walking paceMarziale – in the style of a marchSostenuto – sustained (smoothly)Un poco meno Allegro – a little less fast

The system of a universal ‘musicians’ Italian’ developed during the baroque period, at a time when Italian music was dominant. It is not always linguistically correct or even capable of direct ‘translation’, but as a lingua franca it is profoundly meaningful to musicians throughout the world. There are also traditions of French and German-speaking composers choosing tempo words and movement titles from their own language. Beethoven, Mahler and Hindemith are among the latter.

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


MORE MUSIC

LISZT PIANO CONCERTOS

In 1994 Nelson Freire recorded Liszt’s two piano concertos and the dramatic Totentanz with the Dresden Philharmonic Orchestra and conductor Michel Plasson. It’s now available in the 2009 re-issue on the budget label Brilliant Classics, not only impressive but top value.BRILLIANT CLASSICS 93846

For a comprehensive selection of Liszt’s music – including orchestral works, solo piano music, and the two concertos with Claudio Arrau accompanied by the London Symphony Orchestra and Colin Davis – look for Ultimate Liszt, a superb 5-CD collection.DECCA ELOQUENCE 478 0235

MAHLER 6

Naturally, we’d encourage you to build your Mahler symphony collection from our Mahler Odyssey recordings as they are released. But if you simply can’t wait for your Mahler symphonies, the Rafael Kubelik set with the Bavarian Radio Symphony Orchestra is recommended.DEUTSCHE GRAMMOPHON 463 738-2

And among individual recordings of the Sixth Symphony, the following are worth seeking out:

Berlin Philharmonic with Claudio AbbadoDEUTSCHE GRAMMOPHON 477 5573

Cleveland Orchestra with George SzellSONY 700 813

Philharmonia Orchestra with Benjamin ZanderThis release includes an extra CD with commentary on the symphony by Zander.TELARC 80586 (or as SACD: TELARC 60586)

ASHKENAZY WITH THE SYDNEY SYMPHONY

Vladimir Ashkenazy’s recordings with the Sydney Symphony now include performances of Elgar symphonies, Prokofi ev symphonies and piano concertos, and the Mahler symphonies and selected song cycles, which are being recorded during the course of the Mahler Odyssey (2010–2011). These recordings, issued on Exton/Triton or on the Sydney Symphony’s own label, are available from our website, in record shops and in the foyer at interval.

JEAN-EFFLAM BAVOUZET

Earlier this year, Bavouzet released his recording of Gabriel Pierné’s vibrant Piano Concerto in C minor, recorded for an all-Pierné disc with the BBC Philharmonic and conductor Juanjo Mena. CHANDOS 10633

Also among his recent concerto releases is a disc with Debussy’s Fantaisie for piano and orchestra and both the Ravel piano concertos, recorded with the BBC Symphony Orchestra and Yan Pascal Tortelier. The disc is fi lled out with solo piano works by Jules Massenet.CHANDOS 5084

Selected Discography

Stay Tuned

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Friday night’s concert will be webcast live on BigPond and be available for later viewing On Demand. Visit: bigpondmusic.com/sydneysymphony

Webcasts

2MBS-FM 102.5

SYDNEY SYMPHONY 2010

Tuesday 8 March, 6pm

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

Broadcast Diary

MARCH

Friday 4 March, 8pm

MAHLER 6

Vladimir Ashkenazy conductorJean-Effl am Bavouzet piano

Liszt, Mahler

Monday 21 March, 8pm

LOVERS & ENIGMAS (2010)

Vladimir Ashkenazy conductor

Richard Strauss, Sibelius, Elgar

Thursday 24 March, 1.05pm

VIVA ESPAÑA (2010)

Miguel Harth-Bedoya conductorSlava Grigoryan guitar

Turina, Rodrigo, Lovelady, Benzecry, Falla


ABOUT THE ARTISTS

Vladimir Ashkenazy conductor

In the years since Vladimir Ashkenazy fi rst came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career, not only as one of the most renowned and revered pianists of our times, but as an inspiring artist whose creative life encompasses a vast range of activities.

Conducting has formed the largest part of his music-making for the past 20 years. He has been Chief Conductor of the Czech Philharmonic (1998–2003), and Music Director of the NHK Symphony Orchestra, Tokyo (2004–2007). Since 2009 he has held the position of Principal Conductor and Artistic Advisor of the Sydney Symphony.

Alongside these roles, Vladimir Ashkenazy is also Conductor Laureate of the Philharmonia Orchestra, with whom he has developed landmark projects such as Prokofi ev and Shostakovich Under Stalin (a project which he toured and later developed into a TV documentary) and Rachmaninoff Revisited at the Lincoln Center, New York.

He also holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras, including the Cleveland Orchestra (where he was formerly Principal Guest Conductor), San Francisco Symphony, and Deutsches Symphonie Orchester Berlin (Chief Conductor and Music Director, 1988–96), as well as making guest appearances with orchestras such as the Berlin Philharmonic.

Vladimir Ashkenazy continues to devote himself to the piano, building his comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara’s Piano Concerto No.3 (which he commissioned), Rachmaninoff transcriptions, Bach’s Wohltemperierte Klavier and Beethoven’s Diabelli Variations. His most recent release is a recording of Bach’s six partitas for keyboard.

A regular visitor to Sydney over many years, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with his fi ve-program Rachmaninoff festival forming a highlight of the 75th Anniversary Season in 2007. Vladimir Ashkenazy’s artistic role with the Sydney Symphony includes collaborations on composer festivals, recording projects and international touring.

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Jean-Effl am Bavouzet piano

French pianist Jean-Effl am Bavouzet studied with Pierre Sancan at the Paris Conservatoire. He won fi rst prize in the International Beethoven Competition in Cologne as well as the Young Concert Artists Auditions in New York in 1986, and in 1995 was invited by George Solti to make his debut with the Orchestre de Paris.

His enthusiasm and artistic curiosity have led him to explore a repertoire ranging from Haydn and Beethoven to Bartók and Prokofi ev, as well as contemporary works by composers such as Jörg Widmann and Bruno Mantovani, whose piano concerto is dedicated to him.

In 2011 he will tour North America with the Orchestre National de France and Daniele Gatti, give concerts with the Boston Symphony Orchestra, and make his debut with the New York Philharmonic (Vail Festival). Current highlights include performances with the London Philharmonic and Vladimir Jurowski (BBC Proms), Philharmonia Orchestra and Christoph von Dohnányi, Konzerthausorchester Berlin and Gilbert Varga, and the Vienna Radio Symphony Orchestra with Ingo Metzmacher. He will also appear with the BBC Symphony Orchestra and Yan Pascal Tortelier, and the City of Birmingham Symphony Orchestra under Pablo Heras-Casado

As a recitalist he has performed in Wigmore Hall, Amsterdam’s Concertgebouw and Muziekgebouw, and Bozar (Centre for Fine Arts, Belgium), as well as appearing in the London Southbank Centre International Piano Series and La Roque d’Anthéron and Piano aux Jacobins festivals in France. He is a regular visitor to the Forbidden City Concert Hall in Beijing, where he has performed the complete Beethoven sonatas (2008) and Ravel’s solo piano works (2010).

His award-winning discography includes Debussy’s complete solo piano works – winning a Choc de l’Année (2007, 2008), Diapason d’Or (2008), BBC Music Magazine Award (for Volume 3), and Gramophone Award (Volume 4). The fi rst volume of his recording of Haydn’s complete sonatas also received Choc de l’Année (2010). In addition to his performing activities, he has made transcriptions for one and two pianos of Debussy’s Jeux, the latter of which has been recorded by Vladimir and Vovka Ashkenazy.

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MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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Performing in this concert…

FIRST VIOLINS Dene OldingConcertmaster

Sun YiAssociate Concertmaster

Kirsten WilliamsAssociate Concertmaster

Fiona ZieglerAssistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola LewisNicole MastersAlexandra MitchellLéone Ziegler Emily Qin#

SECOND VIOLINS Kirsty Hilton Marina Marsden Jennifer Hoy A/Assistant Principal

Susan DobbiePrincipal Emeritus

Maria Durek Shuti Huang Stan W Kornel Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Alexandra D’Elia#

Katherine Lukey#

Freya Franzen†

VIOLASRoger Benedict Tobias Breider Anne-Louise Comerford Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Rosemary Curtin#

Jacqueline Cronin#

David Wicks*

CELLOSCatherine Hewgill Jesper Svedberg*Leah Lynn Assistant Principal

Kristy ConrauFenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rachael Tobin#

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward

FLUTES Janet Webb Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

Katie Zagorski†

OBOESDiana Doherty Shefali Pryor David Papp Alexandre Oguey Principal Cor Anglais

Jess Foote*

CLARINETSLawrence Dobell Francesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

Rowena Watts†

BASSOONSMatthew Wilkie Roger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon

Melissa Woodroffe†

HORNSBen Jacks Robert Johnson Geoffrey O’Reilly Principal 3rd

Lee BracegirdleEuan HarveyMarnie Sebire Abbey Edlin*Darryl Poulsen*Rachel Silver*

TRUMPETSDaniel Mendelow Paul Goodchild John FosterAnthony Heinrichs Alexandra Bieri*Andrew Evans*

TROMBONESRonald Prussing Scott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIRichard Miller Mark Robinson Assistant Principal

PERCUSSIONRebecca Lagos Colin Piper Kevin Man*Brian Nixon*

HARP Louise Johnson Genevieve Lang*

CELESTAJosephine Allan#

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

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


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THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

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.


SALUTE

SILVER PARTNERS

REGIONAL TOUR PARTNERS

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

BRONZE PARTNER MARKETING PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station

GOLD 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 BishopBob & Julie ClampettThe 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 oamMr 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 CarrMrs Gretchen M Dechert

Ian 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 PascoeDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Stephen 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 Geoffrey PalmerJames & 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 DavisJohn FavaloroMr Ian Fenwicke & Prof Neville Wills

Firehold 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 KeatingAnna-Lisa KlettenbergIn Memory of Bernard M H KhawJeannette KingWendy 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 TurkingtonThe 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 CampbellMrs Catherine J Clark

Joan 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 amJules & 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

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

Gabrielle Trainor

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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Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL 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

welcome to the...the sydney symphony is a ﬁ rst-class orchestra based in one of the world’s most...

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