dear music lover · transcribed for piano and, in chopin’s second ballade, music so challenging...

Dear Music Lover

In a letter to Clara Schumann, Johannes Brahms wrote aboutthe Chaconne in D minor for solo violin by Johann SebastianBach:

On one stave, for a small instrument, the man writes a whole

world of the deepest thoughts and most powerful feelings. If I

imagined that I could have created, even conceived the piece,

I am quite certain that the excess of excitement and earth-

shattering experience would have driven me out of my mind.

The program being presented tonight by Cédric Tiberghienembodies Brahms’ expression of wonder at the deep emotionsbeing conjoured by Bach’s powerful composition.

Chopin’s and Brahms’ ballades are acknowledged by many tocontain some of the most beautiful and inspirational passagesever written for the piano. Whether these pieces are old friendsor new discoveries for you, I have no doubt that you willexperience that same sense of wonder as you listen to them this evening.

It is with pleasure that Theme & Variations presents thisevening’s recital, featuring some of the world’s best-lovedpieces for solo piano.

ARA VARTOUKIAN Director

SEASON 2007

INTERNATIONAL PIANISTS IN RECITAL

PRESENTED BY THEME & VARIATIONS

CÉDRIC TIBERGHIEN

Monday 8 August | 8pm

City Recital Hall Angel Place

JOHANNES BRAHMS (1833–1897)

Chaconne by J.S. Bach, arranged for piano left hand

Ballades, Op.10

No.1 in D minor, after the Scottish ballad ‘Edward’No.2 in D majorNo.3 Intermezzo in B minorNo.4 in B major

INTERVAL

FRÉDÉRIC CHOPIN (1810–1849)

Ballade in G minor, Op.23

Largo

Ballade in F major/A minor, Op.38

Andantino

Ballade in A flat major, Op.47

Allegretto

Ballade in F minor, Op.52

Andante con moto

Pre-concert talk by David Garrettat 7.15pm in the First FloorReception Room.

Estimated timings:14 minutes, 25 minutes, 20-minute interval, 36 minutesThe performance will conclude at approximately 9.50pm.

Cover images: see page 30 forcaptions

Program notes begin on page 5

Artist biography is on page 23

PRESENTING PARTNER

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5 | Sydney Symphony

INTRODUCTION

Cédric Tiberghien in Recital

Tonight’s program brings together two 19th-centurymasters of the keyboard. One, Chopin, who wrote almostnothing but piano music; the other, Brahms, whose ‘most wondrous playing…made of the piano anorchestra’. Musically, the two men ‘met’ through RobertSchumann, himself a pianist and composer, but also a critic. Of the 21-year-old Chopin he wrote ‘Hats off,gentlemen, a genius!’, and of Brahms at about the sameage ‘…here is a man of destiny!’

In their music tonight we’ll hear Brahms’ fondness for musical forms of the past and for the great JohannSebastian Bach. (Chopin’s respect for Bach is evident too,although much more discreetly.) We’ll hear violin musictranscribed for piano and, in Chopin’s Second Ballade,music so challenging that it sounds as if it could havebeen a violin concerto transferred to the keyboard. But above all, this recital offers a rare opportunity to hear together Chopin’s ballades and the Op.10 ballades of Brahms. Of these Cédric Tiberghien writes:

The idea of the instrumental ballade was invented byChopin. He created the equivalent of a short story, featuringseveral characters, with different personalities, interacting,developing... In a few minutes a whole drama is built, we feelvery strongly the birth and death of the story. Through the four ballades of Chopin we can feel the evolution of hispersonality, of his language, the influence of French musicalbackground...

With Brahms, the purpose is completely different. He is theinterpreter of the German legends of the Middle Ages. He’s more interested in creating an atmosphere, a background wherethe story could take place. It is a journey into time and space.The differences between their points of view show how rich isthe idea of the ballade.

© E

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7 | Sydney Symphony

ABOUT THE MUSIC

Keynotes

BRAHMS

Born Hamburg, 1833Died Vienna, 1897

Even though his musical

language represents mid-19th-

century romanticism in all its

richness and emotive power,

Brahms is often regarded

as a reactionary: he valued

classical forms and admired

composers of the ‘distant’ past

such as Bach. These traits

emerge in music such as the

finale of his Fourth Symphony

(an orchestral passacaglia),

which was inspired by Bach,

and in tonight’s piano study,

which is Bach transformed.

BACH

Born Eisenach, 1685Died Leipzig, 1750

In his lifetime Johann

Sebastian Bach was renowned

as an organist. In the century

after his death his name was

kept alive by enthusiasts, and

then – spurred in part by

Mendelssohn’s revival of the

Matthew Passion – he gained

new and enduring fame as a

great master of the baroque era.

CHACONNE

Of Bach’s six partitas and

sonatas for unaccompanied

violin from 1720, the best-known

is the Partita II in D minor.

The final movement is a grand

chaconne – dark and profound.

Beloved of violinists, it has also

been transcribed for countless

other instruments and

ensembles. Pianists know it

best in the version (for two

hands) by Busoni. Brahms’

version was prepared in 1877,

at a time when Clara Schumann

had injured her right hand.

Johannes Brahms

Chaconne by J.S. Bach,

arranged for piano left hand

(from the Partita II in D minor for solo violin, BWV1004)

This music was a labour of love twice over. In its originalform Bach’s Chaconne (or ‘Ciaccona’ as he called it) canbe interpreted as an ‘epitaph in music’ for his wife MariaBarbara. In Brahms’ transcription it conveys not only hisadmiration for the greatest of baroque composers, buthis fondness for Clara Schumann.

Brahms wouldn’t have known of Bach’s Chaconne asan epitaph – this is a much more recent thesis, putforward in the 1990s by scholar Helga Thoene. All thesame, his instincts were well attuned to the emotionalpower of this music: ‘On one stave, for a smallinstrument, the man writes a whole world of the deepestthoughts and most powerful feelings.’

Can we imagine Bach’s feelings when, on returningfrom a journey in 1720, he discovered that his first wife‘had passed away and been buried, although he had lefther in the full bloom of health’? If not, they are there forall to hear in the music of the Chaconne, written soonafter. But underneath the powerful expression of thisextraordinary music is still more: a communication ofBach’s deep faith through the weaving of musical codes(with sayings such as ‘We are born from God, We die inChrist, We are reborn through the Holy Spirit’) andhidden quotations of Lutheran chorale tunes. Thereby,as Thoene argues, a musical form that was traditionallyassociated with dancing has been transformed into amusical tombstone.

In the context of Bach’s Partita the result is staggering:a rich and complex movement that is as long as the four preceding movements together. This monumentalquality, combined with the technical difficulties that itassembles for the violinist, has made the Chaconne acentral work in the solo repertoire. But the attraction has extended beyond the violin, and the music has beentranscribed for nearly every instrument and ensembleimaginable.

Before Brahms came to the Chaconne, RobertSchumann had composed a piano accompaniment for it, and Joseph Joachim Raff had made a version fororchestra, one of the first ever orchestrations of a Bach

8 | Sydney Symphony

work, years before Stokowski came on the scene. The‘polyphonic content’ of the Chaconne, claimed Raff in his preface, ‘is justification enough for an orchestralrealisation’. For some it was difficult to believe that thismusic had been conceived for one small instrument andon one stave.

The best-known piano transcriptions are those byBusoni and Siloti, but both of these are for piano twohands. Brahm’s version is significant in being for lefthand only. Left-hand studies (and Brahms’ transcriptionwas published in a set of five studies) were not unusual,and Brahms’ teacher, Eduard Marxsen, had encouragedhim to explore left-hand techniques. As it turned out,when Clara Schumann received it she had just injured her right hand. Where others had seen the polyphonicrichness of Bach’s writing and been prompted to morecomplex textures – piano and violin, piano two hands,full orchestra – Brahms heard something different:

To me, the Chaconne is one of the most wonderful,inconceivable pieces of music…If one has not a violinist ofthe greatest eminence at hand, quite the finest enjoyment onecan have is simply to let it sound in one’s mind…Only in oneway do I find that I can procure a much diminished, butapproximate and entirely pure enjoyment of the work – if I playit with the left hand alone! …The similar kind of difficulty, thesort of technique, the arpeggio-work, all combine to make mefeel like a violinist!

Here then, lies Brahms’ real motivation for reworkingthis music for left hand. Only in this way can the pianistconvey the textural clarity and the daring technique ofthe violin original. And he takes very few liberties with‘the notes’ as it were. The whole piece is transposed down an octave, so that it sits in a comfortable registerfor the pianist, one or two notes are adjusted here andthere, and Brahms supplies fingerings to guide the lefthand through the challenges. But there the ‘transcription’stops.

Transcription was common practice in the baroque era – Bach transcribed his own music and the works ofothers. It retained currency in the 19th century as a wayof disseminating music more widely in the days beforerecordings. Transcriptions were ubiquitous and oftenutilitarian, but they could also be acts of illumination,revealing inherent possibilities not apparent, andsometimes not even available, in the sound world of the

J S Bach

Only in one way do I

find that I can procure

a much diminished,

but approximate and

entirely pure enjoyment

of the work – if I play

it with the left hand

alone!

BRAHMS

9 | Sydney Symphony

original. In Brahms’ Chaconne the pianist – hampered as it were – captures the very nature of the original. Not just its textures and its challenges but ‘its deepestthoughts and most powerful feelings’.

YVONNE FRINDLESYDNEY SYMPHONY ©2007

Why Left?

Clara Schumann wouldn’thave been the first pianist toinjure her right hand, andshe certainly wasn’t the last.This in itself, however,doesn’t explain the relativeprofusion and success ofpiano works for left hand.Although it is the dominanthand for many, the righthand is not well-suited toperforming alone. In mostmusic the melody is found at the ‘top’ of the texture (or at the right hand side of the keyboard) and theaccompaniment figures –bass line, chord, etc. – at the ‘bottom’. The right handdoesn’t find this easy at all:the pinkie finger being weakand unsuited to sustaining a melody (hence thesusceptibility to injury). But the shape of the lefthand is perfect for the task:the strong thumb is able tobring out a treble melodyline, while the four fingersgrapple with theaccompaniment.

Clara Schumann

Ballads without Words

Before 1836 there was no such thing as an instrumentalballade. Composers had been writing ballads (or ballades)for centuries, but these were for voice. In mediæval timesthe ballade united music and poetry within fairly strictmetrical structures; in 1728 Pepusch and Gay assembledThe Beggar’s Opera, a ‘ballad opera’ that drew on the richtraditions of English popular song; and the followingcentury German poets and songwriters united bothtraditions by imitating the old British ballads and fillingthem with fantastic mediæval tales.

And there lies the key to the ballad: it is a narrativesong. The singer takes the role of author and bard,directly addressing us, the listeners. As a result, themanner in which the story unfolds is as important as thestory itself. The storytelling might range from the easy-going to the dramatic, but it is the dramatic ballads thatstick in the imagination. Like the best short stories theybegin eruptively at the moment of crisis – the fatherriding through the windy night with his child clasped in his arms, or the mother confronting the son who bearsa dripping sword. There is little back-story orunnecessary scene-setting, just the crucial events,essential dialogue, and perhaps a refrain that gainssignificance as we go along. The climax is the conclusion:the child is dead; the son has murdered his father…athis mother’s behest!

Given the important of narrative to the sung ballad,you might easily expect an instrumental ballade,especially one composed in the 19th century, to beessentially program music, a miniature version of theorchestral tone poem or the dramatic symphony.

But for Chopin, inventing a new genre, a ‘ballade’meant something different. ‘We use sounds to makemusic,’ he said, ‘as we use words to make language.’His ballades for the piano are ‘narrative songs’ that haveno plot and lack any kind of specified program orscenario – although many have applied stories to themafter the fact or tried to match them to specific ballads by the Polish poet Adam Mickiewicz. Instead the balladesadopt what Carl Dahlhaus calls a ‘narrative posture’. It is as if we were to listen to a tale in a language wedidn’t understand. The characters and events wouldremain a mystery to us, but we would be able tell fromthe storyteller’s tone and style of presentation, from the

10 | Sydney Symphony

We use sounds to make

music as we use words

to make language.

CHOPIN


shaping of dialogue and from the listeners’ reactions that a story was being told. We recognise the narrativeposture, the narrative tone, even where there is nonarrative.

Chopin’s contemporaries would have recognised it too,from the musical gestures that he adopted. One of theseis the use of a moderate six-beats-to-the-bar metre,the musical equivalent, perhaps, of present tense. Thatoften hypnotic pulse underpins passionate music with a dramatic effect that far outweighs the brevity of themusic (Chopin’s longest ballade is 12 minutes). Another is the musical version of the rhetorical question: phrasesthat don’t resolve but leave us hanging on a risinginflection. And the carefully judged use of repetition; the juxtaposition of contrasting personalities. Then thereare the abrupt transitions and surprises, the suddenchanges of mood – bold gestures that have the samesensational effect, and suspense, whether they occur inwords or music.

Chopin effectively created ‘ballades without words’(some were even published under this title in earlyeditions: Ballade ohne Worte). And when the first Balladeappeared Mendelssohn had just published his Lieder ohne Worte (Songs without Words) for piano. Thesenovelties – implying stories in sound without spellingthem out – were emerging in a musical scene that wastiring of the old formal conventions, such as sonata form.The new genre was of its time, but, as Robert Schumannpointed out in 1842, although Chopin was the first to use the word ballade for instrumental music, ‘only theword…seems new to us; the thing can already be foundin Beethoven and Schubert’.

Chopin’s ballades made a huge impression. He mayhave written only four, but these inspired a multitude ofballads from other composers. Ironically, most of themtook the genre in new directions, often writing balladesthat were program music of the type that Chopin hadavoided. Some such as Liszt followed the narrativetradition, Brahms brought a more lyrical perspective,Grieg turned to folk-song, Fauré composed first afantasia-like ballade for piano and then turned to theballade-as-concerto. The tradition of the orchestralballade can be heard in pieces such as Dukas’ Sorcerer’sApprentice, a ‘scherzo after a ballad of Goethe’ that doesfollow a detailed narrative, as do Dvorák’s symphonicpoems on ballads by Erben.

…only the word…seems

new to us; the thing

can already be found in

Beethoven and

Schubert.

SCHUMANN


Brahms’ first contribution to the ballade genre waspublished in 1856, exactly 20 years after Chopin’s. UnlikeChopin, who gave no clue as to the poetic inspiration,if any, for his ballades, Brahms inscribed the first ballade:‘after the Scottish ballade “Edward” in Herder’s Stimmender Völker’. But the remaining three remain abstract,leaving us to guess again. There is, however, as tonight’ssoloist has observed, a strong sense of atmosphere and of mediaeval legend that contrasts with the narrative toneof Chopin’s ballades.

The beauty of the genre that Chopin created in theballade is that is not constrained by rigid form but ismalleable. It can embrace poetic atmosphere andnarrative drive. The title ‘ballade’ does not so muchdetermine the structure of the music as shape ourresponse to the music and therein lies its power.

YVONNE FRINDLESYDNEY SYMPHONY ©2007


Brahms (1833–1897)

Ballades, Op.10

No.1 in D minor, after the Scottish ballad

‘Edward’

Andante – Allegro – Tempo I

The popularity of the British folk ballad in 19th-centuryGermany rested to a large extent on a translation by thepoet Herder of Bishop Thomas Percy’s Reliques of AncientEnglish Poetry (1765). The collection included ‘Edward’,an ‘old, quite ghastly Scottish song’, said Herder, whichworked its bloodcurdling magic on Schubert, Brahmsand Carl Loewe, who first set it in 1818. Brahms isthought to have begun making a song-setting also, butinstead ‘Edward’ became the inspiration for his firstballade. (Much later, in the 1870s, he wrote a vocal duetsetting in which alto and tenor voices take the dialoguebetween mother and son.)

In the original ballad Edward is confronted by hismother, who asks him why his sword is red with blood(Why dois your brand sae drap wi’ bluid, Edward,Edward?). He lies to her: it is his bird and then his horsehe has struck. She persists until he confesses that he haskilled his father. In remorse he surrenders himself tofate: he will abandon court and hall, wife and child, andset sail to sea. Only when his mother asks what willbecome of her does he curse her for driving him to thedeed. (The curse of hell frae me sall ye beir, Sic counseilsye gave to me, O.)

Brahms’ ballade does not end with that final curse asthe song does – this is music that is concerned withatmosphere. At the same time the poetic model isevident. It is possible, more or less, to sing the whole first stanza of the poem (in German) to the opening linesof the music, with their corresponding question tones for the mother and more agitated response for the son.The pair of descending leaps at the end of the firstphrase give us ‘Edward, Edward’, for example. But thefatal repetition of the song’s verse structure could notbe mimicked in music without abandoning the intensityand drama of the narrative. Instead Brahms adopts a three-part form in which the central section conveys the relentlessness of the interrogation and the tragedyit reveals.

Keynotes

BRAHMS BALLADES

Johannes Brahms composed

his first set of ballades for

piano in 1854 and published

them two years later. He was

only 21 years old, but he had

already been heralded by

Robert Schumann as a

musician of the highest

genius.

The first ballade declares its

inspiration: a grim Scottish

ballad, ‘Edward’, that was

popular in Germany. It is in

a minor key and conveys the

atmosphere and tension of

the original ballad without

tracing the precise events of

the narration.

Like the first, the second

ballade begins and ends in

a moderate tempo, its

serenely floating ideas

framing a faster and more

impassioned central section.

The third of the set is

labelled ‘Intermezzo’ but it

has an intensity that belies

the casual character implied

by the title. The final

ballade is the longest and

most expansive of the four,

with an intimate, almost

sentimental expression and

a superbly lyrical style.

Played together, as they

are in this concert, it is also

possible to think of the four

ballades as part of a bigger

structure – a ‘ballade sonata’

perhaps, although with a

most unusual finale.


No.2 in D major

Andante – Allegro non troppo (doppio movimento) – Molto staccato e leggiero – Tempo I

The second ballade of the set presents a complete contrastto the first. Where No.1 is tense and anxious, No.2 breathesserenity and lyricism. Both ballades follow a broad three-part form, but in the case of No.2 the long central sectionis like an embedded scherzo. The contrasts then, arebetween reflection and playfulness, but also between vocal and instrumental character.

No.3 Intermezzo in B minor

Allegro

An early copy of Brahms’ score is marked ‘Balladen undein Intermezzo für Pianoforte’. The crossing out suggeststhat he had thought of this ‘intermezzo’ as quite distinctfrom the other ballades, but had changed his mind beforepublication. Even so, the music retains a distinct character.In structure it is an inversion of the second ballade: thelyricism is to be found in the archaic and ethereal beautyof the central section, while the quirky intensity of theframing sections gives a scherzo-like feel.

No.4 in B major

Andante con moto – Più lento – Tempo I – Più lento

The final ballade reveals some of the young Brahms’ earlyinfluences: it begins in the character of a Mendelssohnsong without words, and there is a suggestion of Schumannin the Più lento section. We don’t know if Brahms knewthe Chopin ballades, but if he did he would have foundthem when he had the run of Schumann’s library.

Long and expansive, this ballade is the most introspectiveof the four. In addition to his tempo instructions – amoving walking pace alternating with slower sections –Brahms asks first for expressive playing and then ‘with the most intimate sentiment but without too much stresson the melody’. (The warning is necessary because themelody is embedded in the inner voices of a ripplingtriplet figuration in both hands.) The music is gentle andsubdued, and often clouded with ambiguity, as Schumannnoticed: ‘In the fourth Ballade, how beautiful that thestrange first note of the melody wavers between minor and major at the end and is left in melancholy major.’

SYDNEY SYMPHONY ©2007

The young Brahms


Frédéric Chopin

Ballade in G minor, Op.23

Largo – Moderato – Meno mosso – Presto con fuoco

Chopin begins his first work in a novel genre by leaving his listeners in the dark. The opening Largo gesture, brieflyimposing, is harmonically ambiguous to its final chord,only resolving with the beginning of the tender, waltz-likemain idea. This in turn is back to front, with the musicalphrases organised as Answer!–Question? The lyricism soonturns to epic virtuosity and this ballade has often beenlinked to ‘Conrad Wallenrod’, a fiery and patriotic ballad by the poet Adam Mickiewicz, despite all lack of evidence of a direct relationship between the poem and the music. In fact the Polish poet provided inspiration rather thanmodels, as Robert Schumann reported a few years later:Chopin ‘told us the how he was prompted to his ballades by poems of Mickiewicz.’

The Ballade in G minor was composed between 1831 and 1835, and published in 1836. Chopin began his secondballade the same year.

Ballade in F major/A minor, Op.38

Andantino – Presto con fuoco – Tempo I – Presto con fuoco –Agitato

‘We have yet to note the Ballade [Op.38] as a remarkable piece,’wrote Schumann in a review. ‘Chopin has already written oneunder that title, one of his most daring and characteristiccompositions. The new one is quite different, inferior to thefirst as a work of art, but hardly less fanciful and imaginative.The passionate intermediate episodes appear to beafterthoughts. I remember very well when Chopin played it here and closed in F major; now he closes in A minor.’

The question of key remained an issue even once Chopin had settled on his conclusion in Majorca in 1839.The ballade begins unambiguously in F major and endsequally so in A minor. The two key centres are not so closeharmonically, but – significantly for a pianist – they arephysically close: the two chords share two of their threenotes. Musically, the harmonic shift is so inexorable thatBrahms, who was the editor for Breitkopf & Härtel’s edition of the ballades, referred to Op.38 without questionin his correspondence as ‘the A minor ballade’.

This ballade was Chopin’s favourite. He played itfrequently, eloquently and touchingly; sometimes he wouldplay just the lilting and gracious opening. But the drama of

Keynotes

CHOPIN

Born Zelazowa Wola, Poland, 1810Died Paris, 1849

Chopin grew up in Warsaw,

where he was acclaimed

as a teenage piano virtuoso,

before heading to Vienna

and then Paris in pursuit

of a career. His delicate

constitution and

corresponding style of

playing did not lend itself to

concert hall success, but his

innate elegance gave him

entry to the fashionable

soirees of Paris, and his

fame grew on the back of

performances for intimate

circles and his many

publications. Although he

did write concertos and

concertante works and a

few chamber works and

songs, he composed almost

exclusively for solo piano

and in miniature forms.

BALLADES

The instrumental ballade

as opposed to the sung

ballad was Chopin’s

invention, and it is fair to

say that no one after him

wrote ballades quite like his.

His four ballades were

composed between 1831 and

1842 and while they have

some shared characteristics

– they all begin gradually,

for example, and are in a

six-beats-to-the-bar

‘narrative’ metre – each

‘tells’ a different story.


the piece – as well as its fearsome difficulties for performers– comes from the Presto con fuoco and Agitato sections. Theseplay frenzied passions against the serenity of the Andantino –a contrast of opposites and without softening transitions,leading Busoni to say that it was ‘remarkably badly composed’!

Schumann described Chopin’s Op.38 ballade as ‘perhapshis most personal if not most finished’. It was dedicated tohim, yet it left him with mixed feelings – perhaps becausethe music so powerfully mirrors the manic-depressive shifts that plagued both composers.

Ballade in A flat major, Op.47

Allegretto

Completed and published in 1841, the third ballade is themost gentle and elegant of the four. Some of that refinedelegance and subdued passion is captured in thefrontispiece that Aubrey Beardsley drew for an earlypublication: it shows a woman in plumed riding habit on a Lipizzaner stallion – perfectly poised on its hind legs inthe classic levade of the Spanish riding school.

Like Brahms, Chopin had an enduring passion for themusic of Bach and as a young man he had made a thoroughstudy of baroque counterpoint. But the results areexquisitely buried – as in the intricacies of this ballade –within Chopin’s unique style. The third ballade shares many qualities of the first two, not least in the way it setscontrasting themes in confrontation. But, as Schumannwrote, it ‘is distinguished from his early ones in form andcharacter…its poetic fragrance cannot be further analysed.’

Ballade in F minor, Op.52

Andante con moto

The final ballade, composed in 1842 and published the followingyear, did not enjoy much popularity in Chopin’s lifetime,although it has since been recognised as a masterpiece.

As in the second ballade, the main theme unfurls from‘almost nothing’, easing us into the narrative mood. The rhythmic framework is a waltz but the character isintroverted and sophisticated, with long, intricately builtphrases and richly developed harmonic ideas.

This ballade is the longest of the four, and itsuninterrupted span of music sustains a compellingmomentum – less through tempo juxtapositions, as in the other ballades, and more through ever-increasingcomplexity of melodic and rhythmic detail.

SYDNEY SYMPHONY ©2007

…a poet might easily

be inspired to set

words to Chopin’s

music. It evokes the

most intimate

thoughts…

ROBERT SCHUMANN

A portrait of Chopin sketched by

George Sand


GLOSSARY

CHACONNE – also known as thePASSACAGLIA, the chaconne is a musicalform with baroque origins, which, since itsrevival in the 19th century, has beencharacterised by its recurring ground bass,providing the support for an extended setof variations, and its serious tone. Manycomposers took inspiration from theimpressive but atypical chaconnes andpassacaglias of Bach and Handel, includingBrahms in the finale of his FourthSymphony. As a result the character of thegenre became formalised: triple time (oftenwith emphasis on the second beat), pairedvariations, a middle section in a contrastingkey, and a descending ground bass. Theground – which could be varied, inverted,transposed, or shifted to an upper voice –was typically four bars in length andconstructed so that the end of each patterngenerated the next variation.

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

PARTITA – another term for a suite, orcollection of contrasting dance movements.Bach’s Partita II for solo violin BWV1004features a ‘standard’ baroque sequence of Allemande (German dance), Courante(literally a ‘running’ dance), Sarabande (astately dance in triple time) and Gigue ( jig),followed by the Chaconne.

PROGRAM – ‘program music’ is inspired byand claims to express a non-musical idea,usually with a descriptive title and sometimeswith a literary narrative, or ‘program’ as well.Program music has been known in someform since at least the 16th century, butflourished in the 19th century, with workssuch as Berlioz’s Symphonie fantastique. Inmany instances there is evidence of conflictin the composer’s mind: an obvious orstated program being assigned to the musicwith a simultaneous (or later) denial thatthere is a programmatic intent behind it.

SCHERZO – literally, a joke; the scherzo as a genre was a creation of Beethoven. For composers such as Mozart and Haydnthe third movement of a symphony hadtypically been a minuet (in a dance-liketriple time and featuring a contrastingcentral section call a trio). In Beethoven’shands it acquired a joking and playfulmood (sometimes whimsical and startling)as well as a much faster tempo; latercomposers such as Mahler andShostakovich often gave the scherzo acynical, driven, or even diabolical character– less playful and more disturbing.

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.

Agitato – agitated Allegretto – lively, not so fast as AllegroAllegro – fastAllegro non troppo – …not too much Andante – at a walking paceAndante con moto – … with movementAndantino – a diminutive of andante

(walking pace), this term can be interpreted as either a little slower than andante or, as is more common nowadays, a little faster

Doppio movimento – twice as fastLargo – broad, slowMeno mosso – less movementModerato – moderatelyMolto staccato e leggiero – very detached

and lightPiù lento – more slowlyPresto con fuoco – as fast as possible,

with fire

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.


75 YEARS: HISTORICAL SNAPSHOT

Orchestras rarely get noticed in the media,except in the arts pages, or when invadedby The Chaser. Exceptions are rarely to dowith music. When Eugene Goossensbecame a person of interest to customs and police, there was wider interest in what they found in his luggage than in ‘his’ orchestra. The most notorious ever,perhaps, of the Sydney SymphonyOrchestra’s playing members claimed tohave caused Vladimir Petrov to defect in1954, in Australia’s biggest spy sensation. Dr Michael Bialoguski, code name‘Diabolo’, worked under cover for Australia’sintelligence agencies. A Pole who came toAustralia as a war-time refugee, he was amedical doctor. He joined Petrov, the

Campaigning to ‘Keep Music Alive’, in concert, Sydney Town Hall, December 1978

Russian embassy official, in visits to King’sCross for drinking and other pursuits. ButBialoguski was also a violinist of a calibreto be invited by Goossens to play in theSSO (years later he paid London orchestrasto let him conduct them in recordings).

When in the late 1970s the ABC seemedthreatened by reports recommending cutsin government spending (notably the GreenReport of 1976), musicians took to thestreets with placards: ‘Keep Music Alive!’The Sydney Symphony’s Musicians’Association denounced the reports as ‘anattack on the creative, imaginative, andspiritual life of Australia’. More than justthe permanence of their employmentseemed to depend on the ABC’s viability.

Keep Music Alive!


Removing the orchestras from the controlof the ABC seemed unlikely: workingagainst it were job security, the protectivescreen of the ABC between music andgovernment, and sheer inertia.

All the more surprising – shocking infact – when for once in Australian historya political leader took a personal initiativein relation to an orchestra. In 1994 PaulKeating’s government announced in‘Creative Nation’ that the Governmentwould transfer the Sydney SymphonyOrchestra, only, from the ABC to localcontrol. The Prime Minister’s hand wasseen in this decision, by which the SydneySymphony would also receive additionalfunding to increase its player strength,tour as a ‘cultural export’ and throughoutAustralia. ‘It is time for the Sydneyorchestra to be given the opportunity andfreedom to excel’ (the other ABC orchestras‘may put a case to the Government fordivestment if they see fit’.) This started theball rolling – not always, history records,down the path intended. It’s 2007 and allthe orchestras have loosened links with the ABC. The anxious fears of themusicians in 1976 are dispelled. The skyhasn’t fallen.

It’s ironic, really, that the musicians inthe orchestras should be most anxiousabout the permanence of the orchestras.The push to have permanent, full-timesymphony orchestras in Australia, beforethe ABC made them a reality, came,largely, not so much from musicians asfrom music-lovers. They were well-off,well-connected people, who wanted apermanent orchestra in their city to ensurethe hearing of music they loved, with thehope that permanence would bring a highstandard. Their vision and connections are symbolised by the title of Melbourne’s‘Lady Northcote Permanent Orchestra

Fund’ formed in 1908. The merger oforchestras, in which the guardians of thisfund played a part, formed what we nowknow as the Melbourne SymphonyOrchestra, and provided a model for thewhole country. The emergence of ‘Radio’orchestras in each city under the ABC, wasnot the expected outcome, but probably theonly way permanent resources could beensured.

The visionary with whom the LadyNorthcote Fund entered into partnershipwas conductor and educator BernardHeinze. In 1938 he wrote: ‘…thedevelopment of Civic and personal pride in one’s own City Orchestra can in the longrun only have the finest results…on theseprinciples we have built up an audience in Melbourne which does not exist in anyother City in Australia.’ And here’s ‘Creative Nation’ in 1994: ‘the world’s finestorchestras all operate under local control,and are accountable first and foremost totheir cities of residence’. Had the wheelcome full circle? Was the ABC’s orchestrafounding and stewardship a mere stage onthe way to a higher state of being? Thosewho care may like to be reminded, at anyrate, how orchestras became a permanentpart of Australia’s national culture. In thenews? That would be good, too.

David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studyingthe history of the ABC as a musical organisation.


MORE MUSIC

CÉDRIC TIBERGHIEN

On the Harmonia Mundi France label:

Ballades: Brahms and Chopin

Brahms Op.10; Chopin Opp.23, 38, 47, 52

HMC 901943

Bach Partitas

Keyboard Partitas No.2, 3, 4, BVW 826-828

HMC 901869

Beethoven Variations for Piano

Opp.34, 35, 76 and WoO 77, 78, 79, 80

HMC 901775

Debussy Piano Works

Estampes, Images I & II, Masques, L’isle joyeuse, D’uncahier d’esquisses

HMN 911717

Grieg and Schumann

Works for cello and piano with Marie Hallynck

HMN 911779

BACH/BRAHMS CHACONNE

Leon Fleisher Recital

Brahms’ arr. of Bach’s Chaconne, with left-handworks by Saint-Saëns, Scriabin, Godowsky and others

SONY 48081

Brahms Variations and Studies

Idil Biret

NAXOS 550509

SYDNEY SYMPHONY: LIVE RECORDINGS

Strauss and Schubert

R. Strauss Four Last Songs; Schubert Symphony No.8(Unfinished); J. Strauss II Blue Danube Waltz Gianluigi Gelmetti (conductor), Ricarda Merbeth(soprano)

SSO1

Glazunov and Shostakovich

Glazunov The Seasons; Shostakovich Symphony No.9Alexander Lazarev (conductor)

SSO2

AUGUST–SEPTEMBER

Mon 13 August, 7pmTURANGALÎLA-SYMPHONIE

Simone Young conductorCédric Tiberghien pianoCynthia Millar ondes martenotMessiaen

Sat 25 August, 8pmSYMPHONIE FANTASTIQUE

Tugan Sokhiev conductorBoris Berezovsky pianoProkofiev, Berlioz

Thu 30 August, 7pmSONGS & DANCES

Dene Olding violin-directorRosamund Plummer piccoloMozart, Suk, Vivaldi, Dvorák

Mon 3 September, 1pmHAROLD IN ITALY (1997)Marcello Viotti conductorEsther van Stralen violaBerlioz

Sat 8 September, 5pm75th ANNIVERSARY CONCERT

Live from Tamworth

Richard Gill conductorTiffany Speight sopranoDiana Doherty oboeJennifer Hoy violinStravinsky, Bach, Tchaikovsky, Grieg, Puccini, Bizet

Broadcast Diary

Selected Sydney Symphony concerts are recorded forwebcast by BigPond. Concerts from 2006 and 2007 canbe viewed at: sydneysymphony.bigpondmusic.com

August webcasts:

Symphonie fantastique

Prokofiev and BerliozLive webcast on Saturday 25 August, 8pm, then On Demand from September.

sydneysymphony.com

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

Selected Discography

2MBS-FM 102.5SYDNEY SYMPHONY 2007

Tue 14 August 6pmWhat’s on in concerts, with interviews and musicalsamples.

Webcast Diary

musi

cpra

ctic

e

pty ltd

the

The ‘Tone Deaf’ ClinicEver been told to

‘just mime the words dear’?

The Resonant VoiceFind it, tune it, train it and

relish the pleasure of hearing it really sing.

With Two HandsIf you’ve always wanted toplay piano or improve your

rusty skills.

First FiddleJump over the moon when

you hear yourself playPachelbel’s Canon.

The Convivial CellistFor the ultimate

in swoon…

Clarinet a cappellaIt’s smooth, it’s velvety,it’s delicious and it’s not

fattening!

Seriously SaxophoneIndulge yourself – you know

you want to!

Jazz SaxophoneIt’s an incredible improvisation!

Jazz VoicePerfect for shower singers who want to come out of

the closet.

Blues GuitarFor profoundly talented

air guitarists … Relax and let it happen!

All That JazzExperiment,

improvise; how far (out) can you go?

Beginner GuitarLearn the frets

without fretting.

Chamber MusicA very civilised way to

spend an evening.

The Magic FlutePan’s legacy – and still a romantic instrument.

MUSIC COURSESexclusively for adults

� Gillian Bonham 9211 7055www.musicpractice.com.au

The Music Practice Choir! JOIN NOW!


ABOUT THE ARTIST

Cédric Tiberghien studied at the Paris Conservatoire withFrédéric Aguessy and Gérard Fremy and was awarded thePremier Prix in 1992, aged 17. He was subsequently aprizewinner at several international piano competitions,culminating with the First Prize at the Marguerite Long-Jacques Thibaud Competition in Paris in 1998, togetherwith five special awards, including the Audience Award andthe Orchestra Award. Since then he has performed in someof the world’s most prestigious concert halls, including theVienna Musikverein, Amsterdam Concertgebouw, Tokyo’sSuntory Hall, and Carnegie Hall, as well as the Salle Pleyel,Théâtre du Châtelet and Théâtre des Champs Elysées in Paris. Next year he will make his fourth appearance in the Wigmore Hall Master Series and recital debuts atthe Frick Collection in New York, Salzburg Mozarteum,Beethovenfest Bonn and at the Cheltenham Festival.

He is currently a participant in the BBC’s NewGeneration Artists scheme. Projects with the BBCorchestras include a Beethoven concerto cycle, and willculminate in a recording of Brahms’ First Piano Concertowith the BBC Symphony Orchestra and Jirí Belohlávek.

Cédric Tiberghien has appeared as a concerto soloistwith orchestras throughout Europe and Britain, as well aswith the Israel Chamber Orchestra, Tokyo PhilharmonicOrchestra and the New Japan Philharmonic, and he hascollaborated with conductors such as Myung-WhunChung, Christoph Eschenbach, Kurt Masur, Ivan Fischer,Simone Young, Leif Segerstam, Louis Langrée, Yutaka Sadoand Jerzy Semkow. Next season includes debuts with theRTE National Symphony in Dublin, Göteborg Symphony,Winterthur Orchestra, Bournemouth Symphony Orchestraand the Royal Liverpool Philharmonic Orchestra.

He is also a dedicated chamber musician and his regular partners include Alina Ibragimova, with whom he will present the complete Beethoven violin sonatas atWigmore Hall in 2009/10. In addition to several chambermusic recordings, his discography features four solo discs: Debussy, Beethoven variations, Bach partitas, andmost recently Chopin and Brahms ballades.

This month he makes his Australian debut,performing in Messiaen’s Turangalîla-symphonie with theWest Australian Symphony Orchestra and the SydneySymphony, as well as in recital.

© V

INC

ENT

PA

NC

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Cédric Tiberghien piano


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Resident at theiconic Sydney Opera House where theSydney Symphony gives more than 100performances each year, the Orchestra alsoperforms concerts in a variety of venuesaround Sydney and regional New SouthWales. International tours to Europe, Asiaand the USA have earned the Orchestraworld-wide recognition for artisticexcellence.

Critical to the success of the SydneySymphony has been the leadership given by its former Chief Conductors including:Sir Eugene Goossens, Nikolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, Stuart

Challender 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 fourth year asChief Conductor and Artistic Director ofthe Sydney Symphony, a position he holdsin tandem with that of Music Director at the prestigious Rome Opera.

The Sydney Symphony is reaping therewards of Maestro Gelmetti’s directorshipthrough the quality of sound, intensityof playing and flexibility between styles. His particularly strong rapport withFrench and German repertoire iscomplemented by his innovativeprogramming in the Shock of the New concerts and performances ofcontemporary Australian music.

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 Symphonymaintains an active commissioningprogram promoting the work of Australiancomposers and in 2005 Liza Lim wasappointed Composer-in-Residence forthree years.

In 2007, the Orchestra celebrates its 75th anniversary and the milestoneachievements during its distinguishedhistory.

JOH

N M

AR

MA

RA

S

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

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


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

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 contactCorporate Relations on (02) 8215 4614.


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

10Ian and Jennifer Burton Chair of Assistant Concertmaster,Fiona Ziegler

11Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

12Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict

GR

EG B

AR

RET

T


Mr Richard & Mrs Diana Fisher Anthony Gregg & Deanne

Whittleston ‡Beth Harpley *Rev H & Mrs M Herbert °*Ms Michelle Hilton-Vernon Dr & Mrs Michael Hunter §Mr Phillip Isaacs Mr Stephen Jenkins *Mr Noel Keen *Mrs Margaret Keogh °*Miss Anna-Lisa Klettenberg °§Iven & Sylvia Klineberg *Mr Andrew Korda & Ms Susan

Pearson Dr Barry Landa Mrs Joan Langley °Ms A Le Marchant *Mr David & Mrs Skye Leckie Margaret Lederman °Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Mrs Anita Levy °Erna & Gerry Levy AM §Ms Ann Lewis AM Mr & Mrs S C Lloyd °Mrs Carolyn A Lowry OAM °Mr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Mr & Mrs Tony Meagher Ms J Millard *‡Mr Andrew Nobbs Mr Stuart O’Brien Miss C O’Connor *Mrs R H O’Conor *Mrs Jill Pain °‡Mr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mrs Caroline Ralphsmith Mr John Reid AO Mr John & Mrs Lynn Carol Reid §In memory of H St P Scarlett °*Dr John Sivewright & Ms

Kerrie Kemp ‡Mr Ezekiel Solomon Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mr Andrew & Mrs Isolde Tornya Miss Amelia Trott Mrs Merle Turkington °The Hon M Turnbull M P &

Mrs L Hughes Turnbull Ronald Walledge °Dr Thomas Wenkart Dr Richard Wing §Mr Robert Woods *Miss Jenny Wu Mrs R Yabsley °Mr Michael Skinner & Ms

Sandra Yates AO Anonymous (13)

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 The Clitheroe Foundation *Mr John C Conde AO §Penny Edwards *Mr J O Fairfax AO *Dr Bruno & Mrs Rhonda

Giuffre *Mr Harcourt Gough §Mr David Greatorex AO & Mrs

Deirdre Greatorex §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mr B G O’Conor §The Paramor Family *Mr Paul & Mrs Sandra Salteri°Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary

White §Anonymous (1) *

Virtuosi

Mrs Antoinette Albert §Mr John Curtis §Irwin Imhof in memory of Herta

Imhof °‡Mrs Margaret Jack Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Mr David Maloney §Mr E J Merewether & Mrs T

Merewether OAM *Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Rodney Rosenblum AM &

Sylvia Rosenblum *Mrs Helen Selle §David Smithers AM & Family§Dr William & Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (2) §

Soli

Ms Jan Bowen §Mr Robert & Mrs L Alison Carr §Mr Greg DanielMr Chum Darvall §Hilmer Family Trust Ms Ann Hoban °Mr Paul Hotz §Mrs Margaret JackMr Rory Jeffes Mrs Joan MacKenzie §Miss Margaret N MacLaren °*‡§Mr James & Mrs Elsie Moore °Ms Kathleen Parer Ms Gabrielle Trainor Dr Richard Wingate §Anonymous (5) §

Tutti

Adcorp Australia Limited Mr Henri W Aram OAM §Mr David Barnes °Mrs Joan Barnes °Mr Alexander & Mrs Vera

Boyarsky §Mr Maximo Buch *Mrs F M Buckle °Debby Cramer & Bill Caukill §Libby Christie & Peter James §Mr John Cunningham SCM &

Mrs Margaret Cunningham§Mr & Mrs J B Fairfax AM §Mr Russell Farr Mr & Mrs David Feetham Mr Ian Fenwicke & Prof Neville

Wills §Mrs Dorit & Mr William Franken°§Mr & Mrs J R W Furber §Mr Arshak & Ms Sophie

Galstaun §In memory of Hetty Gordon §Mrs Akiko Gregory §Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski°Mr & Mrs Paul Hoult Libby Christie & Peter James Ms Judy Joye Mr & Mrs E Katz §Mr Justin Lam §Dr Paul A L Lancaster &

Dr Raema ProwseDr Garth Leslie °*Mr Gary Linnane §Ms Karen Loblay §Mr Bob Longwell Mr Andrew & Mrs Amanda Love Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic §Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Justice Jane Mathews §Mrs Mora Maxwell °§Wendy McCarthy AO °Judith McKernan °Mrs Barbara McNulty OBE °§

Ms Margaret Moore & Dr Paul Hutchins *

Mr R A Oppen §Mr Robert Orrell §Mr Arti Ortis & Mrs Belinda Lim§Timothy & Eva Pascoe §Ms Patricia Payn §Mr Adrian & Mrs Dairneen

Pilton Ms Robin Potter §Mr Nigel Price §Mr & Mrs Ernest Rapee §Dr K D Reeve AM °Mrs Patricia H Reid °Mr Brian Russell & Ms Irina

Singleman Ms Juliana Schaeffer §Derek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Mr Stephen Thatcher Mr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Kathleen Tutton °Ms Mary Vallentine AO §Henry & Ruth Weinberg §Mr & Mrs Bruce West Audrey & Michael Wilson °Mr Geoff Wood & Ms Melissa

Waites Jill Wran §Anonymous (11)

Supporters over $500

Ms Madeleine Adams Mr C R Adamson °§Mr Roger Allen & Ms Maggie

Gray Mr Lachlan Astle Doug & Alison Battersby °Mr Marco Belgiorno-Zegna AM Mr Phil Bennett Mr G D Bolton °Mr David S Brett *A I Butchart °*Mr & Mrs Michel-Henri Carriol °Mrs B E Cary §Mr Leo Christie & Ms Marion

Borgelt Mr Bob & Mrs Julie Clampett Mr Peter Coates 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 & Mrs Michael Darling Lisa & Miro Davis *Mrs Patricia Davis §Mrs Ashley Dawson-Damer Mr Paul Espie °

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 callCaroline Mark 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.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

What’s on the cover?During the 2007 season Sydney Symphony program covers will feature photos that celebrate the Orchestra’s history over the past 75 years. The photographs on the covers will change approximately once a month, and if you subscribe to one of our concert series you will be able to collect a set over the course of the year.

COVER PHOTOGRAPHS (clockwise from top left): Sydney Symphony cellists and bassists, including Gregory Elmologlou and Kees Boersmawith Dave Potts and Walter Sutcliffe at back (early 1990s); girl at the keyboard (1965Infants’ Concert); Carnegie Hall Triumph (1988); painting of a violinist by 11-year-oldMeydene from Rainbow Street Primary School, an entry in the Education Program’s 2005art competition; Proms audience playing penny whistles in McCabe’s Mini Concerto fororgan, orchestra and 485 penny whistles (17 February 1968); SSO conducted by HamiltonHarty in 1934, possibly photographed in the Arts Club over the Piccadilly Arcade; crowdsoutside the Sydney Town Hall before a Proms concert (1970); after an ABC SchoolsMatinee some of the audience inspect the orchestra’s percussion section under theguidance of Alard Maling, Principal Timpani during the 1940s, 50s and 60s.


Sydney Symphony Staff

MANAGING DIRECTOR

Libby Christie

EXECUTIVE ASSISTANT

Fran Cracknell

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON

Ilmar Leetberg

PERSONAL ASSISTANT TO THE

CHIEF CONDUCTOR

Lisa Davies-Galli

ADMINISTRATION ASSISTANT,

ARTISTIC OPERATIONS

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret Moore

EDUCATION CO-ORDINATOR

Bernie Heard

A/EDUCATION CO-ORDINATOR

Charlotte Binns-McDonald

Library

LIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Rory Jeffes

CORPORATE RELATIONS MANAGER

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Alan Watt

CORPORATE RELATIONS EXECUTIVE

Julia Owens

PHILANTHROPY MANAGER

Caroline Mark

PATRONS & EVENTS MANAGER

Georgina Andrews

MARKETING AND

CUSTOMER RELATIONS

DIRECTOR OF MARKETING AND

CUSTOMER RELATIONS

Julian Boram

Publicity

PUBLIC RELATIONS MANAGER

Imogen Corlette

DEPUTY PUBLIC RELATIONS

MANAGER

Yvonne Zammit

Customer Relationship

Management

ONLINE & PUBLICATIONS MANAGER

Robert Murray

DATABASE ANALYST

Martin Keen

Marketing Communications

MARKETING COMMUNICATIONS

MANAGER

Georgia Rivers

MULTICULTURAL MARKETING

MANAGER

Xing Jin

CONCERT PROGRAM EDITOR

Yvonne Frindle

MARKETING COORDINATOR

Antonia Farrugia

Corporate & Tourism

NETWORK GROUP–SALES MANAGER

Simon Crossley-Meates

Box Office

BOX OFFICE MANAGER

Lynn McLaughlin

BOX OFFICE CO-ORDINATOR

Anna Fraser

CUSTOMER SERVICE

REPRESENTATIVES

Wendy AugustineMatthew D’SilvaMichael Dowling

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA

MANAGEMENT

Aernout Kerbert

ACTING DEPUTY ORCHESTRA

MANAGER

Greg Low

ORCHESTRAL ASSISTANT

Angela Chilcott

OPERATIONS MANAGER

John Glenn

TECHNICAL MANAGER

Derek Coutts

PRODUCTION CO-ORDINATOR

Tim Dayman

PRODUCTION ASSISTANT

Ian Spence

STAGE MANAGER

Marrianne Carter

COMMERCIAL PROGRAMS

DIRECTOR OF COMMERCIAL

PROGRAMMING

Baz Archer

RECORDING ENTERPRISES

RECORDING ENTERPRISES MANAGER

Aimee Paret

BUSINESS SERVICES

DIRECTOR OF FINANCE

David O’Kane

EXECUTIVE PROJECT MANAGER

Rachel Hadfield

FINANCE MANAGER

Samuel Li

OFFICE ADMINISTRATOR

Shelley Salmon

INFORMATION TECHNOLOGY

MANAGER

Tim Graham

PAYROLL AND ACCOUNTS

PAYABLE OFFICER

Caroline Hall

HUMAN RESOURCES

Ian Arnold

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SYMPHONY SERVICES AUSTRALIA LIMITED

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

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

Please address all correspondence to the Concert Program Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]

A City of Sydney Venue

Lord Mayor Clover Moore

Managed byPEGASUS VENUE MANAGEMENT (AP) PTY LTDChristopher Rix – Founder

MANAGEMENT AND STAFF

GENERAL MANAGER . . . . . . . . . . . . . . . . . . . . . . .Bronwyn EdingerDEPUTY GENERAL MANAGER . . . . . . . . . . . . . . . . .Lisa RobertsonMARKETING MANAGER . . . . . . . . . . . . . . . . . . . . .Gina AnkerTECHNICAL MANAGER . . . . . . . . . . . . . . . . . . . . . .Matt BinnieFOH MANAGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Barbara KeffelOPERATIONS MANAGER . . . . . . . . . . . . . . . . . . . .Graham ParsonsVENUE HIRING CO-ORDINATOR . . . . . . . . . . . . . . .James CoxACCOUNTS CO-ORDINATOR . . . . . . . . . . . . . . . . .Thatsany GeyerTICKETING & BOX OFFICE CO-ORDINATOR . . . . . .Andrew RichardsonBOX OFFICE MANAGER . . . . . . . . . . . . . . . . . . . . . .Craig ThumerTECHNICIAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jeff Todd

CITY RECITAL HALL ANGEL PLACE

Angel Place, SydneyGPO Box 3339, Sydney, NSW 2001

Administration: 02 9231 9000Box Office: 02 8256 2222Facsimile: 02 9233 6652www.cityrecitalhall.com

dear music lover · transcribed for piano and, in chopin’s second ballade, music so challenging...

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