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

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

Approximate durations: 17 minutes, 22 minutes, 20-minute interval, 15 minutes, 24 minutesThe concert will conclude at approximately 3.20pm (Thu), 9.50pm (Fri), 3.50pm (Sat).

2010 SEASON

THURSDAY AFTERNOON SYMPHONYThursday 22 April | 1.30pm

EMIRATES METRO SERIESFriday 23 April | 8pm

GREAT CLASSICSSaturday 24 April | 2pm

Sydney Opera House Concert Hall

VIVA ESPAÑAMiguel Harth-Bedoya conductorSlava Grigoryan guitar

JOAQUÍN TURINA (1882–1949)Danzas Fantásticas

ExaltacíonEnsueñoOrgia

JOAQUÍN RODRIGO (1901–1999)Concierto de Aranjuez

Allegro con spiritoAdagioAllegro gentile

Slava Grigoryan guitar

INTERVAL

ESTEBAN BENZECRY (born 1970)Colours of the Southern Cross

IntihuatanaThe Stars of PatagoniaScherzo AymaraAmazonasMalamboAUSTRALIAN PREMIERE

MANUEL DE FALLA (1876–1946)The Three-Cornered Hat: Suite

Introduction – AfternoonDance of the Miller’s Wife (Fandango)The Miller’s WifeThe GrapesThe Neighbours’ Dance (Seguidillas)The Miller’s Dance (Farruca)Final Dance (Jota)

6 | Sydney Symphony

Jota: the fi nal scene from The Three-Cornered Hat (Illustration by E. White, design by Picasso)

The villagers dance with castanets, and the Corregidor with his tricorn hat is caricatured on a banner stage right while his effi gy is tossed in a blanket upstage.

© LEBRECHT MUSIC & ARTS / COSTA LEEMAGE

7 | Sydney Symphony

INTRODUCTION

Viva España

Throughout the veins of Spanish music, a profound rhythmic beat seems to be diff used by a strange phantasmagoric, colossal and multiform instrument – an instrument idealised in the fi ery imagination of Albéniz, Granados, Falla and Turina. It is an imaginary instrument that might be said to possess the wings of the harp, the heart of the grand piano and the soul of the guitar.

JOAQUÍN RODRIGO

A Spanish-themed program is an exotic treat. Rodrigo recognised something distinctive, something fi ery, in the imaginations of Spanish composers, and this concert sets out to reveal that passion, that soul. Dance rhythms are an irresistible element in all four pieces, and the music has a seductiveness and a colour that has generally escaped the composers of other nations, with the possible of the exception of the Russians and the French (think Carmen).

Notice that there are no abstract symphonies in the tradition of Mozart and Beethoven (although there is a concerto): this is music by composers with a sense of place who feel the passion of stories and respond to the inspiration of images.

The Sydney Symphony and its audiences haven’t enjoyed Turina’s Danzas Fantásticas in more than fi fty years; its evocative colours and sweet melodies make a welcome return. The fervour and refi nement of Rodrigo’s Concierto de Aranjuez provides a fi tting tribute to a rococo palace in the heart of Spain. The music by Argentinean composer Esteban Benzecry is new to our shores, and we’re delighted that conductor Miguel Harth-Bedoya has introduced us to music that mingles Latin American inspiration and contemporary vision. The fi nal malambo of Colours of the Southern Cross suggests the virility of the Argentinean gauchos and leads the concert to its fi nale: Falla’s spirited ballet music, The Three-Cornered Hat, smouldering and exhilarating in turn. Olé!

PLEASE SHARE YOUR PROGRAM

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

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

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

8 | Sydney Symphony

Keynotes

TURINA

Born Seville, 1882Died Madrid, 1949

Turina’s father wanted his son to be a doctor, but Joaquín’s musical talent emerged when he was given an accordion, and he was encouraged by some of Seville’s leading teachers. By the time he was 15 Turina was heading to Madrid with his fi rst opera in hand, hoping for a production at the Teatro Real. As it turned out, the theatre was the one place where he failed to fi nd real success. But as a pianist, conductor and composer of concert music, he joined the ranks of Spain’s leading musicians. Together with Falla, Albéniz and Granados, he counts as one of the most important Spanish composers of the early 20th century. From 1905 to 1913 he lived and studied in Paris; he returned to Spain as a recognised composer with an international reputation. Turina’s style combines French impressionism and conservative German elements, but above all his music is infused with the atmosphere of his native Andalusia.

DANZAS FANTÁSTICAS

The three ‘fantastic dances’ were completed in 1919, in versions for piano and then orchestra. Each adopts the character and spirit of a Spanish dance: the Aragonese jota, a Basque zortzico in the slower central movement, and a fi ery farruca from Andalusia for the fi nale.

Joaquín TurinaDanzas Fantásticas, Op.22Exaltación (Exaltation)Ensueño (Dream)Orgía (Orgy)

In 1929 Turina gave a lecture in Havana: ‘How a work is created.’ Taking the Danzas Fantásticas as one of his examples, he talked about the inspiration and creation of this vibrant, colourful music.

Danzas Fantásticas is Turina’s most frequently performed orchestral work; it’s also one of the most representative of his compositions. It reveals how central the piano was to Turina’s output (he was a pianist and the Danzas began life as piano music); it is fi lled with Andalusian and other Spanish colour; and it shows the way visual and poetic inspiration shaped the music of his maturity.

In particular, Turina explained that, while each of the ‘fantastic dances’ is headed with an inscription taken from a novel, La Orgia (The Orgy), by Sevillian author José Más, ‘this does not mean that the literary subject matter has any bearing on the music. It is simply that the three inscriptions have something in common with the musical and, in a way, the choreographic spirit of the three dances. They are states of soul, expressed in rhythm, in accordance with the eternal law of contrast.’

Turina understood the choreographic spirit; he had conducted for the Ballets Russes and Spanish dance rhythms were embedded in his psyche. Ironically, it was in Paris – where his style acquired Germanic elements at the Schola Cantorum while he imbibed the colour and ‘harmonious liberties’ of Debussy on the side – that his commitment to a Spanish national style was founded.

He had been writing formally structured works in traditional genres, such as the Piano Quintet of 1907. Manuel de Falla, his contemporary, and the older Isaac Albéniz came to its premiere; afterwards the three Spanish musicians headed to a café in the Rue Royale. There, recalled Turina, ‘we talked about our hometown, about the music that looked to Europe, and I left the place with my ideas completely changed. …it was our duty to fi ght bravely for the national music of our country.’ Later Albéniz helped him to publish the Piano Quintet, but took him aside, saying ‘you have to promise that you will never write music like his again. You must base your art on the popular Spanish songs, or Andalusian, since you are from Seville.’

ABOUT THE MUSIC

9 | Sydney Symphony

‘I wanted to sing of love and sadness, searching out that little corner of the Andalusian spirit that looks out to the wider world; I have lived part of my life dreaming, because I as a musician love melody. There, tragedy loses its heart-rending edge, dance becomes purer and wine is only perfume.’ TURINA

Andalusian atmosphere became Turina’s passport to international success but also a source of unfair criticism, his colourful and descriptive miniatures (The Bullfi ghter’s Prayer is one of the best known) too often dismissed as superfi cial musical postcards. But his style retained its three primary strands: the technical fl uency of the Schola, French impressionism, and Spanish national spirit. His elegantly lavish orchestral works – sometimes seductive, sometimes brilliant – never descend into vulgarity because their motivation is a genuine love for melodious music in which, as Turina said, ‘tragedy loses its heart-rending edge, dance becomes purer and wine is only perfume’.

It seemed as if the fi gures in that incomparable picture were moving within the calix of a fl ower.The fi rst of the ‘fantastic’ dances, Exaltación, establishes the ‘eternal law of contrast’. The overall mood is lively – a swaying dance in the style of the Aragonese jota – but the introduction is mysterious and atmospheric, with cor anglais and oboe keening above muted drum beats in the fl amenco manner.

The strings of the guitar, when sounded, were like the lament of a soul exhausted by the weight of bitterness.The main idea of the second dance, Ensueño, is a Basque zortzico, with its characteristic fi ve beats to the bar. The music is gently capricious: unexpected pauses and contrasts of instrumental colour, and teasing ambiguities of rhythm. The wistful and lilting main theme is considered to be one of Turina’s most inspired ideas.

The fragrance of fl owers is mingled with the bouquet of the manzanilla vine, and from the bottom of the slender glasses, fi lled with incomparable wine, joy rose like incense.Turina described the fi nal dance, Orgía, as a tribute to manzanilla, an exquisite perfumed wine from Cádiz with a bouquet reminiscent of chamomile. The music continues the Andalusian spirit in a fi ery farruca, embellished with the soulful gestures of fl amenco. Impassioned and energetic, this dance overwhelms the senses. Wine becomes perfume, dance is purifi ed and Turina’s music sings ‘of love and sadness’.

YVONNE FRINDLESYDNEY SYMPHONY ©2010

Danzas Fantásticas calls for three fl utes (one doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and percussion; harp and strings.

The Sydney Symphony fi rst performed Danzas Fantásticas in 1950 under Eugene Goossens, and most recently in 1957 in a Youth concert conducted by Enrique Jordá.

11 | Sydney Symphony

Keynotes

RODRIGO

Born Sagunto, 1901Died, Madrid, 1999

Joaquín Rodrigo was born on 22 November, St Cecilia’s Day, and so was perhaps destined to a life in music. A bout of diphtheria at the age of three left him blind but didn’t prevent him from developing his musical talents as a pianist and composer. His teachers in Paris included Paul Dukas, and like Dukas he suffered the dubious blessing of becoming famous for just one piece, the Concierto de Aranjuez, which made his name when it was premiered by Regino Sainz de la Maza in 1940. He never played guitar, but Pepe Romero once described him as ‘the great guitarist’.

CONCIERTO DE ARANJUEZ

The inspiration for this guitar concerto came from the summer palace of Aranjuez, a place with happy associations for Rodrigo (he spent his honeymoon there), but also representing for him an idealised Spain. The music is a magical mix of rococo elegance and the vigour of traditional Spanish dance rhythms – ‘as strong as a butterfl y and as dainty as a veronica’ said the composer. The popularity of the complete concerto is rivalled only by that of the slow movement, which has lent its beautiful melancholy to cover versions ranging from Miles Davis and Nana Mouskouri to the Grimethorpe Colliery Band.

Joaquín RodrigoConcierto de Aranjuez for guitar and orchestra

Allegro con spiritoAdagioAllegro gentile


The Concierto de Aranjuez for guitar and orchestra is Rodrigo’s most famous creation, the piece that immediately established his reputation as the leading Spanish post-war composer. It remains not only the best-known guitar concerto but one of the most popular of all concertos, its overwhelming fame mirroring that of The Sorcerer’s Apprentice in the works of Rodrigo's teacher Paul Dukas.

In 1933 Rodrigo married the Turkish pianist Victoria Kamhi – who was to become the blind composer’s copyist – and the couple honeymooned in the exquisite surrounds of Aranjuez. Rodrigo left Spain again with the outbreak of civil war in 1936, and it was in Paris in the spring of 1939 that he composed the Concierto de Aranjuez for the virtuoso guitarist Regino Sainz de la Maza.

It’s hardly surprising, then, that for all its Spanish ambience, the Concierto is equally fl avoured by French neoclassicism. Rodrigo captures perfectly the atmosphere of the palace at Aranjuez – summer home to the Bourbon kings in the 17th and 18th centuries. His Spain is a rococo Spain, just as Aranjuez is a Spanish Versailles. There is less of the deep spirit of Andalusia associated with Manuel de Falla, and more of an 18th-century manner, valuing all that is colourful, elegant and pleasing.

The choice of solo instrument ensures a passion that is never far from delicacy. ‘It would be unjust to expect strong sonorities from this Concierto,’ said Rodrigo, ‘they would falsify its essence and distort an instrument made for subtle ambiguities. Its strength is to be found in its very lightness and in the intensity of its contrasts. The Concierto de Aranjuez is meant to sound like the hidden breeze that stirs the treetops in the parks, and it should be only as strong as a butterfl y and as dainty as a veronica.’ (A veronica is a particular type of pass in bull-fi ghting, requiring the utmost elegance and precision of execution.)

Rodrigo matches his orchestration to the strength of the butterfl y, with a relatively small ‘classical’ orchestra of strings with pairs of woodwinds, and just two trumpets and two horns in the brass section. The fi rst movement begins


with the soloist playing strummed chords called rasgueados over a long, sustained note from the double basses; the rhythm comes from the fandango, with its intoxicating alternations of two slow and three quick beats. After this tiny, spirited introduction, the guitar and orchestra weave an intricate dance – the soloist rising above the orchestra as well as accompanying it, colouring rather than competing with shimmering solos from the bassoon, cor anglais, oboe, fl ute and clarinet.

But it is the Adagio rather than the dance-like outer movements that has been responsible for the concerto’s immediate and enduring popularity, not to mention taking on a life of its own as a standalone hit. In what is probably the most irresistibly mournful solo written for any instrument, the cor anglais is given a theme based on an Andalusian lament sung during Holy Week. But there is also a hint of the idyllic and sensuous atmosphere of a Spanish summer evening – this romantic serenade is answered by equally ornate passages from the guitar soloist before the full orchestra takes up the theme.

As in the fi rst movement, the fi nale balances the graceful precision of rococo dances with the compelling syncopated and irregular rhythms typical of so much Spanish music, in this case briskly alternating groups of two and three beats. Rodrigo is the native Spaniard but, as did Boccherini before him, he knows how to blend Spanish character with universal galanterie.

SYMPHONY AUSTRALIA ©1999/2010

The Concierto de Aranjuez calls for an orchestra of two fl utes (one doubling piccolo), two oboes (one doubling cor anglais), two clarinets, two bassoons, two horns, two trumpets, and strings.

The Sydney Symphony fi rst performed the Concierto in 1972 with Willem van Otterloo and guitarist John Williams and most recently in the 2001 Symphony in the Domain concert with conductor Michael Christie and Slava Grigoryan. In 1986 the Sydney Symphony performed the harp version of the concerto with soloist Marisa Robles and conductor Zdenek Mácal. The most recent presentation of the concerto in a Sydney Symphony subscription series was in 2002 when conductor Federico Cortese conducted the Australian Youth Orchestra; Slava Grigoryan was the soloist.

‘Throughout the veins of Spanish music, a profound rhythmic beat seems to be diffused by a strange phantasmagoric, colossal and multiform instrument – an instrument idealised in the fi ery imagination of Albéniz, Granados, Falla and Turina. It is an imaginary instrument that might be said to possess the wings of the harp, the heart of the grand piano and the soul of the guitar.’RODRIGO


In his tribute to Joaquín Rodrigo on his 90th birthday, Pepe Romero dubbed Spain’s most famous composer ‘the great guitarist’. ‘I do not know,’ he continued, ‘whether this is a result of his not being a guitar player or in spite of it…’

The royal palace of Aranjuez, whose musical associations gave Rodrigo the title and feeling of his concerto, was the favoured residence of the Bourbon kings of Spain. It is an elegant cream and terracotta coloured building, especially graced by its extensive landscaped gardens, whose avenues are lined with tall trees, and dotted with fountains drawing on the river alongside. Hidden in the gardens is the charming Casa del labrador (farmer’s house), a kind of Spanish version of Versailles’ Petit Trianon. Here kings and queens liked to sport in a well-groomed but natural setting.

Aranjuez is especially linked with the Spanish art and music of the Rococo. Here Domenico Scarlatti lived and worked in the mid-18th century, presumably composing at Aranjuez many of his harpsichord sonatas, and perhaps absorbing folksongs from the farmers of the surrounding countryside. The artist Mengs, Goya’s teacher, was brought to Aranjuez from Italy as artist-in-residence, adorning the palace with canvasses and painting its ceilings. In the 20th century, the painter Rusiñol lived at Aranjuez and explored the colours and patterns of its gardens. Now Rodrigo has made its name even more famous than that of Philip II’s massive, forbidding monastery-palace, the Escorial. If that 16th-century palace could be said to stand for Spain’s religious and imperial destiny, her tragic sense of life, Aranjuez in the Spanish consciousness could represent a lighter, playful enjoyment of beauty, not without a wistful longing for past simplicities.

© DAVID GARRETT


Keynotes

BENZECRY

Born Lisbon, 1970Argentinean composer

Esteban Benzecry was born in Portugal, but grew up in Argentina, studying composition with Sergio Hualpa and Haydee Gerardi in Buenos Aires. Since 1997 he has been based in Paris, where he studied for two years with Jacques Charpentier, Paul Mefano and other professors. His music is equally infl uenced by Latin American traditions and diverse contemporary symphonic styles, and in fusing the two he has created a distinctive personal style, an ‘imaginary folklore’. Some critics have even cast him as the heir to Villa Lobos and Ginastera because of his imaginative use of Latin American sounds and colours. His orchestral music includes three symphonies, a violin concerto, and a number of works for string orchestra.

COLOURS OF THE SOUTHERN CROSS

Benzecry completed this work in 2002, following his third symphony and a work inspired by the Incan festival of the sun. Its inspiration is the Southern hemisphere constellation and the different regions of South America – each of the fi ve movements represents a different place, a different ‘colour’. Characteristic Latin American dance rhythms give the work much of its energy and impulse.

Esteban BenzecryColores de la Cruz del Sur (Colours of the Southern Cross)

Benzecry spent his formative years in Argentina, and although Colours of the Southern Cross was composed in Paris, it bears the unmistakeable infl uence of South America in its inspiration and sounds.

The title ‘Colores de la Cruz del Sur’ refers to the cross-shaped constellation that can be seen only from the Southern hemisphere, and the ‘colours’ are the various regions of South America from which these stars may be seen, from Patagonia in the South, to the equatorial Amazon. Each movement is a ‘colour’ in the sense of its roots and ancestry.

I Intihuatana

This word means in the Quechua language ‘place where the sun is attached’. The most famous stone by this name sits in Machu Picchu and has widely been identifi ed as a solar calendar, used by the Incas during solstice ceremonies, and possibly for sacrifi ces. The movement opens with a quote from an ancient song of the Peruvian mountain areas. This quickly dissolves, through atonal procedures, to give way to violent ritual dances, before ending calmly and slowly.

II The Stars of Patagonia

Patagonia is the southernmost region of South America. Far from urban pollution, the clear sky allows the stars to be seen in their full splendour. This movement sets an atmosphere of enchanting lights, by showcasing the sound of celesta, harp and percussion in delicate, interweaving textures. At the outset, the glissandi of the timpani and the water gong evoke the wind in the frozen desert, glaciers breaking and sudden interruptions of the wind and birds of the Atlantic coast.

III Scherzo Aymara

The Aymara is a pre-Colombian culture from South America, with origins in the Lake Titicaca region. This movement is set as a scherzo – fast and playful. Its main element is an imaginary folk dance, with refi ned lines, textures and dynamics.

IV Amazonas

The Amazon is not only the great river that crosses through Brazil, but also a region rich in wood and wildlife. The music


creates sounds of an imaginary magical forest, with its birds, and the shining stars are seen through the tree leaves.

V Malambo (Homage to Ginastera)The malambo is a dance used in challenges among men from the central region of Argentina (Pampas): each contender goes to the centre of the dance area and makes the most complex steps in order to win over his rivals. This music was written as a tribute to the great Argentine composer Alberto Ginastera (at the 20th anniversary of his death) who often used this rhythm in his music.

The movement begins slowly in the rhythm of a ‘baguala’ (a sorrowful song from Northern Argentina), with the violins plucking their strings in imitation of the ‘charango’ (a small guitar-like folk instrument). Then the timpani introduces the energetic rhythm of the malambo, leading to a climax for the entire orchestra.

ADAPTED FROM COMMENTARY BY THE COMPOSER.

Colores de la Cruz del Sur calls for piccolo, two fl utes, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and a large percussion section including a number of traditional Latin instruments; harp, piano (doubling celesta) and strings.

The work was commissioned by Radio France and premiered in Paris in 2003 by the Orchestre National de France and Laurent Petitgirard. This is the Australian premiere.

Before he studied composition, Estaban Benzecry completed a diploma in painting at the Buenos Aires Superior School of Fine Arts. Art and visual inspiration remains an aspect of his composing practice: for example, his fi rst symphony, El Compendio de la Vida (1993), was inspired by four of his own canvases.


Manuel de FallaThe Three-Cornered Hat: Suite

Introduction – AfternoonDance of the Miller’s Wife (Fandango)The Miller’s WifeThe GrapesThe Neighbours’ Dance (Seguidillas)The Miller’s Dance (Farruca)Final Dance (Jota)

Falla’s two ballet masterpieces, written in quick succession, could hardly be more diff erent from each other within their common Spanishness. Whereas Love, the Magician (El Amor Brujo) of 1915 has been described as the fi rst blending of academic European music with the music of gypsies and captures the smouldering sun-drenched passion of Andalusia, The Three-Cornered Hat (El Sombrero de Tres Picos) of 1917–1919 is a manifestation of Spanish humour, biting and ironic.

The original ballet is based on a comic novel by Pedro de Alarcón, written in 1874 but with an 18th-century spirit. Falla had intended to turn it into an opera, but he found that Alarcón had expressly forbidden in his will that any libretto should be drawn from his story (this seems not to have hindered Hugo Wolf, whose opera Der Corregidor of 1895 is based on it). Instead, the story became the basis for a mimed play with music, El Corregidor y la Molinera (The Governor and the Miller’s Wife), presented in Madrid in 1917.

When he heard Falla’s pantomime music, Serge Diaghilev, who had been considering producing a Spanish ballet for his Ballets Russes, encouraged him to adapt it for a ballet, The Three-Cornered Hat. This required extensive reorchestration by Falla and new material, including the thrilling Final Dance. One new number, the Miller’s Dance, was composed literally overnight, when the choreography of Léonide Massine required it. Thus Falla for once belied his reputation as a slow worker. (Stravinsky had teasingly dubbed him ‘the Liadov of Spain’, after the Russian composer whose tardiness had led to Stravinsky receiving the Firebird commission.) Falla can be seen in a famous photograph with Massine leaning against the Fountain of the Lions in the Alhambra of Granada, the city where the composer made his home during those years.

The Diaghilev company, fascinated by Spain, had gone to considerable trouble to absorb its culture: Picasso’s

Keynotes

FALLA

Born Cadiz, 1876Died Alta Gracia, Argentina, 1946

Manuel de Falla (pronounced ‘fi re’) was one of the leading Spanish composers of the fi rst part of the 20th century. He studied in Paris, where he was infl uenced by the colouristic and harmonic techniques of Debussy and Dukas, and the emerging trend for reviving classical forms from the past. His reputation was made by the piano and orchestra work Nights in the Gardens of Spain, originally conceived for solo piano. In addition to his two ballets, he composed an opera, La vida breve. The Spanish Civil War prompted him to leave Granada for Argentina in 1939.

THE THREE-CORNERED HAT

Based on a 19th-century comic novel, The Three-Cornered Hat began life as a pantomime. Towards the end of World War I, Falla was persuaded to adapt it as a ballet score for Sergei Diaghilev’s Ballets Russes. (In this version it included an offstage soprano.) Later he published two concert suites, which we combine for this performance.

The music mirrors the lighthearted mood of the story and the coquettish personality of its female lead. The plot turns on the mutual devotion of a miller and his beautiful wife, and the hapless attempt of the town’s amorous corregidor (governor) to seduce her. Most of the dances are based on authentic Spanish types.


costume and scenery designs, Falla’s music and Massine’s choreography are one of the most genuine tributes ballet has paid to Spain. The result is a masterpiece of passion, colour and spirited comedy – satirical but delicate.

The plot is simple: the miller’s attractive young wife is being pursued by the pompous old governor or magistrate (the corregidor), whose amorous designs are eventually confounded by the miller.

Falla published two concert suites from The Three-Cornered Hat, omitting the off stage soprano. In this concert Miguel Harth-Bedoya performs his own selection from the combined suites, restoring some of the introductory music from the original.

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A Manuel de Falla (left) and choreographer Léonide Massine at the Fountain of the Lions in the Alhambra, Granada

… one of the most genuine tributes ballet has paid to Spain.


Listening Guide

The suite begins with a rhythmic fanfare suggestive of the toreadors’ parade into the bull-ring. This leads to a depiction of the Miller and his wife whiling away a hot June afternoon by the edge of their millstream. The suite then jumps to the Dance of the Miller’s Wife, her capricious charm captured in a fandango with its characteristic juxtaposition of rhythmic metres: two slow beats alternating with three quick. When the pompous Corregidor arrives at the mill, she plays a game with him: dancing with a bunch of grapes which he must attempt to eat, hands clasped behind his back. When he loses his balance and falls he realises the couple have simply made him a butt for their fun and he departs swearing vengeance!

The fi nal three dances come from Part II of the ballet, and each is based on a traditional Spanish dance type. In the seguidillas – the classic dance of Andalusia – the Miller’s neighbours arrive to celebrate a festival. The Miller shows his dancing prowess with a farruca, fi ery and impressive, its natural vigour gradually building to a frenzy. Olé! Soon, however, he is arrested by the henchmen of the Corregidor, who is determined to seduce the Miller’s wife.

But the doddering old fool ends up in the millstream. He hangs up his clothes and three-cornered hat to dry off and the Miller, having escaped, returns and puts on the Corregidor’s clothes and hat, leaving a teasing note: Your wife is no less beautiful than mine. The Corregidor ends up in the Miller’s clothes and is promptly ‘re-arrested’. Eventually the confusion is sorted out, and an effi gy of the Corregidor is tossed in a blanket as the townspeople dance an exhilarating jota with castanets – the despotic reign of the three-cornered hat is at an end.

ADAPTED FROM A NOTE BY GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©1998

This suite from The Three-Cornered Hat calls for three fl utes (one doubling piccolo), three oboes (one doubling cor anglais), two clarinets and two bassoons; four horns, three trumpets, three trombones and tuba; timpani and a large percussion section; harp, piano (doubling celesta) and strings.

The premiere of the ballet took place in London in 1919, conducted by Ernest Ansermet. The Sydney Symphony fi rst performed music from The Three-Cornered Hat in 1938 under Joseph Post, and most recently in 2002 in a concert conducted by Jesús López-Cobos.

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Picasso’s portrait of Manuel de Falla


GLOSSARY

ATONAL – term for music in which a strong sense of tonal centre or ‘key’ is absent or thwarted. Atonal music is not necessarily dissonant.

FANDANGO a lively, often overtly sensual, couple dance, the fandango is one of the most popular of Spain’s traditional dances. It is often characterised by a hemiola rhythmic pattern: each bar is divided into six quick pulses and these are alternately grouped in twos and threes (1 2 3 4 5 6 | 1 2 3 4 5 6) giving the eff ect of two slow beats alternating with three quick beats.

FARRUCA – traditionally danced by men, the farruca is an energetic Andalusian dance with two beats to the bar and often characterised by melancholy melodic gestures with an Arabic sound.

GLISSANDO – Italianised word from the French glisser, to slide. A glissando is an extremely rapid scale passage, such as might be achieved by running a thumb along a piano keyboard or across the strings of a harp. The modern timpani, which uses pedals to control tuning, can also achieve a glissando eff ect.

JOTA – a lively dance in quick triple time from northern Spain; it is danced by couples with castanets, and is traditionally accompanied by a guitarist-singer.

MALAMBO – an Argentinean dance form from the Pampas region, in which the gauchos would compete to show their strength with increasingly vigorous steps.

NEOCLASSICISM – in art history a term referring to the revival of themes and techniques associated with antiquity; often applied in music to an anti-Romantic trend of the 1920s, with composers such as Stravinsky (Pulcinella), Hindemith and Prokofi ev (Classical Symphony) avoiding overt emotional display and reviving

earlier techniques such as baroque-style counterpoint, balanced structures and lighter textures.

ROCOCO – a term borrowed from art and architecture; in music it refers to a style from the late 17th and early 18th centuries, characterised by decorative eff ects, simplicity and a lightness of touch, which emerged in reaction to the elaborate intricacy and ‘heavy’ formality of the prevailing baroque style.

SEGUIDILLA – a quick Andalusian dance in triple time, traditionally accompanied by strummed guitar and castanets with the dancers interpolating short vocal passages.

SYNCOPATION – unexpected accents, especially falling against the prevailing beat

ZORTZICO – a Basque folk dance in with fi ve beats to the bar and featuring a ‘skipping’ rhythm on the 2nd and 4th beats of each group.

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 – slowAllegro gentile – fast, elegantlyAllegro con spirito – fast, spirited

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


MORE MUSIC

Selected Discography

MIGUEL HARTH-BEDOYAMiguel Harth-Bedoya’s recent recordings include two collaborations with cellist Yo-Yo Ma, the Silk Road Ensemble and the Chicago Symphony Orchestra, Traditions and Transformations and New Impossibilties.CSO RESOUND 901801 (Traditions…)SONY 710319 (Impossibilities…)

With the Fort Worth Symphony Orchestra he has recorded Sentimiento Latino, a disc featuring Peruvian tenor, Juan Diego Flórez.DECCA 629502

SLAVA GRIGORYAN PLAYS RODRIGOSlava Grigoryan’s recording of the Concierto de Aranjeuz is available on the ABC Classics label, combined with Fantasía para un gentilhombre (Fantasia for a Gentleman), featuring his brother Leonard as soloist, and the Concierto madrigal for two guitars. The Queensland Orchestra is conducted by Brett Kelly.ABC 4768072

TURINA Although the Danzas Fantásticas truly shine as orchestral pieces, it’s worth hearing this music in its original piano version as well. Alicia de Larrocha’s recording of the dances and other solo music by Turina is out of print but can be purchased through arkivmusic.comEMI STUDIO 64528

Or try the recording by Albert Guinovart, which also includes a ‘Concerto without Orchestra’. Available in Harmonia Mundi’s Musique D’abord series.HARMONIA MUNDI 1957009

For an orchestral interpretation of the Danzas, seek out Jesús López-Cobos and the Cincinnati Symphony Orchestra in a disc that also includes La processión del RocioSinfonia sevillana, and Ibéria from Debussy’s Images.TELARC 80574

BENZECRYThe Colours of the Southern Cross is not currently available in a commercial recording, but samples of Benzecry’s music can be streamed on his website: estebanbenzecry.com

FALLAFor the complete ballet (about 40 minutes) turn to EMI’s Great Recordings of the Century series for the performance with Rafael Frühbeck de Burgos conducting the Philharmonia Orchestra. Victoria de los Angeles is the soprano. Also in the set: La vida breve, El amor brujo and vocal works by Falla.EMI CLASSICS 567587

Alternatively, opt for Ernest Ansermet and the Suisse Romande Orchestra with soprano Teresa Berganza, recorded around the same time. This disc in the Decca Legends series is fi lled out with El amor brujo and two numbers from La vida breve.LONDON/DECCA 466991

Broadcast Diary

MAY

6 May, 1.05pmBELSHAZZAR’S FEAST (2009)Vladimir Ashkenazy conductorPeter Coleman-Wright baritoneSydney Philharmonia ChoirsSculthorpe, Bax, Walton

13 May, 2pmFLOWER OF YOUTH (2009)Michael Dauth violin-directorAmir Farid pianoMendelssohn, Mozart

18 May, 1.05pmKIRILL GERSTEIN IN RECITAL (2008)Chopin, Busoni, Schumann, Tchaikovsky, Gershwin

19 May, 8pmSYDNEY SYMPHONY FELLOWSHIP ENSEMBLE (2009)Chamber music by Brahms, Martin°u, Hindson, Schubert

Sydney Symphony Online Visit the Sydney Symphony at sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.Become a fan on Facebook at http://tinyurl.com/facebook-SSO (or search for “Sydney Symphony” from inside your Facebook account).Follow us on Twitter at twitter.com/sso_notes for program alerts and musical curiosities, straight from the editor’s desk.

2MBS-FM 102.5SYDNEY SYMPHONY 201011 May, 6pmWhat’s on in concerts, with interviews and music.

Webcast Diary

Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: bigpondmusic.com/sydneysymphonyLatest webcast:THE HALL OF HEROES: LEDGER, BEETHOVEN AND WAGNER

Have Your SayTell us what you thought of the concert at sydneysymphony.com/yoursay or email: [email protected]


ABOUT THE ARTISTS

Miguel Harth-Bedoya was born in Peru and studied conducting at the Curtis Institute and then the Juilliard School. After graduating in 1993 he founded the Orquesta Filarmonica de Lima and a partner opera company, and other early conducting posts included Staff Conductor with the New York Philharmonic. This was soon followed by music director appointments with the Auckland Philharmonia Orchestra and the Eugene Symphony (Oregon), as well as Associate Conductor for the Los Angeles Philharmonic.

In 2000 he was appointed Music Director of the Fort Worth Symphony Orchestra, and under his leadership the artistic level of the orchestra and its contribution to the cultural life of the community have grown enormously. His recording projects with the FWSO have included an all-Tchaikovsky disc, the fi rst bilingual recording of Prokofi ev’s Peter and the Wolf, featuring narrations in Spanish and English, and Sentimiento Latin with Peruvian tenor Juan Diego Flóres.

He is also busy as a guest conductor, appearing throughout North America with orchestras such as the Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, Saint Paul Chamber Orchestra and Montreal Symphony Orchestra, and the Toronto Symphony Orchestra. In Europe he has conducted the BBC Symphony Orchestra, London Philharmonic Orchestra, City of Birmingham Symphony Orchestra, several of the German radio orchestras, Helsinki Philharmonic, Royal Stockholm Philharmonic Orchestra, Zurich Tonhalle Orchestra, Orchestre National de Lyon, Residentie Orchestra, Madrid National Orchestra, and others.

Equally at home in the theatre, he recently conducted Jonathan Miller’s new production of La Bohème for English National Opera. He has also appeared with the Canadian Opera Company, Minnesota Opera, Santa Fe Opera and Cincinnati Opera.

His festival appearances include Adelaide, Aspen, Avanti (Helsinki), BBC Proms, Blossom, Hollywood Bowl (for which he received an Emmy), Interlochen, Oregon Bach, Ravinia, Tanglewood, and Vail. He is the creator and conductor of Caminos del Inka, a multimedia project with the goal of rediscovering forgotten musical gems and commissioning new works from composers associated with the South American countries through which the Inca Trail winds.

Miguel Harth-Bedoya made his Sydney Symphony debut in 2006.

Miguel Harth-Bedoya conductor


Slava Grigoryan was born in 1976 in Kazakhstan and immigrated with his family to Australia in 1981. At the age of 18 he made his fi rst tour, performing with guitar legends Paco Peña and Leo Kottke. He was a major prize-winner at the Tokyo International Classical Guitar Competition, and since then he has performed throughout the world, including concerto appearances with orchestras such as the London Philharmonic Orchestra, Royal Scottish National Orchestra, Hallé Orchestra, Israel Symphony Orchestra, Dresden Radio Orchestra, New Zealand Symphony Orchestra. In Australia he has toured with the Australian Chamber Orchestra, performed with all the major symphony orchestras, and appeared in the Sydney, Melbourne, Adelaide, Brisbane and Perth festivals.

His international festival appearances include the Brighton and Chelsea arts festivals and the Guitar Festival of Great Britain, Dresden Musikfestpiel, Guitar Foundation of America Festival in California, Hong Kong Arts Festival, Al Bustan Festival in Beirut, and New Zealand Arts Festival. He is in his second year as Artistic Director of the Adelaide International Guitar Festival.

He has performed with the Goldner, Flinders and Australian string quartets, the Southern Cross Soloists, and the Endellion, Škampa and Chilingirian quartets in Britain. He is a founding member of Saffi re – The Australian Guitar Quartet, and regularly collaborates with his brother Leonard, recording and performing throughout the world as a guitar duo. He has toured Australia and recorded with Ralph Towner and Austrian jazz guitarist, Wolfgang Muthspiel, as the trio MGT.

Since signing with Sony Classical in 1995, he has released six solo albums and many collaborative recordings. His ABC Classics debut, Sonatas and Fantasies, won Best Classical Album at the 2002 ARIA Awards, and in 2003 he again won Best Classical Album with his recording Saffi re (Australian Guitar Quartet). In 2005 he recorded Rodrigo guitar concertos with his brother Leonard and the Queensland Orchestra. Other releases have included Shadowdances (music by Nigel Westlake) and baroque concertos with the Tasmanian Symphony Orchestra.

Slava Grigoryan made his fi rst appearance with the Sydney Symphony in the 2001 Symphony in the Domain.



MUSICIANS

Vladimir AshkenazyPrincipal Conductor andArtistic Advisor

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council

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Performing in this concert…

FIRST VIOLINS Dene OldingConcertmaster

Sun YiAssociate Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonAmber Gunther Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Zoe Black*Dimity Hall*Katherine Lukey*Martin Silverton*

SECOND VIOLINS Marina MarsdenKirsty HiltonSophie Cole Susan Dobbie Principal Emeritus

Maria Durek Emma Hayes Shuti Huang Benjamin Li Philippa Paige Biyana Rozenblit Maja VerunicaMonique Irik*Alex Norton*Emily Qin*

VIOLASRoger BenedictAnne-Louise ComerfordYvette Goodchild Assistant Principal

Robyn Brookfi eld Jane Hazelwood Graham Hennings Justine Marsden Mary McVarish Felicity Tsai Leonid Volovelsky Rosemary Curtin#Jacqueline Cronin*

CELLOSCatherine HewgillTimothy WaldenFenella Gill Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#Eszter Mikes-Liu*Anna Rex*

DOUBLE BASSESAlex HeneryDavid Campbell Steven Larson Richard Lynn David Murray Benjamin WardJosef Bisits†Robin Brawley*

FLUTES Emma ShollRosamund Plummer Principal Piccolo

Kate Lawson#

OBOESShefali PryorDavid Papp Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco CelataChristopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONSMatthew WilkieFiona McNamara Noriko Shimada Principal Contrabassoon

HORNSRobert JohnsonGeoffrey O’ReillyPrincipal 3rd

Marnie Sebire Euan Harvey

TRUMPETSPaul Goodchild John FosterAnthony Heinrichs

TROMBONESRonald PrussingNick Byrne Christopher Harris Principal Bass Trombone

TUBAMark Shearn*

TIMPANIMark RobinsonAssistant Principal

PERCUSSIONRebecca Lagos Colin Piper John Douglas*Philip South *

HARP Louise Johnson

KEYBOARDSJosephine Allan#

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

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

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


THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

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

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra world-wide recognition for artistic excellence, and in 2009 it made its fi rst tour to mainland Asia.

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

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton label, and numerous recordings on the ABC Classics label.

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


SALUTE

BRONZE PARTNER MARKETING PARTNERS

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

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

SILVER PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNERS

PLATINUM PARTNERS MAJOR PARTNERS


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

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

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

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

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

Anonymous

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


MAESTRO’S CIRCLE

Peter Weiss AM – Founding President & Doris Weiss

John C Conde AO – Chairman

Geoff & Vicki Ainsworth

Tom Breen & Rachael Kohn

The Hon. Ashley Dawson-Damer

In memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy Street

Westfi eld Group

Ray Wilson OAM

in memory of the late James Agapitos OAM

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

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

04Nick ByrneTromboneRogenSi Chair with Gerald Tapper, Managing Director RogenSi

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

09Roger Benedict Principal ViolaRoger Allen and Maggie Gray Chair

01 02 03

04 05 06

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

DIRECTORS’ CHAIRS


BEHIND THE SCENES

CHAIRMAN John C Conde AO

Ewen Crouch Stephen Johns David Smithers AM

Jennifer Hoy Andrew Kaldor Gabrielle TrainorRory Jeffes Goetz Richter

Sydney Symphony Board

Sydney Symphony Regional Touring Committee

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

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

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinJohn Curtis AM

Greg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*

Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

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

David Maloney

David Malouf AO

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

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen PearseJerome RowleyPaul Salteri

Sandra SalteriJacqueline SamuelsJuliana SchaefferLeo Schofi eld AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

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

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Offi ce (02) 9250 7777Facsimile (02) 9250 7666 Website sydneyoperahouse.com

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Patrick Smith

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Stephanie MirowOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoASSISTANT ACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Li LiPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

Anna Kearsley

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