Download the Latin American Nights program book (15, 17 May) PDF

It is my great pleasure to welcome you to the
second concert in the Kaleidoscope series for 2008,
Latin American Nights, proudly co-presented by
Wilson Parking.
This concert brings an Estonian conductor and a
Dutch bandoneón soloist to Sydney to perform
music from South America – which proves, if nothing
else, that music is a true international language that
can seduce in any style. At the heart of the concert
is music by the king of the modern tango, Astor
Piazzolla. His concerto is surrounded by music that
evokes the machismo of Argentinean ranchers and
the hypnotic mysteries of the Mayas. It’s brilliant and
colourful, and full of the Kaleidoscope spirit that
we’re very proud to support.
As managers of the Sydney Opera House Car Park,
Wilson Parking is proud of its association as a Silver
partner of the Sydney Symphony and we trust you,
as our valued patrons, will enjoy tonight’s
performance.
Peter Witts
State Manager – NSW
Wilson Parking Australia
SEASON 2008
KALEIDOSCOPE
LATIN AMERICAN NIGHTS
Thursday 15 May | 8pm
Saturday 17 May | 8pm
Sydney Opera House Concert Hall
Kristjan Järvi conductor
Carel Kraayenhof bandoneón
ALBERTO GINASTERA (1916–1983)
Four Dances from Estancia, Op.8a
Los trabajadores agricolas (The Land Workers)
Danza del trigo (Wheat Dance)
Los Peones de hacienda (The Cattle Men)
Danza final – Malambo
ASTOR PIAZZOLLA (1921–1992)
Aconcagua – Concerto for Bandoneón
Allegro moderato
Moderato
Presto
INTERVAL
Silvestre Revueltas (1899–1940)
La Noche de los Mayas (The Night of the Mayas)
Symphonic suite arranged by José Ives Limantour
Noche de los Mayas (Night of the Mayas)
Molto sostenuto
Noche de Jaranas (Night of the Jaranas)
Scherzo
Noche de Yucatán (Night of the Yucatan)
Andante espressivo –
Noche de encantamiento (Night of Enchantment)
Theme and Variations
CO-PRESENTING PARTNER
Saturday night’s performance will
be broadcast live across Australia
on ABC Classic FM 92.9.
Pre-concert talk by Phillip Scott
at 7.15pm in the Northern Foyer.
Visit www.sydneysymphony.com/
talk-bios for biographies of
pre-concert speakers.
Estimated timings:
13 minutes, 20 minues,
20-minute interval, 36 minutes
The performance will conclude
at approximately 10pm.
W
e have great pleasure in welcoming you to an exceptional evening of the 2008 Veuve
Clicquot Series; a series of concerts for lovers of great music, adding a little sparkle to
Monday nights.
Since the foundation of our great champagne House in 1772, Veuve Clicquot Ponsardin has
become synonymous with elegance, seduction and celebration.
Creating truly great champagne is the collaboration of many individuals, along with the finest
vintage wines, which together produce a singular sensation for the senses – much like the
incredible talents and dedication of the members of the Sydney Symphony.
Champagne always adds a certain je ne sais quoi, a touch of luxury to every occasion. Through
providing our flagship champagne, Yellow Label Brut, in the bars at the Sydney Opera House
Concert Hall for the Sydney Symphony performances, our aim is to enhance your pleasure
from these superb musical experiences.
We hope that you enjoy the outstanding talents of the Sydney Symphony this evening, and
indulge in a glass of pure pleasure at interval.
A votre santé!
Allia Rizvi
Brand Manager – Veuve Clicquot Ponsardin
SEASON 2008
THE VEUVE CLICQUOT SERIES
LATIN AMERICAN NIGHTS
Monday 19 May | 7pm
Sydney Opera House Concert Hall
Kristjan Järvi conductor
Carel Kraayenhof bandoneón
ALBERTO GINASTERA (1916–1983)
Four Dances from Estancia, Op.8a
Los trabajadores agricolas (The Land Workers)
Danza del trigo (Wheat Dance)
Los Peones de hacienda (The Cattle Men)
Danza final – Malambo
ASTOR PIAZZOLLA (1921–1992)
Aconcagua – Concerto for Bandoneón
Allegro moderato
Moderato
Presto
INTERVAL
Silvestre Revueltas (1899–1940)
La Noche de los Mayas (The Night of the Mayas)
Symphonic suite arranged by José Ives Limantour
Noche de los Mayas (Night of the Mayas)
Molto sostenuto
Noche de Jaranas (Night of the Jaranas)
Scherzo
Noche de Yucatán (Night of the Yucatan)
Andante espressivo –
Noche de encantamiento (Night of Enchantment)
Theme and Variations
PRESENTING PARTNER
This program has been recorded
for broadcast across Australia on
ABC Classic FM 92.9.
Pre-concert talk by Phillip Scott
at 6.15pm in the Northern Foyer.
Visit www.sydneysymphony.com/
talk-bios for biographies of
pre-concert speakers.
Estimated timings:
13 minutes, 20 minues,
20-minute interval, 36 minutes
The performance will conclude at
approximately 9pm.
INTRODUCTION
Latin American Nights
‘Latin American Nights’ actually begins with the day – a
whole day – and a journey of young love and young egos.
Ginastera’s ballet suite, Estancia, captures the atmosphere
of the Argentinean pampas and the virile spirit of the
gauchos who roam those vast plains. It’s youthful music:
folk-inspired with captivating rhythms, but already
revealing the original stylistic character that was to
emerge in Ginastera’s later works.
Piazzolla’s ‘Aconcagua’ is the closest this concert comes
to the conventions of classical concertos and symphonies.
But close it is. Piazzolla – bandoneónist and father of
the nuevo tango – here adopts the structures and devices
of the concerto as Bach would have known it, creating
tango-flavoured music with a neoclassical spirit.
Piazzolla reassures us that there is nothing ‘intellectual’
about the result but the concept is completely abstract:
this is the only piece on the program with no supporting
narrative. Even the title (referring to the highest peak
in the Andes) means little – it was given to the concerto
by Piazzolla’s publisher after the composer’s death.
Back to the storytelling, Mexican composer Revueltas
brings the night alive with a symphonic suite, prepared
after his death from his film music for La Noche de los
Mayas (The Night of the Mayas). It’s ambitious and vividly
coloured, embodying the moodiness and the passions
that go with our idea of the night and things Latin
American.
Free Programs
We’re delighted to continue bringing you free programs this year. And we want to thank you
for helping to make our sharing policy work in 2007.
If you’re new to Sydney Symphony concerts, please remember:
• We ask patrons who are attending in couples or groups to share one between two.
•
(If there are spare copies at the conclusion of the concert you are welcome to take an extra
one then.)
If you normally don’t keep your program after the concert, please feel free to return it to a
table in the foyer when you leave.
You can also read the program in advance by downloading it from our website in the week of
the concert. Click on the orange ‘Program Library’ icon at the bottom right corner of any page
on sydneysymphony.com.
5| Sydney Symphony
ABOUT THE MUSIC
Alberto Ginastera
Four Dances from Estancia, Op.8a
Keynotes
Los trabajadores agrícolas (The Land Workers)
Danza del trigo (Wheat Dance)
Los Peones de hacienda (The Cattle Men)
Danza final – Malambo
Born Buenos Aires, 1916
Died Geneva, 1983
Alberto Ginastera was described by Aaron Copland, who
taught him at Tanglewood in the early 1940s, as the ‘great
white hope of Argentinean music’. Ginastera had come to
national attention when he was only 21 years old with a
performance of music from his ballet Panambí; by 1958 his
international stature was assured with the premiere of his
Second String Quartet by the Juilliard Quartet. He remains
one of the best known of all Argentinean composers.
Born in Buenos Aires in 1916 to parents of Catalan and
Italian ancestory, Ginastera began formal musical studies
at the age of seven. In 1936, he enrolled at the National
Conservatory in Buenos Aires, studying with José André,
a pupil of d’Indy and Roussel. Ginastera himself became
a teacher: in 1941 he joined the faculties of the National
Conservatory and the San Martín Military Academy, but
the Perón regime forced him to resign from the academy
after he signed a petition in support of civil liberties. It
was around this time that Ginastera met Copland, travelling
to the United States on a Guggenheim Foundation grant.
He returned to take up a position at the University of La
Plata, which he was again forced to resign, only regaining
his position in 1956. Two years later Ginastera was
granted a full professorship at La Plata but left later that
year to organise the faculty of musical arts and sciences
at the National Catholic University of Argentina. In 1971
Ginastera married for the second time (the cellist Aurora
Nátola) and they settled permanently in Switzerland.
In all this time, Ginastera was active in the international
contemporary music scene and played a key role in
organising the Argentine chapter of the International
Society for Contemporary Music in 1948.
Ginastera himself identified three periods in his
compositional life. The first, lasting from 1934 to 1947, he
called ‘objective nationalism’. It was characterised by the
presentation of overt Argentine musical materials in a
direct, tonal manner. Next, ‘subjective nationalism’, which
saw the sublimation of Argentine musical materials and
symbols in a more personal language, beginning with his
7 | Sydney Symphony
GINASTERA
Argentinean music’s ‘great
white hope’ found success
early. His ballet Panambí won
him acclaim at the age of 21
and eventually the opportunity
to study in the United States
with composers such as Aaron
Copland. His style matured
through what he defined as
three periods, taking him from
a straightforward nationalistic
style with overt folkloric
effects to a highly original
modernist style. His Estancia
ballet, composed when he
was in his mid-20s, falls
within the first (‘objective
nationalist’) period.
ESTANCIA
Estancia is the Argentine word
for ‘ranch’ and Ginastera’s
ballet offers a day-in-the-life
of an estancia and its boldly
athletic gauchos or cowboys.
Into this setting comes a city
boy who falls for a farm girl
and must prove himself by
beating the gauchos at their
own game. The one-act ballet
was commissioned in 1941
but not staged for a decade.
In the meantime this concert
suite of four dances was
given its first outing in 1943.
The first dance introduces
the propulsive and energetic
character of much of the
ballet. In contrast, the Wheat
Dance is broadly contemplative
with soaring melodic lines.
The Cattle Men suggests
the hypnotic rhythms of
Stravinsky’s Rite of Spring.
The finale, a malambo, evokes
the virility and competitiveness
of the gauchos.
© LEBRECHT MUSIC & ARTS
The young Ginastera
String Quartet No.1 (1948) and reaching its culmination in
the Pampeana No.3 for orchestra (1954). A concern for strict
construction and the influence of composers such as
Schoenberg, marked the third period, which Ginastera
designated ‘neo expressionism’. But the problem with
Ginastera’s compositional periods is that he identified
them with many years of composing still ahead of him,
and some commentators have suggested a fourth,
unremarked period, in which he could be thought to
have synthesised innovation and tradition.
Estancia dates from the ‘objective nationalist’ period.
Its young composer had made a splash with the public
in 1937 when Juan José Castro (sometime Chief
Conductor of the Melbourne Symphony Orchestra)
directed a successful performance of a suite from the
ballet Panambí at the Teatro Colón. In 1941, Lincoln
Kirstein commissioned Ginastera to compose a one-act
ballet for his American Ballet Caravan, due to make a tour
of Argentina. This was to be Estancia.
8 | Sydney Symphony
Unfortunately the Caravan was dissolved the following
year and the proposed staging (with choreography by
George Balanchine) did not take place. But Ginastera
developed this four-movement concert suite, which was
premiered in 1943. These performances were enormously
successful and cemented Ginastera’s reputation as an
artistic interpreter of Argentine culture and character.
Estancia was eventually staged in 1952 at the Teatro Colón
with choreography by Michel Borovsky.
Estancia was overtly nationalistic in its adoption of
the ‘gauchesco tradition’. In its staged form, it calls for a
baritone soloist who intones passages from Martín Fierro,
the great epic poem by José Hernandez. Written in 1872,
Martín Fierro extolled the life of the gauchos, those
distinctive Argentinean cowboys, magnificent horsemen
of the pampas, who led their lives according to a great
unwritten code of honour.
The scenario was a celebration of rural Argentina and
its athletic gauchos. Set on an estancia or ranch, it follows
the course of a single day. Into this setting comes a
city slicker who falls for one of the local farm girls.
She despises him, until he proves that he, too, is up to
the most arduous tasks on the ranch.
The ballet’s score was dominated by folk and popular
influences, as had been Panambí, and Ginastera uses guitar
effects and virile dance rhythms to evoke the world of
the gaucho. While the Wheat Dance provides the suite’s
clearest expression of a more contemplative mood – a
suggestion of the solitude and immensity of the pampas –
we get a clear sense of the virtuoso energy of the ballet
from the other dances, particularly the propulsive opening
dance (The Land Workers) and the finale, Malambo. In the
malambo of folk tradition, gauchos compete to show their
strength with increasingly vigorous steps and the display
of the choreography is of more interest than the music,
but in Ginastera’s hands the red-blooded competitiveness
of the genre entered the music itself.
SYMPHONY AUSTRALIA, SYDNEY SYMPHONY ©2008
The Estancia suite calls for flute (doubling piccolo), piccolo, two
oboes, two clarinets and two bassoons; four horns and two trumpets;
timpani and percussion (timpano piccolo, triangle, tambourine,
castanets, snare drum, tenor drum, cymbals, bass drum, tam-tam,
xylophone); piano and strings.
The Sydney Symphony first performed the suite in 1980 with Thomas
Mayer. This is the first performance since then.
9 | Sydney Symphony
…the gouchos…
magnificent horsemen
of the pampas, who led
their lives according to
a great unwritten code
of honour.
Astor Piazzolla
Aconcagua – Concerto for Bandoneón
Keynotes
Allegro moderato
Moderato
Presto
Born Mar del Plata,
Argentina, 1921
Died Buenos Aires, 1992
Carel Kraayenhof bandoneón
Astor Piazzolla was the ‘King
of Tango’ and father of the
nuevo tango, a heady, artful
combination of Argentinean
tango, jazz and the principles
of classical chamber music.
His own instrument was the
bandoneón, whose distinctive
reedy sound formed the
heart of the tango band and
provided the vital sounds
of his childhood. His formal
studies, on the other hand,
took him into classical
territory: the great pianist
Arthur Rubinstein suggested
he study composition with
Ginastera, who in turn pointed
him to an opportunity to
study with Nadia Boulanger
in Paris. Ultimately it was
Boulanger who guided him
back to his own distinctive
musical voice.
Astor Piazzolla would often explain that his instrument,
the bandoneón, was born in German churches too poor
to afford a proper organ. Towards the end of the 19th
century, it found its way into the prostibulos, the brothels
of the newer suburbs of Buenos Aires. A century later,
Piazzolla gave it to the concert hall.
The bandoneón is a cross between a concertina and
a button accordion and, at ten kilos and just under a
metre when fully extended, it requires considerable
stamina and dexterity to play. Unlike the concertina, it
is square, not polygonal. It is actually a kind of portable
wind instrument whose sound is produced, either as
single notes or many notes together, by two systems of
metal tongues, one called canto (melody), the other called
bajo (bass). These ‘tongues’ vibrate in two acoustic wooden
boxes that also hold two sets of buttons, 38 in the canto
box played by the right hand, and 33 in the bajo box,
played by the left.
The bandoneón was named after its inventor, Heinrich
Band (1805–1888), who built the first instrument perhaps
as early as 1835. Initially a diatonic instrument capable
of playing in only one key at a time, bandoneóns would
later become fully chromatic. The first professional
bandoneón players were also prolific tango composers
and they had instrument builders create new ‘voices’ for
their instruments.
Since 1920 or so, the wheezing, nasal, melancholic
sonority of the bandoneón has been the voice of the
tango, that quintessential Argentinean dance form
which brings together many aspects of colliding
cultures: Spanish, Jewish, Native American and Italian,
with lashings of Bach’s counterpoint and New York’s
jazz.
This is music ‘as impure as old clothes, as a body,’
writes Pablo Neruda, ‘with its food stains and shame, with
wrinkles, observations, dreams, wakefulness, prophecies,
declarations of love and hate, stupidities, shocks, idylls,
political beliefs, negations, doubts, affirmations…’
10 | Sydney Symphony
PIAZZOLLA
BANDONEON CONCERTO
This concerto became the
first ambitious orchestral
work in Piazzolla’s mature
style (he admitted to writing
‘kilos of symphonies’ as a
student). It retains the
characteristic instrument of
the tango, but it reflects
many consciously ‘classical’
influences, especially the
neoclassical strategies of
composers such as Poulenc,
Stravinsky and Villa-Lobos.
These emerge in the use of
two instrumental groups: a
solo grouping of bandoneón,
piano, harp and percussion,
set against the main
orchestra as if in a baroque
concerto.
© C. VAN ZUYLEN / LEBRECHT MUSIC & ARTS
Piazzolla playing the bandoneón in Amsterdam in 1985
In 1979, Astor Piazzolla, who had developed his
compositional style out of the tango, composed what
was his most ambitious orchestral project to date, a
bandoneón concerto, commissioned by the Banco de la
Provincia de Buenos Aires. He had been thinking of a
string-based ensemble, he said, something along the lines
of Poulenc’s Organ Concerto. This way, the orchestral
winds would not overshadow the sonorities of the solo
instrument. Not that he wanted his new work to be
regarded as ‘intellectual’; he assured his audience that it
would ‘not be problematic’.
Faithful to the back-to-Bach music of Stravinsky and
Villa-Lobos, Piazzolla cast his new concerto in the form
of a Baroque concerto grosso, with a concertino grouping
of bandoneón, piano, harp and percussion. The opening
movement begins very business-like and rarely strays
from its home base of B minor. A long slow movement
lays out a luxuriant bandoneón melody, in what might
be called Piazzolla’s best ‘Bachianas argentiniensis’
style, its accompaniment conveying the first hints of a
traditional tango rhythm. True to its concerto grosso
11 | Sydney Symphony
…his most ambitious
orchestral project to
date…
origins, the finale alternates passages between solo and
tutti forces, and between tonalities of a driving A minor
and a graceful F sharp minor. Towards the very end,
Piazzolla swerves the music abruptly into the key of
A major, to a moderato mode marked Melancólico final.
This drives the piece to a truly thrilling conclusion,
13 repetitions of a two-bar motif, beginning pianissimo
and closing at triple forte!
For the premiere performance in Buenos Aires on
14 December 1979, Piazzolla himself was bandoneón
soloist. The reviews were muted, although cautiously
respectful, but Piazzolla was intensely proud of his
labours. He immediately launched into another
‘symphonic work’, the suite Punta del Este, which was
premiered a mere three months later.
Over the next decade, Piazzolla performed the
Bandoneón Concerto extensively throughout Europe and
the Americas, and in May 1988 recorded it in New York
with the St Luke’s Chamber Orchestra conducted by his
old champion, Lalo Schifrin. His last performance was
given in the shadow of the Acropolis, in the ancient
Greek theatre of Herodus Atticus, on 3 July 1990. This
was also to be his last appearance in public: he was
felled by a cerebral haemorrhage and stroke, in Paris on
4 August 1990, and died two years later. But today, his
tango compositions are standard ingredients in chamber
concerts and radio broadcasts.
After Piazzolla’s death, his publisher Aldo Pagani
retitled the Bandoneón Concerto Aconcagua; it is
uncertain whether the composer himself knew of this.
At 6,692 metres above sea level, Aconcagua, in the far west
of Argentina near the border with Chile, is the highest
mountain in the Andes. Naming a work after what is
actually the highest peak in the Western hemisphere
would surely have pleased a composer whose entire life
was spent scaling metaphorical mountains and bringing
them down to size.
VINCENT PLUSH ©2003
Piazzolla’s Bandoneón Concerto calls for a string orchestra with
timpani, percussion (guiro, triangle), harp and piano.
This is the Sydney Symphony’s first performance of the concerto.
13 | Sydney Symphony
…a luxuriant bandoneón
melody…
Silvestre Revueltas
La Noche de los Mayas (The Night of the Mayas)
Symphonic suite arranged by José Ives Limantour
Noche de los Mayas (Night of the Mayas)
Molto sostenuto
Noche de Jaranas (Night of the Jaranas)
Scherzo
Noche de Yucatán (Night of the Yucatan)
Andante espressivo –
Noche de encantamiento (Night of Enchantment)
Theme and Variations
Though Carlos Chávez is generally regarded as
Mexico’s most important 20th-century composer –
‘Mexico’s Copland’, as he’s sometimes called – visitors to
Copland’s New York apartment in the 1930s noticed not
only Chavez’s photograph on the wall, but also one of his
assistant conductor, Silvestre Revueltas, also a composer.
Copland once characterised Revueltas as being ‘like a
modern painter who throws daubs of colour on canvas
that practically takes your eyes out’. Revueltas’s
reputation may well have surpassed Chávez’s, had he not
been relegated prematurely to the shadows. Alcoholism
played a part in his early death at 40, when instead of
attending the premiere of his ballet El renacuajo paseador,
on 4 October 1940, he got drunk and ventured out into
the cold, contracting the bronchial pneumonia that
killed him. At his funeral, the Chilean poet Pablo Neruda
read a memorial poem recalling his friend’s ‘volcanic
tenderness’, concluding: ‘Now the stars of the Americas
are your country/And from this day the limitless earth
will be your home’. Yet since then, Revueltas has
paradoxically remained, according to biographer Paul
Garland, Mexico’s ‘famous unknown composer’.
Born on the last day of 1899, Revueltas’s first taste of
music was from the village mariachi band playing waltzes
in the plaza. Prodigiously accomplished as a violinist,
he entered the Mexican National Conservatorium in his
mid-teens, where he also began composition studies with
Rafael Tello. In 1917, his parents sent him and his brother
Fermín, later a noted muralist, to colleges in Texas and
Chicago. At home in the early 1920s, both brothers were
active in the Estridentistas, a revolutionary artistic group
whose members included Diego Rivera, and whose
manifestos envisaged ‘a new art, young, enthusiastic,
14 | Sydney Symphony
Keynotes
REVUELTAS
Born Santiago Papasquiaro,
Mexico, 1899
Died Mexico City, 1940
Silvestre Revueltas had the
misfortune to be overshadowed
by his politically and
musically more moderate
contemporary, Carlos Chávez.
This was compounded by
poor health and alcoholism,
which led to his untimely
death and the general neglect
of his music, leaving him to
be remembered as Mexico’s
‘famous unknown composer’.
In the early 1930s he had
worked as Chávez’s conducting
assistant at the Mexican
Symphony Orchestra, but
eventually the two composers
fell out and Revueltas
returned to the world of film
music (he’d played for silent
movies as a teenager).
NIGHT OF THE MAYAS
Sometimes a song or
soundtrack lives on past a
cinematic disaster. La Noche
de los Mayas (1939) was a flop,
but Revueltas’ music for it
remains one of his best-known
creations. Tonight’s large-scale
concert suite was developed
in 1960 by his compatriot José
Ives Limantour. More than a
simple collection of musical
numbers, it is perhaps the
closest thing we have to a
symphony from a composer
who was most at home in
descriptive and dramatic
works. The movie’s plot is
outlined on page 15, but its
scenes, as suggested in this
symphonic suite, encompassed
hypnotic and mysterious
contemplation, wild carousing,
and frenzied and savage ritual.
© LEBRECHT MUSIC & ARTS
“The Mexican Falla...
Revueltas knew the bases
of music: the noises that
accompany drunkenness
and abandon. He had
played in border bars and
dives and movie houses
in his youth. With this
education his approach
could only be healthy. He
knew what music was for
and what it was about.”
Paul Bowles, novelist and
composer, and friend of
Revueltas
Mexican composer, Silvestre Revueltas
alive…superimposing our loud spiritual unease upon the
forces of regression’. While working as Chavez’s assistant
conductor in the early 1930s, Revueltas produced his first
major orchestral scores. But by 1935, personal relations
between the stridently leftist Revueltas and the politically
moderate Chávez had broken down. His two most famous
orchestral scores are the Sensemayá (1938), evoking a
folk ‘ritual for killing a snake’, and the Homenaje a García
Lorca, composed in response to the poet’s execution
by Spanish Falangists in August 1936. He was thus the
precursor of the much later Homage to Garcia Lorca (1963)
by Australia composer Richard Meale.
In his teens, Revueltas had played for silent films in
a cinema orchestra. Later, after resigning as Chavez’s
assistant in 1936, he returned to work in the burgeoning
Mexican film industry as a composer. His first score
that year was for Redes (Nets), a government-funded
documentary about the exploitation of fishermen,
15 | Sydney Symphony
memorable for its cinematography by Paul Shand. Later
Redes was arranged as a concert suite by Erich Kleiber.
But Revueltas’s best known score was for a B-movie flop,
La Noche de los Mayas (1939). One of Chano Urueta’s early
films, on a script by Antonio Mediz Bolio, it included
footage of Mayan ruins in the southern Mexican Yucatan
jungle. The plot concerns a city dweller who stumbles on a
secluded tribe still living the life of their ancestors. At the
film’s climax, they re-enact a grisly Mayan ritual, when,
seeking to end a severe drought, they sacrifice one of their
young witches to the gods. This orchestral suite, which
roughly follows the form of a four-movement symphony,
was arranged from Revueltas’s original 1939 score in 1960.
Listening Guide
The first movement, Night of the Mayas, opens and closes
with a ritual processional dominated by the brass (Molto
sostenuto), framing a gentler, pastoral middle section. In the
guise of a symphonic scherzo, the second movement,
Noche de Jaranas, is approachable and upbeat, based
on the mestizo dance form, Jaranas, and punctuated by
interjections from the mariachi, and the sound of the
caracol (conch shell). The slow third movement, Night of
Yucatán (Andante espressivo) is the real nocturne in this
work of ‘Nights’. At its centre, a flute tune is one of
Revueltas’s rare direct quotations, a traditional song to
the setting sun, the Xtoles (Canto al Sol), ‘Konex konex
palexen’, used in the film by the villagers to call up the
ancient Mayan spirits. Night of Enchantment follows
without a break. Worked up over layers of perpetual
repeating motifs, the form of what has been described as
Mexico’s answer to the Sacrificial Dance in Stravinsky’s Rite
of Spring is loosely that of theme-and-variations. The
energetic percussion adds to the mounting tension as it
builds toward the climactic reprise of the opening
movement’s brass processional.
GRAEME SKINNER ©2008
The symphonic suite calls for two flutes (both doubling piccolo), two
oboes, two clarinets (both doubling E flat clarinet), bass clarinet and
two bassoons; four horns, three trumpets, two trombones and tuba;
timpani and percussion (bongos, deep conga, tom tom, guiro, metal
rattle, tumkul or woodblocks, caracol or conch shell, bass drum,
Indian drum, snare drums, tam-tam, xylophone); piano and strings.
This is the Sydney Symphony’s first performance of La Noche de
los Mayas.
16 | Sydney Symphony
“I was very young, three
years old, my mother tells
me, when I heard music
for the first time, from the
small town orchestra
playing a serenade in the
plaza. I stood on my feet,
listening for a long time,
surely with excessive
attention, for I was
amazed, and would
remain so for three or four
days afterwards.”
Silvestre Revueltas
“Silvestre began learning
violin when he was five.
Do you know what that
means? Considering my
parents were simple folk,
who’d always lived in a
tiny mining town, with no
culture and precious little
education. But they were
extraordinary people, with
an innate intelligence and
sensibility.”
From a 1946 letter by
Revueltas’s sister Rosaura,
film actor and political
activist
MUSICIAN SNAPSHOT
Jo Allan – A Woman of Strength
Sweet. Dolce. Cantabile. Strong to the core,
well-rounded, with a tremendous range
and scope. That’s how Jo Allan, Principal
Piano of the Sydney Symphony, describes
her instrument. So is the piano male or
female? ‘Well, my first reaction was actually
to say male,’ she says with a laugh, ‘but
really I think it’s both.’
The largest of all instruments seen
onstage in an orchestra, the piano is
physically very demanding. ‘It’s a bit like
being a ballet dancer really. It’s very taxing.’
Long hours spent at the instrument –
‘anything up to eight or nine hours a day’ –
mean that regular massage and physio are
an important feature in Jo’s busy weekly
schedule.
In addition to performing with the
Orchestra, Jo also accompanies all
auditions for vacancies. ‘It’s a major part
of my role. People come from around the
country, and overseas, and throw their hats
into the ring for whatever position. It’s my
job to be the “orchestra” while they play
their Mozart concerto, or Dvořák concerto,
and so on.’ Having recently accompanied
a timpani audition for the first time,
Jo has now supported musicians on every
orchestral instrument through this
difficult review process. Every applicant
is different. Some can be visibly nervous,
others don’t want any help. Some prefer
to have up to six rehearsals, and others
simply turn up only on the day, resulting
in a few surprises. ‘I did have the
Stravinsky Violin Concerto sprung on
me once!’
Stravinsky’s orchestral piano writing
is challenging. ‘I have a theory that either
Stravinsky himself had very large hands
and was very strong or he didn’t mind
hearing a few wrong notes,’ says Jo with
a smile. ‘Petrushka, for instance, is a quasi
piano concerto, really. There are a lot of
17 | Sydney Symphony
thick chords, very fast percussive passages,
lots of repeated notes, and it needs a great
deal of strength too. But it’s absolutely
gorgeous music. Any of the big Russian
stuff really gets me.’
Many exalted conductors such as Daniel
Barenboim, Christoph Eschenbach and
Sydney Symphony Principal Conductor
designate Vladimir Ashkenazy have moved
from the keyboard onto the podium. Any
similar aspirations for Jo? ‘Absolutely not.
I wouldn’t describe myself as an extrovert.
I simply prefer making music from within
a group. It’s natural to me.’
Whilst the prospect of working with a
pianist-turned-conductor on the podium
might seem daunting to some, it doesn’t
deter Jo. ‘Ashkenazy’s a very, very empathic
musician. He works very hard to make
everyone feel comfortable, and I look
forward to that over the next few years.’
GENEVIEVE LANG ©2008
MORE MUSIC
Selected Discography
All three of tonight’s composers (together with Carlos
Chávez, Aaron Copland and others) are represented
on Latin American Classics. Revueltas’ Sensemayá,
Ginastera’s Estancia, and Piazzolla’s Tangazo (which
Sydney Symphony audiences heard last month) are
performed by the New World Symphony and Michael
Tilson Thomas.
ELOQUENCE 467603
GINASTERA
For an introduction to Ginastera’s best-known and
most colourful works, including tonight’s suite, try the
recording with Venezuelan conductor Jan Wagner and
the Odense Symphony Orchestra.
BRIDGE 9130
Gisèle Ben-Dor and the London Symphony Orchestra
have recorded the complete Estancia ballet together
with the early ballet, Panambí.
Broadcast Diary
MAY
17 May, 12.05pm
RACHMANINOV FESTIVAL (2007)
Vladimir Ashkenazy conductor
Lukáš Vondráček piano
The Isle of the Dead, Rhapsody on a Theme of
Paganini, Symphony No.3
17 May, 8pm
LATIN AMERICAN NIGHTS
Kristjan Järvi conductor
Carel Kraayenhof bandoneón
Ginastera, Piazzolla, Revueltas
23 May, 11am
EIGHT SEASONS
NAXOS 8557582
Michael Dauth violin-director
Vivaldi, Piazzolla
PIAZZOLLA
24 May, 12.05pm
Four years before his death, Piazzolla recorded his
Bandoneón Concerto with Lalo Schifrin conducting the
Orchestra of St Luke’s. Three tangos with orchestra
make up the disc.
RACHMANINOV FESTIVAL (2007)
NONESUCH 79174
Accordionist James Crabb plays the solo in a recording
made by the Australian Chamber Orchestra in 2003,
Piazzolla: Song of the Angel.
Vladimir Ashkenazy conductor
Garrick Ohlsson piano
Vocalise (orchestral), Piano Concerto No.3,
Symphonic Dances
28 May, 1.05pm
DIDGERIDOO AND ORCHESTRA
CHANDOS 10163
Richard Gill conductor
William Barton didgeridoo
Weber, Schumann, Barton and Hindson
REVUELTAS
31 May, 8pm
The symphonic suite from La Noche de los Mayas is
included with Revuelta’s most popular works
(Sensemayá and Caminos) on the 2CD release,
Revueltas: Centennial Anthology.
JUPITER AND ALPINE SYMPHONIES
RCA VICTOR RED SEAL 63548
Charles Dutoit conductor
Mozart, R Strauss
2MBS-FM 102.5
SYDNEY SYMPHONY 2008
KRISTJAN JÄRVI
Kristjan Järvi’s recent orchestral recordings include
the Atterberg Cello Concerto (1922) with soloist Truls
Mørk, coupled with the Swedish composer’s
orchestration of Brahms’ Sextet for strings, Op.36.
Tue 10 June, 6pm
What’s on in concerts, with interviews and music.
Webcast Diary
BIS 1504
For more recordings visit: www.kristjanjarvi.com
CAREL KRAAYENHOF
Carel Kraayenhof records for the Emarcy label. Tango
Royal includes his own compositions alongside music
by Piazzolla, accompanied by the Concertgebouw
Chamber Orchestra; Guardians of the Clouds features
music by film composer Ennio Morricone; the solo
disc Street Tango juxtaposes Piazzolla with music
from Bernstein’s West Side Story. There is also a DVD
release, Tango Heroes.
For details visit www.universalmusic.net.au/
musicpages/touring_carel.html
19 | Sydney Symphony
Selected Sydney Symphony concerts are recorded for
webcast by BigPond and are available On Demand.
Visit: sydneysymphony.bigpondmusic.com
May webcasts:
TCHAIKOVSKY AND SCHUBERT
Available On Demand
ALPINE AND JUPITER SYMPHONIES
Available On Demand from 31 May at 8pm
sydneysymphony.com
Visit the Sydney Symphony online for concert
information, podcasts, and to read the program book in
advance of the concert.
ABOUT THE ARTIST
Kristjan Järvi conductor
Estonian-born conductor Kristjan Järvi studied piano
at the Manhattan School of Music with Nina Svetlanova,
followed by conducting studies at the University of Michigan
with Kenneth Kiesler. He began his career assisting
Esa-Pekka Salonen at the Los Angeles Philharmonic, with
whom he made his debut at the Hollywood Bowl in 1999,
and went on to become Chief Conductor of the Norrlands
Opera and Symphony Orchestra in Sweden (2000–2004).
Currently Chief Conductor and Music Director of the
Vienna Tonkünstler Orchestra and New York’s Absolute
Ensemble, he is well-known for repertoire ranging
from the classical period to the 21st century, and his flair
for imaginative programming is reflected in his recent
appointment as Artistic Adviser to the Basel Chamber
Orchestra.
Kristjan Järvi regularly conducts the Gewandhaus
Orchestra Leipzig, Berlin Radio Symphony Orchestra,
Royal Liverpool Philharmonic, BBC Wales, WDR Symphony
Orchestra Cologne, NDR Radiophilharmonie and Royal
Scottish National Orchestra. This season he has made his
debut with the Orchestre National de France, Orchestra
Sinfonica di Milano Giuseppe Verdi, London Symphony
Orchestra, Cincinnati Symphony Orchestra and the
Sächsische Staatskapelle Dresden.
He has more than 20 albums to his credit, for which
he has received many accolades, including a Grammy
nomination. Future releases include Franz Schmidt’s
Book of the Seven Seals, Haydn’s ‘Paris’ symphonies, Steve
Reich’s Desert Music and Bernstein’s Mass.
In 1993 Kristjan Järvi founded the Absolute Ensemble,
which has become one of the foremost chamber ensembles
in the world, adopting the principle of ‘music without
borders’. His enthusiasm for new music has resulted in
the commission of more than a hundred works by Arvo
Pärt, H.K. Gruber, Mark-Anthony Turnage, Erkki-Sven
Tüur and Daniel Schnyder among others. Last year he
conducted John Adams’ Nixon in China to great acclaim
at the Cincinnati Opera.
Kristjan Järvi is a committed advocate of music education.
He founded the Absolute Academy at Bremen University
in 2006, and has conducted Japan’s Hyogo Youth Orchestra,
the Norwegian Youth Orchestra and the Estonian Academy
of Music, and directed Ensemble masterclasses at UCLA.
This is Kristjan Järvi’s Sydney Symphony debut.
20 | Sydney Symphony
Carel Kraayenhof bandoneón
When he was eight, Carel Kraayenhof ’s enthusiasm for
music persuaded his parents to buy an old piano, which
he began to teach himself. Lessons followed, and in the
mid-1970s his brother Jaap introduced him to Irish,
Scottish and English folk music. He learned to play the
accordion and the English concertina, performing with
his brother at parties and festivals, on the street and in
theatres. He first encountered the bandoneón in the early
1980s and was struck by its range of timbre. Listening,
transcribing, and hours of practice followed as he learned
to master the instrument and its Argentine tango
repertoire, and he received his first lessons from Belgianbased player Alfredo Marcucci.
In 1985 he formed his first tango ensemble, Tango
Cuatro, and two years later Piazzolla invited him to play
on Broadway in the musical Tango Apasionado. In 1988
he founded his sextet Sexteto Canyengue, which was
invited by Osvaldo Pugliese to perform in Buenos Aires
together with Pugliese’s orchestra. International touring
followed, during which time he developed as an arranger
and composer of tango music. In the early 1990s he
was invited by the Rotterdam Conservatory to create a
bandoneón course, which led to the establishment of
the Argentine Tango Department, where he continues to
teach bandoneón and piano. This remains the only place
where lessons in tango are given at the conservatory
level.
In 2002 he performed with the Sexteto Mayor in a
Piazzolla tribute to a sold-out Teatro Colon in Buenos
Aires. That same year he played for the wedding of
H.R.H. Prince Willem-Alexander and H.R.H. Princess
Máxima, bringing him and his sextet new popularity
outside the Argentine tango community. His achievements
as a worldwide ambassador of the tango were recognised
by the Argentinean government in 2005.
Carel Kraayenhof has collaborated with a diverse
range of musical artists, appearing on Dutch television
with Yo-Yo Ma and working on his most recent recording,
Guardians of the Clouds, with film composer Ennio
Morricone. As a concerto soloist he has appeared with the
Brabant Orchestra, Rotterdam Philharmonic Orchestra,
Concertgebouw Chamber Orchestra and the Residentie
Orchestra among others.
This is Carel Kraayenhof ’s Sydney Symphony debut.
21 | Sydney Symphony
THE SYDNEY SYMPHONY
Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
JOHN MARMARAS
PATRON
Founded in 1932, the Sydney Symphony
has evolved into one of the world’s finest
orchestras as Sydney has become one of the
world’s great cities. Last year the Orchestra
celebrated its 75th anniversary and the
milestone achievements during its
distinguished history.
Resident at the iconic Sydney Opera
House, where it gives more than 100
performances each year, the Sydney
Symphony also performs concerts in a
variety of venues around Sydney and
regional New South Wales. International
tours to Europe, Asia and the USA have
earned the Orchestra world-wide
recognition for artistic excellence.
22 | Sydney Symphony
Critical to the success of the Sydney
Symphony has been the leadership given
by its former Chief Conductors including:
Sir Eugene Goossens, Nicolai Malko,
Dean Dixon,Willem van Otterloo, Louis
Frémaux, Sir Charles Mackerras, Stuart
Challender and Edo de Waart. Also
contributing to the outstanding success
of the Orchestra have been collaborations
with legendary figures such as George
Szell, Sir Thomas Beecham, Otto
Klemperer and Igor Stravinsky.
Maestro Gianluigi Gelmetti, whose
appointment followed a ten-year
relationship with the Orchestra as Guest
Conductor, is now in his fifth and final
year as Chief Conductor and Artistic
Director of the Sydney Symphony, a
position he holds in tandem with that of
Music Director at Rome Opera. Maestro
Gelmetti’s particularly strong rapport
with French and German repertoire is
complemented by his innovative
programming in the Shock of the New
concerts.
The Sydney Symphony’s award-winning
Education Program is central to the
Orchestra’s commitment to the future
of live symphonic music, developing
audiences and engaging the participation
of young people. The Sydney Symphony
also maintains an active commissioning
program promoting the work of Australian
composers, and recent premieres have
included major works by Ross Edwards
and Brett Dean, as well as Liza Lim, who
was composer-in-residence from 2004 to
2006.
In 2009 Maestro Vladimir Ashkenazy
will begin his three-year tenure as
Principal Conductor and Artistic Advisor.
MUSICIANS
Gianluigi Gelmetti
Chief Conductor and
Artistic Director
Michael Dauth
Dene Olding
Chair of Concertmaster
supported by the Sydney
Symphony Board and Council
Chair of Concertmaster
supported by the Sydney
Symphony Board and Council
First Violins
01
02
03
04
05
06
07
08
09
10
11
12
13
14
Second Violins
15
01
02
03
04
05
06
07
08
09
10
11
12
13
First Violins
01 Sun Yi
Second Violins
01 Marina Marsden
Associate Concertmaster
02 Kirsten Williams
Principal
02 Emma West
Associate Concertmaster
03 Kirsty Hilton
A/Associate Principal
03 Shuti Huang
Assistant Concertmaster
04 Fiona Ziegler
A/Assistant Principal
04 Susan Dobbie
Assistant Concertmaster
05
06
07
08
09
10
11
12
13
14
Julie Batty
Gu Chen
Sophie Cole
Amber Gunther
Rosalind Horton
Jennifer Hoy
Jennifer Johnson
Georges Lentz
Nicola Lewis
Alexandra Mitchell
Moon Design Chair of Violin
15 Léone Ziegler
23 | Sydney Symphony
Principal Emeritus
05
06
07
08
09
10
11
12
13
Pieter Bersée
Maria Durek
Emma Hayes
Stan Kornel
Benjamin Li
Nicole Masters
Philippa Paige
Biyana Rozenblit
Maja Verunica
Guest Musicians
Alexandra D’Elia
Martin Penicka
Chiron Meller
First Violin#
Cello
Percussion
Victoria Jacono
Gordon Hill
Murray Parker
First Violin
Double Bass#
Percussion
Leigh Middenway
Robert Llewellyn
Alison Pratt
First Violin
Bassoon#
Percussion
Emily Qin
Andrew Evans
Philip South
First Violin#
Trumpet
Percussion
Martin Silverton
Jeremy Barnett
Murray Winton
First Violin
Percussion
Percussion
Robin Wilson
Timothy Constable
First Violin
Percussion
Alexander Norton
John Douglas
Second Violin#
Percussion
Jacqueline Cronin
Kerryn Joyce
Viola#
Percussion
Jennifer Curl
Kevin Man
Viola#
Percussion
# Contract Musician
MUSICIANS
Violas
01
02
03
04
08
09
10
11
04
05
06
01
02
Harp
Flutes
05
06
07
01
02
03
07
08
09
03
04
05
06
02
03
Cellos
Double Basses
Piccolo
01
Violas
01 Roger Benedict
Cellos
01 Catherine Hewgill
Andrew Turner and
Vivian Chang Chair of
Principal Viola
02 Anne Louise Comerford
02 Nathan Waks
Robyn Brookfield
Sandro Costantino
Jane Hazelwood
Graham Hennings
Mary McVarish
Justine Marsden
Leonid Volovelsky
Felicity Wyithe
24 | Sydney Symphony
Brian and Rosemary
White Chair of Principal
Double Bass
02 Alex Henery
Principal
03 Leah Lynn
Assistant Principal
04
05
06
07
08
09
10
11
Double Basses
01 Kees Boersma
Mr Tony & Mrs Frances
Meagher Chair of
Principal Cello
Associate Principal
03 Yvette Goodchild
07
Principal
03 Neil Brawley
Assistant Principal
04
05
06
07
08
09
Kristy Conrau
Fenella Gill
Timothy Nankervis
Elizabeth Neville
Adrian Wallis
David Wickham
Principal Emeritus
04
05
06
07
David Campbell
Steven Larson
Richard Lynn
David Murray
Gordon Hill
(contract, courtesy
Auckland Philharmonic)
Harp
Piccolo
Louise Johnson
Rosamund Plummer
Mulpha Australia Chair
of Principal Harp
Principal
Flutes
01 Janet Webb
Principal
02 Emma Sholl
Mr Harcourt Gough
Chair of Associate
Principal Flute
03 Carolyn Harris
MUSICIANS
Oboes
01
Cor Anglais
02
Bassoons
01
02
03
04
05
06
02
03
Clarinets
Bass Clarinet
01
02
03
Contrabassoon
Horns
01
02
03
01
02
03
04
Bass Trombone
Tuba
Timpani
Trumpets
Trombones
01
Percussion
01
01
02
Piano
02
Oboes
01 Diana Doherty
Andrew Kaldor and
Renata Kaldor AO Chair
of Principal Oboe
02 Shefali Pryor
Bassoons
01 Matthew Wilkie
Principal
02 Roger Brooke
Associate Principal
03 Fiona McNamara
Associate Principal
Contrabassoon
Cor Anglais
Noriko Shimada
Alexandre Oguey
Principal
Principal
Clarinets
01 Lawrence Dobell
Principal
02 Francesco Celata
Associate Principal
03 Christopher Tingay
Bass Clarinet
Craig Wernicke
Principal
Horns
01 Robert Johnson
Principal
02 Ben Jacks
Principal
03 Geoff O’Reilly
Principal 3rd
04 Lee Bracegirdle
05 Euan Harvey
06 Marnie Sebire
25 | Sydney Symphony
Trumpets
01 Daniel Mendelow
Principal
02 Paul Goodchild
The Hansen Family Chair
of Associate Principal
Trumpet
03 John Foster
04 Anthony Heinrichs
Trombone
01 Ronald Prussing
NSW Department of
State and Regional
Development Chair of
Principal Trombone
02 Scott Kinmont
Associate Principal
03 Nick Byrne
Rogen International
Chair of Trombone
Bass Trombone
Percussion
Christopher Harris
01 Rebecca Lagos
Trust Foundation Chair
of Principal Bass
Trombone
02 Colin Piper
Tuba
Steve Rossé
Principal
Timpani
01 Richard Miller
Principal
02 Adam Jeffrey
Assistant Principal
Timpani/Tutti Percussion
Principal
Piano
Josephine Allan
Principal (contract)
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Company is assisted by the
NSW Government through Arts NSW
PLATINUM PARTNER
MAJOR PARTNERS
GOLD PARTNERS
26 | Sydney Symphony
SILVER PARTNERS
REGIONAL TOUR PARTNERS
BRONZE PARTNERS
MARKETING PARTNERS
PATRONS
Australia Post
Avant Card
Austrian National Tourist Office
Blue Arc Group
Beyond Technology Consulting
Lindsay Yates and Partners
The Sydney Symphony gratefully
acknowledges the many music
lovers who contribute to the
Orchestra by becoming Symphony
Patrons. Every donation plays an
important part in the success of the
Sydney Symphony’s wide ranging
programs.
Bimbadgen Estate Wines
2MBS 102.5 –
J. Boag & Son
Sydney’s Fine Music Station
Vittoria Coffee
The Sydney Symphony applauds the leadership role
our Partners play and their commitment to excellence,
innovation and creativity.
27 | Sydney Symphony
DIRECTORS’ CHAIRS
A leadership program which links
Australia’s top performers in the
executive and musical worlds.
For information about the Directors’
Chairs program, please contact
Alan Watt on (02) 8215 4619.
04
05
06
07
08
09
10
11
12
13
01
Mulpha Australia Chair
of Principal Harp,
Louise Johnson
02
Mr Harcourt Gough Chair of
Associate Principal Flute,
Emma Sholl
03
Sandra and Paul Salteri
Chair of Artistic Director
Education, Richard Gill OAM
04
Jonathan Sweeney,
Managing Director Trust with
Trust Foundation Chair of
Principal Bass Trombone,
Christopher Harris
28 | Sydney Symphony
05
NSW Department of State
and Regional Development
Chair of Principal Trombone,
Ronald Prussing
06
Brian and Rosemary White
Chair of Principal Double
Bass, Kees Boersma
07
Board and Council of the
Sydney Symphony supports
Chairs of Concertmaster
Michael Dauth and
Dene Olding
KEITH SAUNDERS
03
KEITH SAUNDERS
02
GREG BARRETT
01
08
Gerald Tapper, Managing
Director Rogen International
with Rogen International
Chair of Trombone,
Nick Byrne
11
Andrew Turner and Vivian
Chang Chair of Principal
Viola and Artistic Director,
Fellowship Program,
Roger Benedict
09
Stuart O’Brien, Managing
Director Moon Design with
Moon Design Chair of Violin,
Alexandra Mitchell
12
The Hansen Family Chair of
Associate Principal Trumpet,
Paul Goodchild
10
Andrew Kaldor and Renata
Kaldor AO Chair of Principal
Oboe, Diana Doherty
13
Mr Tony & Mrs Frances
Meagher Chair of Principal
Cello, Catherine Hewgill
PLAYING YOUR PART
The Sydney Symphony gratefully acknowledges the music lovers who donate
to the Orchestra each year. Every gift plays an important part in ensuring our
continued artistic excellence and helping to sustain important education and
regional touring programs. Because we are now offering free programs and
space 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.
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 giving
opportunities, please call
Alan Watt on
(02) 8215 4619.
Maestri
Brian Abel & the late Ben
Gannon AO °
Geoff & Vicki Ainsworth *
Mr Robert O Albert AO *‡
Alan & Christine Bishop °§
Sandra & Neil Burns *
Mr Ian & Mrs Jennifer Burton °
Libby Christie & Peter James °§
The Clitheroe Foundation *
Mr John C Conde AO °§
Mr John Curtis §
Penny Edwards °*
Mr J O Fairfax AO *
Fred P Archer Charitable Trust §
Dr Bruno & Mrs Rhonda Giuffre*
Mr Harcourt Gough §
Mr David Greatorex AO &
Mrs Deirdre Greatorex §
The Hansen Family §
Mr Andrew Kaldor & Mrs
Renata Kaldor AO §
H Kallinikos Pty Ltd §
Mrs Joan MacKenzie §
Mr E J Merewether &
Mrs T Merewether OAM *
Mr B G O’Conor °§
The Paramor Family *
The Ian Potter Foundation °
Dr John Roarty in memory of
Mrs June Roarty
Mr Paul & Mrs Sandra Salteri °
Mrs Joyce Sproat & Mrs Janet
Cooke §
Andrew Turner & Vivian Chang
Mr Brian & Mrs Rosemary White§
Anonymous (2) *
Virtuosi
Mrs Antoinette Albert §
Mr Roger Allen & Mrs Maggie
Gray
Mr Robert & Mrs L Alison Carr §
Mr Greg Daniel
Ian Dickson & Reg Holloway°
Mr & Mrs Paul Hoult
Irwin Imhof in memory of
Herta Imhof °‡
Mr Stephen Johns §
Mr & Mrs Gilles T Kryger °§
Ms Ann Lewis AM
29 | Sydney Symphony
Helen Lynch AM & Helen Bauer °
Mr & Mrs David Milman §
Miss Rosemary Pryor *
Bruce & Joy Reid Foundation*
Rodney Rosenblum AM &
Sylvia Rosenblum *
Mrs Helen Selle §
David Smithers AM & Family °§
Ms Gabrielle Trainor °
In memory of Dr William &
Mrs Helen Webb ‡
Michael & Mary Whelan Trust §
Anonymous (1)
Soli
Mr Anthony Berg AM
Ms Jan Bowen °§
Mr Peter Coates
Ms Elise Fairbairn-Smith
Hilmer Family Trust §
Ms Ann Hoban °
Mr Paul Hotz §
Mr Philip Isaacs OAM °§
Mr Bob Longwell
Mrs Judith McKernan °§
Miss Margaret N MacLaren °*‡§
Mr David Maloney §
Mrs Mora Maxwell °§
Mr James & Mrs Elsie Moore °
Mr and Mrs John van Ogtrop
Mr Geoff Wood & Ms Melissa
Waites
Ray Wilson OAM & the late
James Agapitos OAM*
Anonymous (4)
Tutti
Mr C R Adamson §
Mr Henri W Aram OAM §
Mr Terrey & Mrs Anne Arcus §
Mr David Barnes °
Mrs Joan Barnes °
Mr Stephen J Bell *‡
Mr Alexander & Mrs Vera
Boyarsky §
Mr David S Brett *§
Mr Maximo Buch *
Mrs Lenore P Buckle §
Debby Cramer & Bill Caukill §
Mr Bob & Mrs Julie Clampett °§
Mr John Cunningham SCM &
Mrs Margaret Cunningham °§
Lisa & Miro Davis *
Mrs Ashley Dawson-Damer °
Mr Peter & Mrs Mary Doyle °*
Mr & Mrs J B Fairfax AM §
Mr Ian Fenwicke & Prof Neville
Wills §
Mrs Dorit & Mr William
Franken °§
Mr Arshak & Ms Sophie
Galstaun §
In memory of Hetty Gordon §
Mrs Akiko Gregory °
Miss Janette Hamilton °‡
Mr Charles Hanna
Mr A & Mrs L Heyko-Porebski°
Mr & Mrs E Katz §
Miss Anna-Lisa Klettenberg §
Mr Andrew Korda & Ms Susan
Pearson
Mr Justin Lam §
Dr Paul A L Lancaster &
Dr Raema Prowse
Dr Garth Leslie °*
Mrs Belinda Lim & Mr Arti Ortis §
Mr Gary Linnane °§
Ms Karen Loblay §
Mr Andrew & Mrs Amanda Love
Mrs Carolyn A Lowry OAM °
Mr & Mrs R Maple-Brown §
Mr Robert & Mrs Renee
Markovic °§
Mrs Alexandra Martin & the
Late Mr Lloyd Martin AM §
Wendy McCarthy AO °
Justice Jane Matthews §
Mrs Barbara McNulty OBE §
Ms Margaret Moore & Dr Paul
Hutchins *
Mr Robert Orrell °
Timothy & Eva Pascoe §
Ms Patricia Payn °§
Mrs Almitt Piatti
Mr Adrian & Mrs Dairneen Pilton
Ms Robin Potter °§
Mr Ernest & Mrs Judith Rapee §
Dr K D Reeve AM °
Mrs Patricia H Reid §
Ms Juliana Schaeffer §
The Hon. Warwick Smith
Derek & Patricia Smith §
Catherine Stephen §
Mr Fred & Mrs Dorothy Street ‡§
Mr Georges & Mrs Marliese
Teitler §
Mr Ken Tribe AC & Mrs Joan
Tribe §
Mr John E Tuckey °
Mrs Kathleen Tutton §
Ms Mary Vallentine AO §
Henry & Ruth Weinberg §
Audrey & Michael Wilson °
Anonymous (10)
Supporters over $500
Richard Ackland °
PTW Architects §
Mr John Azarias
Mr Chris & Mrs Mary Barrett °
Doug & Alison Battersby °
Mr Phil Bennett
Black Communications
Gabrielle Blackstock °‡
Mr G D Bolton °
Dr & Mrs Hannes Boshoff §
A I Butchart °*
Marty Cameron §
Mr B & Mrs M Coles °
Mrs Catherine Gaskin Cornberg§
Mr Stan Costigan AO &
Mrs Mary Costigan °*
Mrs M A Coventry °
Mr Michael Crouch AO *
M Danos °
Mr Colin Draper
Mr Russell Farr
Mr and Mrs David Feetham
Mr Steve Gillett
In memory of Angelica Green §
Anthony Gregg & Deanne
Whittleston ‡
Dr & Mrs C Goldschmidt §
Beth Harpley *
Rev H & Mrs M Herbert °*
Dr & Mrs Michael Hunter §
Intertravel Lindfield °
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Mrs Anna Joel °
Professor Faith M Jones §
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Iven & Sylvia Klineberg *
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Margaret Lederman §
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Kate & Peter Mason °
Ms J Millard *‡
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Miss C O’Connor *
Mrs Rachel O’Conor °
Mr R A Oppen §
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Mrs B Raghavan °
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Catherine Remond °
Mr John & Mrs Lynn Carol
Reid §
Mr Brian Russell & Mrs Irina
Singleman
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In memory of H St P Scarlett °*
Mr John Scott °
Ms Ann Sherry AO °
Dr Agnes E Sinclair
Dr John Sivewright &
Ms Kerrie Kemp ‡
Dr Heng & Mrs Cilla Tey §
Mrs Elizabeth F Tocque °*
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Anonymous (14)
°
*
‡
§
Allegro Program supporter
Emerging Artist Fund supporter
Stuart Challender Fund supporter
Orchestra Fund supporter
BEHIND THE SCENES
Sydney Symphony Board
CHAIRMAN
John Conde AO
Libby Christie
John Curtis
Stephen Johns
Andrew Kaldor
Goetz Richter
David Smithers AM
Gabrielle Trainor
Sydney Symphony Council
Geoff Ainsworth
Andrew Andersons AO
Michael Baume AO*
Christine Bishop
Deeta Colvin
Greg Daniel AM
John Della Bosca MLC
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Richard Gill OAM
Donald Hazelwood AO OBE*
Dr Michael Joel AM
Simon Johnson
Judy Joye
Yvonne Kenny AM
Gary Linnane
Amanda Love
The Hon. Ian Macdonald MLC*
Joan MacKenzie
Sir Charles Mackerras CH AC CBE
David Maloney
David Malouf
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice Jane Matthews AO*
Danny May
Wendy McCarthy AO
John Morschel
Greg Paramor
Dr Timothy Pascoe AM
Stephen Pearse
Jerome Rowley
Paul Salteri
Sandra Salteri
Jacqueline Samuels
Bertie San
Julianna Schaeffer
Leo Schofield AM
Ivan Ungar
John van Ogtrop*
Justus Veeneklaas*
Peter Weiss AM
Anthony Whelan MBE
Rosemary White
Kim Williams AM
* Regional Touring Committee member
Sydney Symphony Regional Touring Committee
The Hon. Ian Macdonald MLC
Minister for Primary Industries, Energy, Mineral
Resources and State Development
Dr Richard Sheldrake
Director-General, Department of Primary Industries
Mark Duffy
Director-General, Department of Water and Energy
Tony McPaul Cadia Valley Operations
Terry Charlton Snowy Hydro
Sivea Pascale St.George Bank
Paul Mitchell Telstra
John Azarius Deloitte Foundation
Greg Jones
Colin Bloomfield Illawarra Coal BHPBilliton
Rob Vickery Royal Agricultural Society
Stephen David Caroona Project, BHPBilliton
Gerard Lawson Sunrice
Romy Meerkin Regional Express Airlines
Grant Cochrane The Land
Peter Freyberg Xstrata
30 | Sydney Symphony
Sydney Symphony Staff
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31 | Sydney Symphony
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