The Two Towers program book (27, 28, 29 Jul) PDF

2 0 12 S E A S O N S P E C I A L E V E N T
WELCOME
We at Credit Suisse warmly welcome you to this screening
of The Lord of the Rings: The Two Towers, accompanied
by the Sydney Symphony live on stage at the Sydney
Opera House.
The response to the Sydney Symphony’s presentation of
The Fellowship of the Ring in 2011 was universally positive.
We are certain that everyone here in the Concert Hall
shared our delight when the orchestra included the second
instalment of this epic trilogy in its busy 80th anniversary
season.
Film today continues to provide music with vibrant and
memorable new compositions. The works of Howard Shore,
John Williams and Hans Zimmer have delighted many millions
of film goers and music lovers. A performance such as this
recalls the times when orchestras routinely performed live in
movie theatres, and promises to bring us a new dimension to
both Peter Jackson’s film and Howard Shore’s spectacular
musical score.
We are thrilled to be involved in such an innovative approach
to the presentation of orchestral music, which is bound to
capture the imagination.
We hope that you enjoy the performance.
David Livingstone
Chief Executive Officer
Credit Suisse, Australia
2012 season
special event
premier partner credit suisse
Friday 27 July, 7pm
Saturday 28 July, 7pm
Sunday 29 July, 2pm
Sydney Opera House Concert Hall
The Lord of the Rings:
The Two Towers
Ludwig Wicki CONDUCTOR
Clara Sanabras VOCALS
Sebastian Pini BOY SOPRANO
Sydney Philharmonia Choirs
Sydney Children’s Choir
Academy Award winner Howard Shore’s score
performed live to Peter Jackson’s epic motion picture
PART I
Glamdring
Elven Rope
Uglúk’s Warriors
The Three Hunters
The Banishment of Éomer
Night Camp
The Plains of Rohan
Fangorn
The Dead Marshes
“Wraiths on Wings”
Gandalf the White
Edoras
The Court of Meduseld
Théoden King
The Forests of Ithilien
INTERVAL
PART II
One of the Dúnedain
The Wolves of Isengard
Refuge at Helm’s Deep
Voice of Saruman
Arwen’s Fate
The Story Foretold
Faramir’s Good Counsel
Aragorn’s Return
War is Upon Us
“Where is the Horse and the Rider?”
The Host of the Eldar
The Battle of the Hornburg
The Breach of the Deeping Wall
The Entmoot Decides
Retreat
Master Peregrin’s Plan
The Last March of the Ents
Théoden Rides Forth
The Tales That Really Matter
Pre-concert talk by Robert Murray
in the Northern Foyer, 45 minutes
before each performance. Visit
bit.ly/SSOspeakerbios for speaker
biographies.
The presentation will conclude at
10.20pm (Friday and Saturday) and
5.20pm (Sunday).
NEW LINE/SAUL ZAENTZ/WING NUT FILMS/THE KOBAL COLLECTION/PIERRE VINET
Ian McKellan as Gandalf the White
Viggo Mortensen as Aragorn
6 sydney symphony
NEW LINE/SAUL ZAENTZ/WING NUT FILMS/THE KOBAL COLLECTION/PIERRE VINET
INTRODUCTION
The Lord of the Rings: The Two Towers
Original score composed by Howard Shore
Composer Howard Shore’s score to The Lord of the Rings: The
Fellowship of the Ring introduced audiences to J.R.R. Tolkien’s
Middle-earth and its resident cultures. In the saga’s second
chapter, The Two Towers, the world has darkened, cloaked
beneath the advancing shadow of Mordor and the threat of
the evil One Ring.
The Two Towers opens with the Fellowship of the Ring broken
three ways. Yet even as the band is pulled apart, Middleearth’s cultures begin drawing together. So begins the gradual
commingling of civilisations, as neatly compartmentalised
social structures are dissolved, cultural strata are folded
inwards and the free people of Middle-earth respond to the
growing power of Mordor. The Two Towers score presents a
more complex musical world than The Fellowship of the Ring.
‘The Fellowship of the Ring ends with the breaking of the
Fellowship,’ says Shore. ‘The Two Towers follows the fragments
– the shards of the Fellowship. Three distinct stories are
being told linearly now.’
In The Two Towers Shore develops the themes introduced
in The Fellowship of the Ring and debuts figures for new
cultures and characters – but it is the strengthening
relationships within the amassed material that illustrates
the increasingly entangled plight of Middle-earth. The
Shire’s themes, for example, are carried by Merry and Pippin
into Fangorn Forest, where they mix with the austere music
of the tree-herding Ents. The Ents relate to the cleansing
waves of the Nature’s Reclamation theme, the purity of which
is embodied in the voice of a boy soprano – the same vocal
sound with which the Seduction of the Ring lures its victims.
The One Ring’s principal motif, the History of the Ring,
mixes with the Pity of Gollum as the wretched, obsessive
creature leads Sam and Frodo – and his Precious – ever
closer to Mordor. Sauron’s arsenal of material looms on the
horizon, flaring and rearing up behind the blunt pestle of
the Isengard music, which sprawls across Middle-earth’s
plains, assailing the new Rohan Fanfare. The nobly braided
Rohan music, in turn, finds an impressive ally: the Fellowship
theme, now representing a reduced coalition of Man, Elf,
Dwarf and Wizard.
And so the connections continue, worlds of musical
material circling and intertwining to create a vast ring of
related themes. Across the grey slopes of Middle-earth, dusk
deepens…
…circling and
intertwining to create
a vast ring of related
themes.
DOUG ADAMS
Doug Adams is a Chicago-based musician and writer. He is the author
of The Music of the Lord of the Rings Films.
sydney symphony 7
ABOUT THE MUSIC
The Themes of The Lord of the Rings:
The Two Towers
Notes by Doug Adams
The One Ring
The One Ring is the story’s most proactive element. It has
three distinct themes to represent its multi-dimensional
nature.
The History of the Ring
In each film, this theme is first heard as “The Lord of the
Rings” text appears, and reappears whenever the One Ring
changes hands or marks significant progress in its journey.
In The Two Towers The History of the Ring intertwines with
Gollum’s Pity theme to illustrate his besetting obsession
with the Ring.
The Seduction of the Ring
NEW LINE/SAUL ZAENTZ/WING NUT FILMS/THE KOBAL COLLECTION/PIERRE VINET
NEW LINE/SAUL ZAENTZ/WING NUT FILMS/THE KOBAL COLLECTION/PIERRE VINET
This theme, set in pure, clean choral tones and punctuated
by rumbling bass drum strokes, represents the One Ring’s
overwhelming allure.
Orlando Bloom as Legolas
8 sydney symphony
Miranda Otto as Éowyn, sister-daughter of
King Théoden and a shieldmaiden of Rohan.
The Evil of the Ring (Mordor/Sauron)
The third theme for the One Ring is an impervious snarl,
limited to only four or five pitches, and unwavering in its
focus. As with the other ancient powers of Middle-earth,
Shore treats this theme to Eastern-tinted harmonic
inflections suggesting a past age.
The Shire and the Hobbits
This theme is composed of basic and unadorned musical
elements. The diatonic melody hints at a simple pentatonic
scale while the harmonies present only a sensitive handful
of chord changes. Because this tune is so simply and flexibly
constructed, Shore is able to create several distinct variations
out of the material. The reserved Pensive Setting and solemn
Hymn Setting follow Frodo and Sam along their draining
journey. More upbeat Playful and Lullaby variations join
Merry and Pippin in Fangorn Forest. But in the end it is the
more fully developed Hobbit’s Understanding line that
speaks of the hobbits’ innate decency and perseverance.
…a mysterious air aloft
Galadriel’s concerned
voice.
Gollum
The Pity of Gollum (Sméagol’s Theme)
The enfolding triads of this melody represent Gollum’s
wretched state of existence. By the end of The Two Towers
they are reorganised and developed into Gollum’s Song, an
upsetting articulation of Gollum’s warped psyche and his
intentions towards the hobbits.
Gollum’s Menace
In The Fellowship of the Ring, the Shire’s music included,
among other Celtic sounds, the hammered dulcimer.
In The Two Towers the cimbalom, a distant relative of the
dulcimer, represents Gollum’s heritage with twitchy
chromatic figures. Eventually, the cimbalom becomes so
strongly associated with Gollum that it appears alongside
him, even when Gollum’s Menace does not.
The Elves
Lothlórien
The Lothlórien theme first appears in The Two Towers as a
mysterious air aloft Galadriel’s concerned voice. It reappears,
transformed into a militaristic anthem, when the elvish
archers arrive at Helm’s Deep.
Rivendell
Rivendell’s theme bears a pronounced sadness in The Two
Towers. The curving arpeggios conveyed a sense of age and
wisdom in Fellowship. But the Elves are departing Middleearth, and Arwen must choose between her immortality and
her love for Aragorn.
sydney symphony 9
The Dwarves
The stout, gruff music of the Dwarves makes a quick cameo
appearance in The Two Towers. During the film’s opening,
which occurs during the Fellowship’s final moments in
Moria, Howard Shore returns to the parallel harmonies and
percussive choral writing native to the Dwarves’ stone halls.
The World of Men: Rohan
The Rohirrim’s love for their land is embedded in every
turn of phrase present in their theme. The songful melody
is equally at home in proclamatory brass or the intense,
thoughtful strains of the Hardanger, a Norwegian fiddle.
The Fellowship of the Ring
The Fellowship of the Ring was broken at the end of the first
film. The Two Towers finds the members of the Fellowship
scattered, but no less determined. Likewise, the Fellowship
theme lacks the weight and heroism it once displayed, but it
braves adversity unwaveringly.
Isengard
Tolkien scholars have long designated the conflicting goals
of the industrial and natural worlds as one of the major
dramatic themes in The Lord of the Rings, and Shore’s material
follows suit with Isengard’s asymmetrically mechanical music.
Isengard/Orc Theme
This is Isengard’s equivalent of the Fellowship theme,
defying its burnished heroism with a sinewy show of
impious force. It’s generally scored for low brass in their
deepest registers. Like Isengard’s vicious culture, this theme
is free of any artifice or decoration.
Five-Beat Pattern
It is the Five-Beat Pattern that most often represents
Isengard’s presence in the film. This thunderous, hammering
rhythm is scored for collections of metal bell plates, anvils,
bass drum, Japanese taiko drum, and metal chains beating
the strings inside a piano. In The Two Towers this malleable
figure works its way deep inside opposing thematic material,
attempting – virus-like – to corrupt and overpower.
Mordor
Where the Shire’s music is familiar and warmly inviting,
Mordor’s is morbid, threatening and sinister. This music
favours low strings and the deepest registers of brass, fused
to create a thick fog of overtones. Mixed choruses erupt into
primal rhythms with abnormally close-spaced harmonies
for a towering, ritualistic effect.
10 sydney symphony
…thunderous,
hammering rhythm…
 Sean Astin as Samwise
Gamgee and Elijah Wood
as Frodo Baggins – the two
hobbits must continue their
quest into Mordor alone.
Mordor/Sauron (The Evil of the Ring)
The primary motif for Barad-dûr and Sauron is identical
to the One Ring’s Evil theme. (The three are practically
interchangeable story elements.) Shore uses this theme to
portray the Ring’s ‘character’, but it also represents its effect
upon the world.
The Ents
Appropriately, the Ents are represented by the wooden voices
of the orchestra: bassoons, low strings, log drums and bass
marimba. The rigid melody turns paired pitches back and
forth, towards and away from each other, swaying to-and-fro
like windblown branches.
Nature’s Reclamation
The Nature music spends most of its existence resisting
outward manifestations of emotion. It is rarely angry or
vengeful. It is, instead, ethereal and restrained – resolute,
perhaps, but as a musical balm for the imbalances in
Middle-earth. But as the Orc themes infect the musical
landscape of Middle-earth, Nature’s Reclamation is spurred
to action. The Ents’ march on Isengard introduces a grand
manifestation of Nature’s will. Nature, of course, is a
timeless force, and so the theme remains vocal and stepwise, but now summoned into great swelling choral
blocks accompanied by stern strings, winds and martial
percussion. The music rises ceaselessly, ebbing and flowing,
and ultimately overcoming Isengard’s percussive attacks
through sheer force of presence.
…a musical balm
for the imbalances in
Middle-earth.
Original text © 2006, 2009 by DOUG ADAMS
www.musicoflotr.com
sydney symphony 11
ABOUT THE CREATORS
Howard Shore COMPOSER
Howard Shore is among today’s most respected, honoured
and active composers and conductors. His work with Peter
Jackson on The Lord of the Rings trilogy stands as his most
towering achievement to date, earning him three Academy
Awards. He has also been honoured with four Grammy
and three Golden Globe awards. He was one of the original
creators of Saturday Night Live; serving as the music director
on the show from 1975 to 1980. At the same time, he began
collaborating with David Cronenberg and has scored 13
of the director’s films, including The Fly, Crash and Naked
Lunch. His original scores to Dead Ringers, Eastern Promises
and A Dangerous Method were each honoured with a Genie
Award. Shore continues to distinguish himself with a wide
range of projects, from Martin Scorsese’s films The Departed,
The Aviator and Gangs of New York, to Ed Wood, The Silence of
the Lambs, Philadelphia and Mrs Doubtfire.
Howard Shore’s music has been performed in concerts
throughout the world. In 2003, he conducted the New
Zealand Symphony Orchestra and Chorus in the world
premiere of The Lord of the Rings Symphony in Wellington.
Since then, the work has had over 140 performances by the
world’s most prestigious orchestras.
In 2008, his opera The Fly premiered at the Théâtre du
Châtelet in Paris and at Los Angeles Opera. Other recent
works include Fanfare for the Wanamaker Organ in
Philadelphia and the piano concerto Ruin and Memory for
Lang Lang, premiered in Beijing in 2010. He is currently
working on his second opera and looks forward to a return
to Middle-earth with J.R.R. Tolkien’s The Hobbit.
Howard Shore received the Career Achievement for
Music Composition Award from the National Board of
Review of Motion Pictures and New York Chapter’s
Recording Academy Honors, ASCAP’s Henry Mancini
Award, the Frederick Loewe Award and the Max Steiner
Award from the city of Vienna. He holds honorary
doctorates from Berklee College of Music and York
University, he is an Officier de l’Ordre des Arts et des
Lettres de la France and the recipient of the Canadian
Governor General’s Performing Arts Award.
12 sydney symphony
Fran Walsh LYRICIST
In 2004, Fran Walsh was awarded Academy Awards for Best
Adapted Screenplay, Best Original Song, and Best Picture
for The Lord of the Rings: The Return of the King. For her work
co-writing The Lord of the Rings: The Fellowship of the Ring,
she was nominated for an Oscar, a British Academy of Film
and Television Arts award and Writers Guild of America
Screen Award, and (together with Peter Jackson, Barrie
Osborne and Tim Sanders) won the AFI Film Award.
Fran Walsh first garnered an Academy Award nomination
for Best Screenplay for the feature Heavenly Creatures,
which she wrote with her collaborator Peter Jackson. Her
background is in music and she began her writing career
soon after leaving Victoria University where she majored in
English Literature.
Philippa Boyens WRITER
Since being named by Variety in their list of Ten Writers to
Watch in 2000, Philippa Boyens, who made her debut as a
screenwriter with The Lord of the Rings trilogy, has won an
Academy Award for Best Adapted Screenplay for The Lord
of the Rings: The Return of the King and was previously
nominated for an Oscar, a British Academy of Film and
Television Arts Award and a Writers Guild of America
Award, among others. Philippa Boyens has worked in
theatre as a playwright, teacher, producer and editor. She
moved to film via a stint as Director of the New Zealand
Writers Guild. Her love of J.R.R. Tolkien’s work brought
her to this project, having been a fan since she was eleven
years old.
Peter Jackson DIRECTOR
Peter Jackson made cinema history in making The Lord
of the Rings film trilogy, comprising nine hours of a
continuous cinema. The films have become a cross-cultural
phenomenon worldwide, not only embracing the respect
of established Tolkien fans and scholars, but introducing
young audiences to Tolkien’s classic novels. Peter Jackson
was awarded three Academy Awards for Best Director, Best
Picture and Best Adapted Screenplay for The Lord of the
Rings: The Return of the King.
Film Credits
New Line Cinema presents a
Wingnut Films Production, The
Lord of the Rings: The Two Towers.
The film is directed by Peter
Jackson from a screenplay by Fran
Walsh, Philippa Boyens, Stephen
Sinclair and Peter Jackson based
on the book by J.R.R. Tolkien.
The producers are Barrie M.
Osborne, Peter Jackson and Fran
Walsh. The executive producers are
Robert Shaye and Michael Lynne.
Also executive producing are
Mark Ordesky, Bob Weinstein and
Harvey Weinstein. The director
of photography is Andrew Lesnie,
A.C.S. The production designer is
Grant Major. The editor is John
Gilbert. The co-producers are
Rick Porras and Jamie Selkirk.
The film stars Elijah Wood, Ian
McKellen, Sean Astin, Viggo
Mortensen, Dominic Monaghan,
Billy Boyd, Orlando Bloom, John
Rhys-Davies, Christopher Lee,
Bernard Hill, Mirando Otto, Karl
Urban, Brad Dourif, Hugo Weaving,
Liv Tyler, David Wenham and Cate
Blanchett, and featuring Sean Bean
as Boromir and Andy Serkis as
Gollum. The cast also includes
Craig Parker, John Leigh, Bruce
Hopkins and John Bach.
Casting is by John Hubbard & Amy
MacLean (UK), Victoria Burrows
(US), Liz Mullane (New Zealand)
and Ann Robinson (Australia).
Costume designers are Ngila
Dickson and Richard Taylor.
Music is composed, orchestrated
and conducted by Howard Shore.
Special makeup, creatures, armour
and miniatures are by Richard
Taylor. Jim Rygiel is the visual
effects supervisor. The film is
released worldwide by New Line
Cinema. www.lordoftherings.net
sydney symphony 13
ABOUT THE ARTISTS
Ludwig Wicki CONDUCTOR
A native of Lucerne, Ludwig Wicki grew up in a musical
environment influenced by church and folk music. He
initially studied trombone and became a member of the
Lucerne Symphony Orchestra, eventually expanding his
studies to include conducting. After several years at the
music school in Bern, he continued his education with
Cantor Martin Flämig and Donato Renzetti. During this
period he also founded the Lucerne Philharmonic Brass
Quintet, and following the success of the ensemble’s
recordings, he was invited to play with the Empire Brass
Quintet at Tanglewood. As a baroque trombonist, he
frequently performed with various period instrument
ensembles, collaborating with such luminaries as Andrew
Parrott, Nikolaus Harnoncourt, Jeremy West and Simon
Standage.
As a conductor, Ludwig Wicki enjoys working with a
variety of musical genres. In his role as chorusmaster of the
Lucerne Abbey Court Church, his repertoire ranges from
Gregorian chants to contemporary sacred music, while his
orchestral concerts feature late Romantic, Impressionist and
20th-century works by composers such as Stravinsky and
Schoenberg.
His long-standing passion for film music was fulfilled in
1999 with the creation of the 21st Century Orchestra. This
professional ensemble, which he leads as its sole artistic
Director, currently offers about ten performance-screenings
each season, and has developed partnerships with renowned
film composers, including Howard Shore, Randy Newman,
Martin Böttcher, and George Fenton. The 21st Century
Orchestra also accompanies silent classics by Charlie
Chaplin and Buster Keaton, as well as cult films, such as
Nosferatu.
In 2008 Ludwig Wicki conducted the 21st Century
Orchestra for the premiere of The Fellowship of the Ring at
the Lucerne Concert Hall (KKL). This was the first complete
live performance of the original film music for the first
part of the Lord of the Rings trilogy. He has subsequently
conducted the work in Munich, Washington (Wolftrap),
Lyon, London, New York and other cities, as well as in
Sydney in 2011.
Ludwig Wicki teaches chamber music and conducting
at the conservatories in Lucerne and Bern. In 2007 he was
honoured by the city of Lucerne for his accomplishments
as a musician and educator.
14 sydney symphony
Clara Sanabras VOCALIST
Born in France, raised in Barcelona and now a Londoner,
Clara Sanabras is one of the most original artists to emerge
from the East London scene, with music-making as varied
as her background. Classically trained, she has worked
in early music, world music, jazz, folk and contemporary,
and she accompanies herself on a diverse collection of
instruments, including baroque guitar, oud, charango and
Indian harmonium.
She has appeared at many international festivals,
including Glastonbury 2011, the London Jazz Festival and
Womad, and has mingled with artists from all disciplines.
Her collaborations include James Newton-Howard (Snow
White and the Huntsman), Jocelyn Pook, Alberto Iglesias,
Natacha Atlas, The Harp Consort (Andrew Lawrence King),
composer John Rutter, Jarvis Cocker, Theatre of Voices,
London Voices, Charivari Agréable, Israel Camerata, eX
Ensemble, The Dufay Collective, and she has appeared with
the Royal Philharmonic Orchestra and the Orchestra of the
Age of Enlightenment.
Clara Sanabras has an impressive discography, and her
broadcast, theatre and screen credits include an appearance
on screen alongside Al Pacino in The Merchant of Venice
(Mike Radford, 2004), on stage with director Nicholas Hytner
at the National Theatre, with Bill Nighy in the BBC Radio 3
play The Don and in concert under the guidance of Karlheinz
Stockhausen. She is also the featured singer in the movie
Cristiada about the Mexican Cristeros War, with music by
James Horner of Titanic fame.
She burst into the global music scene in 2006, with the
album Clara & The Real Lowdown (Smudged Discs), produced
by Harvey Brough and featuring The Real Lowdown, a
collective of the finest folk, jazz and world musicians in
London. Since then, they’ve recorded another two albums:
Hopetown House and The Emblem, and are working on Songs
of Spanish Exile.
www.clarasanabras.co.uk
sydney symphony 15
MORE MUSIC
Selected Discography and
Further Reading
Broadcast Diary
August
THE LORD OF THE RINGS
The complete recordings of Howard Shore’s music
for The Lord of the Rings (with, for the most part, the
London Philharmonic Orchestra) are available on the
Reprise label.
REPRISE 49454-2 (THE FELLOWSHIP OF THE RING)
REPRISE 44376-2 (THE TWO TOWERS)
REPRISE 162044-2 (THE RETURN OF THE KING)
Author Doug Adams has made a thorough and
authoritative analysis of Howard Shore’s soundtrack
for the trilogy, The Music of the Lord of the Rings Films.
Definitely a first stop for anyone wanting to explore
this music in depth.
www.musicoflotr.com
A truly dedicated enthusiast, Marilynn Miller, has
compiled an unofficial website with a wealth of
information about The Lord of the Rings movie
soundtracks. A Magpie’s Nest, LOTR – check it out:
www.amagpiesnest.com
And visit Howard Shore’s website for links to sheet music
and to recordings of his other film soundtracks.
www.howardshore.com
A special extended trilogy edition of Jackson’s Lord of
the Rings (12-DVD set) is available in Australia from
Roadshow. The individual movies from the trilogy are
also available on Blu-ray disc.
Finally, for another take – musical and dramatic –
on The Lord of the Rings, seek out the BBC Radio
dramatisation from 1981, available in a 13-CD set.
The performances feature Ian Holm (as Frodo in this
version) and Michael Horden (Gandalf ), with music
by Stephen Oliver. Available from ABC shops.
Sydney Symphony Online
Join us on Facebook
facebook.com/sydneysymphony
abc.net.au/classic
Saturday 11 August, 2pm
wagner under the sails
Simone Young conductor
Christine Brewer soprano
A recreation of all-Wagner program of the official
opening concert of the Sydney Opera House
in 1973.
Monday 20 August, 1.05pm
the dream of gerontius
Vladimir Ashkenazy conductor
Lilli Paasikivi mezzo-soprano
Mark Tucker tenor
David Wilson-Johnson baritone
Sydney Philharmonia Choirs
Elgar
Fine Music 102.5
sydney symphony 2012
Tuesday 14 August, 6pm
Musicians, staff and guest artists discuss what’s in
store in our forthcoming concerts.
Fine Music is the new name for the station previously
known as 2MBS (Music Broadcasting Society),
transmitting on 102.5FM and streaming online from
www.FineMusicFM.com
Webcasts
Follow us on Twitter
twitter.com/sydsymph
Watch us on YouTube
www.youtube.com/SydneySymphony
Visit sydneysymphony.com for concert
information, podcasts, and to read the
program book in the week of the concert.

Stay tuned. Sign up to receive our
fortnightly e-newsletter
sydneysymphony.com/staytuned
Download our free mobile app
for iPhone or Android
sydneysymphony.com/mobile_app
16 sydney symphony
Selected Sydney Symphony concerts are webcast
live on BigPond and Telstra T-box and made
available for later viewing On Demand.
Our latest webcast:
kalkadungu
Visit: bigpondmusic.com/sydneysymphony
Live webcasts can also be viewed via our mobile app.
ABOUT THE ARTISTS
Sydney Children’s Choir
The Sydney Children’s Choir has built a worldwide reputation
for choral excellence, inspiring audiences with a distinctive
Australian choral sound. Under the direction of founder Lyn
Williams oam, the choir has commissioned more than 100
new Australian works and performs a significant number of
Australian compositions. The choir has toured extensively
throughout Australia and Indonesia, Singapore, Finland, Estonia,
France, the United Kingdom and Japan. In 2010, the choir
celebrated its 21st birthday with a gala concert at the Sydney
Opera House and a tour to China. In 2011 the choir performed
in the YouTube Symphony Orchestra project conducted by
Michael Tilson Thomas, and recorded the Sydney New Year’s Eve
Anthem. The choir regularly performs with the Sydney Symphony,
most recently in Mahler’s Third and Eighth symphonies,
conducted by Vladimir Ashkenazy, and in The Fellowship of the
Ring. The choir appears on the soundtracks of Moulin Rouge,
Happy Feet and Australia, and on their CD Voices of Angels.
www.sydneychildrenschoir.com.au
Lyn Williams OAM
artistic director & founder, gondwana choirs
Lyn Williams is Australia’s leading director of choirs for
young people, having founded the internationally renowned
Gondwana Choirs. Since 1989, Gondwana Choirs has grown
to include the Sydney Children’s Choir, Gondwana National
Choirs and Gondwana National Indigenous Children’s Choir.
Her exceptional skill in working with young people is recognised
for its high artistic quality and ground-breaking innovation.
She frequently directs and conducts for major events, tours
internationally with her choirs, and has conducted the Sydney,
Adelaide, Melbourne symphony orchestras, Australian Chamber
Orchestra, Australian Youth Orchestra and Sydney Philharmonia
Choirs. In 2004 she was awarded a Medal of the Order of Australia
in recognition of her services to the Arts, and in 2006 the NSW
State Award (Classical Music Awards) for her contribution to
the advancement of Australian music. Lyn Williams is a
Churchill Fellow and also a composer.
Sydney Children’s Choir
Lyn Williams oam Artistic Director & Founder
Luke Byrne Choral Preparation
Sally Whitwell Pianist
Hywel Sims General Manager
John Nolan Artistic Administrator
Jocelyn O’Brien Choir Manager
Mia-Louise Adcock
Rhiona-Jade Armont
Neil Baker
Alex Bruce
Alison Campbell
Courtney Chong
Ihnteck Chung
Leona Cohen
Isaac Davis
Marta Davis
Stella Davy
Vincent Kerin
Helena Kertesz
Eleanor Kozak
Reuben Langbein
Tabitha Lee
Marley Liyanagama
Jemima Lorenz
Owen MacNamara
Chad Martin
Lachlan Massey
Eve McEwen
Timothy Dutton
Marianna Ebersoll
Matilda Elliott
Annelise Hall
Beth Harper-King
Chloe Hart
Abel Hofflin
Victoria Hofflin
Miranda Ilchef
Rebecca Johnson
Sophia Kalo
Rebecca O’Hanlon
Daniel Picard
Madeleine Picard
Sebastian Pini*
Gabi Powell-Thomas
Sofie Rejto
Ariana Ricci
Lara Rogerson-Wood
Timothy Sampson
Mackenzie Shaw
Amelia Smiles
Zoe Taylor
Jill Termaat
Beatrice Tucker
Vanilla Tupu
Geneva Walker
Edie Warne
Jacqui Wesiak
Indiana Williams
Selina Williamson
* Soloist
sydney symphony 17
Sydney Philharmonia Choirs
Formed in 1920, Sydney Philharmonia Choirs is Australia’s largest
choral organisation. The three principal choirs – the Chamber
Singers, Symphony Chorus and the young adult choir VOX –
perform a diverse repertoire each year, ranging from early
a cappella works to challenging contemporary music. Sydney
Philharmonia Choirs presents an annual concert series of choral
masterpieces, and has premiered several commissioned works,
most recently Peter Sculthorpe’s To Music. In 2002, Sydney
Philharmonia was the first Australian choir to sing at the
BBC Proms (Mahler’s Eighth Symphony under Simon Rattle),
returning again in 2010. Other highlights have included
Beethoven’s Ninth for the Nagano Winter Olympics, concerts with
Barbra Streisand and Britten’s War Requiem at the 2007 Perth
Festival. Appearances with the Sydney Symphony have included
Mahler’s Eighth for the Olympic Arts Festival (2000), Stravinsky’s
Oedipus Rex and Symphony of Psalms, ‘Midsummer Shakespeare’
(2011 Sydney Festival), the choral symphonies in Ashkenazy’s
Mahler Odyssey (2010–11), and most recently Mozart’s Requiem.
Brett Weymark artistic and musical director
Brett Weymark studied singing at the University of Sydney
and conducting at the Sydney Conservatorium. In 2003 he was
appointed Musical Director of Sydney Philharmonia Choirs.
He has conducted the choirs in premieres of works by
composers such as Elena Kats-Chernin and Peter Sculthorpe,
and has also prepared the choirs for concerts with conductors
such as Charles Mackerras, Charles Dutoit and Simon Rattle.
Most recently, he has conducted Die Fledermaus at the Western
Australian Academy of Performing Arts and Symphony in the
Domain for the 2012 Sydney Festival, and this season he
conducts the OzOpera tour of Don Giovanni and returns to
WAAPA to conduct Goetz’s Taming of the Shrew.
Elizabeth Scott musical director, vox
Elizabeth Scott graduated from the Sydney Conservatorium
of Music in 1995 as a flute major and then studied choral
conducting, vocal performance and aural training in Hungary
and Germany. Before her appointment as Musical Director of
VOX, she was the Sydney Philharmonia’s Assistant Chorusmaster
(2006–2008). She is also Associate Conductor of Sydney Chamber
Choir and a guest choral director of Coro Innominata, Macquarie
University Singers and Orpheus Choral Music, among others.
She is Music Projects Officer at The Arts Unit, a specialist branch
of the Department of Education and Training, and Director of
Vocal and Choral Studies at the Conservatorium High School.
She has participated in the Symphony Australia Conductor
Development Program, and in 2008 received the Sydney Choral
Symposium Foundation Choral Conducting Scholarship.
Elizabeth Scott sings with Cantillation and has performed with
Pinchgut Opera and The Song Company.
18 sydney symphony
Brett Weymark Artistic and Musical Director
Atul Joshi General Manager
Elizabeth Scott Chorusmaster
Luke Byrne Rehearsal pianist
SOPRANOS
ALTOS
TENORS
BASSES
Ria Andriani
Naomi Bagga
Olivia Bandler-Llewellyn
Nikki Bogard
Victoria Campbell
Charmaine Cusack
Alya Drobot
Vanessa Ede
Genevra Howard
Clare Kenny
Athena Lill
Georgia Melville
Amelia Myers
Lindsey Paget-Cooke
Quan Quan Phua
Laura Platts
Clare Richards
Maya Schwenke
Kaila Sercombe
Stephanie Vierboom
Helena Backes
Rebecca Campbell
Erin Chapman
Soo Young Choi
Isabel Colman
Naomi Cooper
Kerry Francis
Fiona Hart
Karen Henwood
Edwina Howes
Helen Hughson
Sarah McGrath
Georgia Moore
Madi Moore
Christine Polec
Suzanne Sherrington
Chela Weitzel
Lia Weitzel
Brigitte Wirfler
Priscilla Yuen
Alexei Bernard
Xander Bird
Lanhowe Chen
Denys Gillespie*
Steven Hankey
Todd Hawken
Paul Hudson
Michael Kertesz
Selwyn Lemos
Vincent Lo
Thomas MacDonald
Stephen McDonnell
Paul Mai
Jarred Mattes
Jack Pengelly
Ian Seppelt
Paul Soper
Robert Thomson
Alex Walter*
Ben Wirfler
Shaun Young
Greg Anderson
Bryan Banston
Timothy Bennett
Dominic Blake
Simon Boileau
Andrew Broten
Kyle Buchanan
Edwin Carter
Daryl Colquhoun
Tristan Entwistle
Tom Forrester-Paton
Derek Hodgkins
Adrian Kenny
Samuel Merrick
Robert Sherrington
Edwin Tomlins
Robert Totonjian
Ryan Wiblin
Angus Wilkinson
Stephen Young
Ken Zhang
* = Section leader
To find about Sydney Philharmonia concerts or joining one of the choirs,
visit www.sydneyphilharmonia.com.au
Publishing Rights Credits
All Compositions by Howard Shore (ASCAP) except:
“Evenstar” featured in “One of the Dúnedain” Music by Howard Shore, Lyrics by J.R.R. Tolkien, translated into
Sindarin by David Salo.
“The Grace of the Valar” known as “Breath of Life” featured in “Arwen’s Fate” Music by Howard Shore,
Lyrics by Fran Walsh, translated into Sindarin by David Salo.
“Haldir’s Lament” featured in “Retreat” Music by Howard Shore, Lyrics by J.R.R. Tolkien.
“Gollum’s Song” featured in “The Tales That Really Matter” Music by Howard Shore, Lyrics by Fran Walsh.
Choral Text by J.R.R. Tolkien, Philippa Boyens and Fran Walsh.
Published by New Line Tunes (ASCAP)
Except: “Evenstar, Part 1”; “Breath of Life”; “Evenstar, Part 2”; “Haldir’s Lament”; “Gollum’s Song”; and “Evenstar
End Credits, Part 3” Co-Published by New Line Tunes (ASCAP) and South Fifth Avenue Publishing (ASCAP).
© 2002 All Rights Reserved.
The Lord of the Rings and the name of the characters, events, items and places therein, are trademarks of The Saul
Zaentz Company trading as Tolkien Enterprises under license to New Line Productions, Inc. All Rights Reserved.
Howard Shore would like to thank: Peter Jackson, Fran Walsh, Philippa Boyens, J.R.R. Tolkien, Ronald Wilford,
Jean-Jacques Cesbron, New Line Cinema, Mark Ordesky, Paul Broucek, Stephen Einhorn, Michael Mulvihill, Danny
Bramson, Lori Silfen, Elizabeth Cotnoir, Alan Frey, Ludwig Wicki, Pirimin Zängerle, Doug Adams, James Sizemore,
Tim Starnes, Jeffrey Markowitz, Jeff Halsey and for these performances Clara Sanabras, Sydney Philharmonia
Choirs, Sydney Children’s Choir and the Sydney Symphony.
Producers
Columbia Artists Music, LLC:
Ronald A. Wilford – Chairman and CEO
Jean-Jacques Cesbron – President
Jeffrey Markowitz – Technical Supervisor
Paul Bevan – Sound Engineer
Howard Shore
Prince in New York Music Corporation
James Sizemore and Tim Starnes – Auricle
sydney symphony 19
MUSICIANS
Vladimir Ashkenazy
Principal Conductor
and Artistic Advisor
supported by Emirates
Dene Olding
Concertmaster
Nicholas Carter
Associate Conductor
supported by Premier Partner
Credit Suisse
FIRST VIOLINS
VIOLAS
FLUTES
TROMBONES
Kirsten Williams
Tobias Breider
Sandro Costantino
Jane Hazelwood
Graham Hennings
Stuart Johnson
Leonid Volovelsky
Christa Jardine*
Vera Marcu*
Shelley Sorensen*
David Wicks*
Roger Benedict
Anne-Louise Comerford
Robyn Brookfield
Justine Marsden
Felicity Tsai
Janet Webb
Emma Sholl
Rosamund Plummer
Scott Kinmont
Nick Byrne
Christopher Harris
Principal Piccolo
Principal Bass Trombone
Carolyn Harris
Ronald Prussing
OBOES
TUBA
Diana Doherty
Shefali Pryor
Huw Jones*
David Papp
Alexandre Oguey
Steve Rossé
Principal Cor Anglais
Richard Miller
CLARINETS
PERCUSSION
Francesco Celata
Craig Wernicke
David Rowden*
Lawrence Dobell
Christopher Tingay
Rebecca Lagos
John Douglas*
Joshua Hill*
Brian Nixon*
Philip South*
Colin Piper
BASSOONS
HARP
Associate Concertmaster
Roy Theaker*
Julie Batty
Jennifer Booth
Marianne Broadfoot
Brielle Clapson
Nicola Lewis
Alexander Norton
Elizabeth Jones°
Freya Franzen*
Claire Herrick°
Francesca Hiew*
Martin Silverton*
Tereza Singer*
Dene Olding
Concertmaster
Sun Yi
Associate Concertmaster
Fiona Ziegler
Assistant Concertmaster
Sophie Cole
Amber Davis
Jennifer Hoy
Léone Ziegler
SECOND VIOLINS
Emily Long
A/Assistant Principal
Emma Hayes
Shuti Huang
Stan W Kornel
Benjamin Li
Nicole Masters
Alexandra D’Elia°
Emily Qin°
Anna Albert*
Anthea Hetherington*
Monique Irik*
Liisa Pallandi*
Marina Marsden
Emma West
Assistant Principal
Susan Dobbie
Principal Emeritus
Maria Durek
Philippa Paige
Biyana Rozenblit
Maja Verunica
CELLOS
Henry David Varema*
Leah Lynn
Assistant Principal
Christopher Pidcoc
David Wickham
Janine Boubbov*
Mee Na Lojewski*
Rowena Macneish°
Rachael Tobin°
Catherine Hewgill
Fenella Gill
Timothy Nankervis
Elizabeth Neville
Adrian Wallis
Principal Bass Clarinet
Matthew Wilkie
Fiona McNamara
Noriko Shimada
Principal Contrabassoon
Roger Brooke
HORNS
Robert Johnson
Geoffrey O’Reilly
DOUBLE BASSES
Principal 3rd
Alex Henery
Steven Larson
Neil Brawley
Euan Harvey
Victoria Chatterley*
Katy Grisdale*
Jenny McLeod-Sneyd*
Ben Jacks
Marnie Sebire
Principal Emeritus
David Campbell
David Murray
Benjamin Ward
Hugh Kluger†
Kees Boersma
Richard Lynn
Mark Robinson
Assistant Principal
Louise Johnson
KEYBOARDS
Josephine Allan*
Bold = Principal
Italics = Associate Principal
* = Guest Musician
° = Contract Musician
† = Sydney Symphony Fellow
Grey = Permanent member of the
Sydney Symphony not appearing
in this concert
TRUMPETS
David Elton
John Foster
Anthony Heinrichs
Peter Miller*
Paul Goodchild
To see photographs of the full roster of permanent musicians
and find 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 flyer.
20 sydney symphony
TIMPANI
The men of the Sydney
Symphony are proudly
outfitted by Van Heusen.
SYDNEY SYMPHONY
JOHN MARMARAS
Vladimir Ashkenazy, Principal Conductor and Artistic Advisor
PATRON Her Excellency Professor Marie Bashir AC CVO
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony has
evolved into one of the world’s finest
orchestras as Sydney has become one of the
world’s great cities.
Resident at the iconic Sydney Opera House,
where it gives more than 100 performances
each year, the Sydney Symphony also performs
in venues throughout Sydney and regional
New South Wales. International tours to
Europe, Asia and the USA have earned the
orchestra worldwide recognition for artistic
excellence, most recently in the 2011 tour of
Japan and Korea.
The Sydney Symphony’s first 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, Zdeněk Mácal, Stuart Challender,
Edo de Waart and Gianluigi Gelmetti. David
Robertson will take up the post of Chief
Conductor in 2014. The orchestra’s history also
boasts collaborations with legendary figures
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 orchestra
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, Gordon Kerry 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 orchestra has
recently completed recording the Mahler
symphonies, and has also released recordings
with Ashkenazy of Rachmaninoff and Elgar
orchestral works on the Exton/Triton labels,
as well as numerous recordings on the ABC
Classics label.
This is the fourth year of Ashkenazy’s tenure
as Principal Conductor and Artistic Advisor.
sydney symphony 21
BEHIND THE SCENES
Sydney
Symphony
Board
John C Conde ao Chairman
Terrey Arcus am
Ewen Crouch
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor
Irene Lee
David Livingstone
Goetz Richter
David Smithers am
Sydney Symphony Staff
MANAGING DIRECTOR
MARKETING & ONLINE COORDINATOR
Rory Jeffes
Kaisa Heino
EXECUTIVE TEAM ASSISTANT
GRAPHIC DESIGNER
Lisa Davies-Galli
Lucy McCullough
ARTISTIC OPERATIONS
Varsha Karnik
DATA ANALYST
DIRECTOR OF ARTISTIC PLANNING
MARKETING ASSISTANT
Peter Czornyj
Jonathon Symonds
Artistic Administration
Box Office
ARTISTIC ADMINISTRATION MANAGER
MANAGER OF BOX OFFICE SALES &
OPERATIONS
Elaine Armstrong
ARTIST LIAISON MANAGER
Ilmar Leetberg
Lynn McLaughlin
MANAGER OF BOX OFFICE OPERATIONS
Tom Downey
RECORDING ENTERPRISE MANAGER
Philip Powers
Education Programs
Sydney
Symphony
Council
Geoff Ainsworth am
Andrew Andersons ao
Michael Baume ao
Christine Bishop
Ita Buttrose ao obe
Peter Cudlipp
John Curtis am
Greg Daniel am
John Della Bosca
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Donald Hazelwood ao obe
Dr Michael Joel am
Simon Johnson
Yvonne Kenny am
Gary Linnane
Amanda Love
Helen Lynch am
Joan MacKenzie
David Maloney
David Malouf ao
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice Jane Mathews ao
Danny May
Wendy McCarthy ao
Jane Morschel
Greg Paramor
Dr Timothy Pascoe am
Prof. Ron Penny ao
Jerome Rowley
Paul Salteri
Sandra Salteri
Juliana Schaeffer
Leo Schofield am
Fred Stein oam
Gabrielle Trainor
Ivan Ungar
John van Ogtrop
Peter Weiss am
Mary Whelan
Rosemary White
22 sydney symphony
HEAD OF EDUCATION
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Mark Lawrenson
EDUCATION COORDINATOR
Rachel McLarin
CUSTOMER SERVICE REPRESENTATIVES
Steve Clarke – Senior CSR
Michael Dowling
Derek Reed
John Robertson
Bec Sheedy
COMMUNICATIONS
HEAD OF COMMUNICATIONS
Yvonne Zammit
Library
PUBLICIST
LIBRARIAN
Katherine Stevenson
Anna Cernik
DIGITAL CONTENT PRODUCER
LIBRARY ASSISTANT
Ben Draisma
Victoria Grant
LIBRARY ASSISTANT
Mary-Ann Mead
Publications
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
Yvonne Frindle
ORCHESTRA MANAGEMENT
DEVELOPMENT
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
DIRECTOR OF DEVELOPMENT
Caroline Sharpen
ORCHESTRA MANAGER
Chris Lewis
ORCHESTRA COORDINATOR
Georgia Stamatopoulos
OPERATIONS MANAGER
Kerry-Anne Cook
EXTERNAL RELATIONS MANAGER
Stephen Attfield
PHILANTHROPY, PATRONS PROGRAM
Ivana Jirasek
PHILANTHROPY, EVENTS & ENGAGEMENT
Amelia Morgan-Hunn
TECHNICAL MANAGER
Derek Coutts
BUSINESS SERVICES
PRODUCTION COORDINATOR
DIRECTOR OF FINANCE
Tim Dayman
John Horn
PRODUCTION COORDINATOR
FINANCE MANAGER
Ian Spence
Ruth Tolentino
STAGE MANAGER
ACCOUNTANT
Peter Gahan
Minerva Prescott
ACCOUNTS ASSISTANT
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J Elliott
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
A/SENIOR MARKETING MANAGER, SALES
Matthew Rive
MARKETING MANAGER, BUSINESS RESOURCES
Katrina Riddle
ONLINE MARKETING MANAGER
Eve Le Gall
Emma Ferrer
HUMAN RESOURCES
HEAD OF HUMAN RESOURCES
Michel Hryce
SYDNEY SYMPHONY PATRONS
Maestro’s Circle
Peter Weiss am – Founding President & Doris Weiss
John C Conde ao – Chairman
Geoff Ainsworth am & Vicki Ainsworth
Tom Breen & Rachael Kohn
In memory of Hetty & Egon Gordon
Andrew Kaldor & Renata Kaldor ao
Roslyn Packer ao
Penelope Seidler am
Mr Fred Street am & Mrs Dorothy Street
Westfield Group
Brian & Rosemary White
Ray Wilson oam in memory of the late James Agapitos oam
Sydney Symphony Leadership Ensemble
Andrew Kaldor, Chairman, Pelikan Artline
Lynn Kraus, Sydney Office Managing Partner, Ernst & Young
Shell Australia Pty Ltd
James Stevens, CEO, Roses Only
Stephen Johns, Chairman, Leighton Holdings,
and Michele Johns
David Livingstone, CEO, Credit Suisse, Australia
Alan Fang, Chairman, Tianda Group
Tony Grierson, Braithwaite Steiner Pretty
Insurance Australia Group
Macquarie Group Foundation
John Morschel, Chairman, ANZ
Directors’ Chairs
01
02
03
04
01 Roger Benedict
Principal Viola
Kim Williams am &
Catherine Dovey Chair
02 Lawrence Dobell
Principal Clarinet
Anne Arcus & Terrey Arcus am Chair
03 Diana Doherty
Principal Oboe
Andrew Kaldor &
Renata Kaldor ao Chair
05
06
07
08
09
10
04 Richard Gill oam
Artistic Director Education
Sandra & Paul Salteri Chair
08 Colin Piper
Percussion
Justice Jane Mathews ao Chair
05 Jane Hazelwood
Viola
Veolia Environmental Services Chair
09 Shefali Pryor
Associate Principal Oboe
Rose Herceg Chair
06 Catherine Hewgill
Principal Cello
The Hon. Justice AJ & Mrs Fran Meagher
Chair
10 Emma Sholl
Associate Principal Flute
Robert & Janet Constable Chair
07 Elizabeth Neville
Cello
Ruth & Bob Magid Chair
For information about the Directors’
Chairs program, please call
(02) 8215 4619.
Sydney Symphony Vanguard
Vanguard Collective
Justin Di Lollo – Chair
Kees Boersma
Rose Herceg
David McKean
Amelia Morgan-Hunn
Jonathan Pease
Anna Swan
Ian Burton
Jennifer Burton
Ron Christianson
Michael Cook
Paul Cousins
Justin Di Lollo
Rose Gallo
Derek Hand
Rose Herceg
Damian Kassagbi
Chris Keher
Elizabeth Lee
Antony Lighten
Gary Linnane
David McKean
Hayden McLean
Members
Nikki Andrews
James Armstrong
Stephen Attfield
Andrew Baxter
Mar Beltran
Kees Boersma
Peter Braithwaite
Andrea Brown
Amelia Morgan-Hunn
Hugh Munro
Peter Outridge
Jonathan Pease
Seamus R Quick
Jacqueline Rowlands
Bernard Ryan
Jonathan Watkinson
sydney symphony 23
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. Donations of $50 and above are acknowledged on our website at
sydneysymphony.com
Platinum Patrons
$20,000+
Brian Abel
Geoff Ainsworth am & Vicki Ainsworth
Robert Albert ao & Elizabeth Albert
Terrey Arcus am & Anne Arcus
Tom Breen & Rachael Kohn
Sandra & Neil Burns
Mr John C Conde ao
Robert & Janet Constable
James & Leonie Furber
Dr Bruno & Mrs Rhonda Giuffre
In memory of Hetty & Egon Gordon
Ms Rose Herceg
Mr Andrew Kaldor & Mrs Renata
Kaldor ao
D & I Kallinikos
James N Kirby Foundation
Mrs Joan MacKenzie
Justice Jane Mathews ao
Mrs Roslyn Packer ao
Dr John Roarty oam in memory of
Mrs June Roarty
Paul & Sandra Salteri
Mrs Penelope Seidler am
Mrs W Stening
Mr Fred Street am & Mrs Dorothy
Street
Mr Peter Weiss am & Mrs Doris Weiss
Westfield Group
Mr Brian & Mrs Rosemary White
Ray Wilson oam in memory of
James Agapitos oam
Kim Williams am & Catherine Dovey
June & Alan Woods Family Bequest
Gold
$10,000–$19,999
Mr C R Adamson
Stephen J Bell
Alan & Christine Bishop
Ian & Jennifer Burton
Copyright Agency Limited
The Hon. Ashley Dawson-Damer
Ferris Family Foundation
Mr Ross Grant
The Estate of the late Ida Gugger
Helen Lynch am & Helen Bauer
Ruth & Bob Magid
The Hon. Justice AJ Meagher &
Mrs Fran Meagher
Mrs T Merewether oam
Mr B G O’Conor
Mrs Joyce Sproat & Mrs Janet Cooke
Henry & Ruth Weinberg
Anonymous (2)
24 sydney symphony
Silver Patrons
$5000–$9,999
Doug & Alison Battersby
Mr Alexander & Mrs Vera Boyarsky
Mr Robert Brakspear
Mr David & Mrs Halina Brett
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Howard Connors
Ewen & Catherine Crouch
Ian Dickson & Reg Holloway
Colin Draper & Mary Jane Brodribb
Penny Edwards
Edward Federman
Mr James Graham am &
Mrs Helen Graham
The Greatorex Foundation
Mrs Jennifer Hershon
The Sherry Hogan Foundation
Mr Rory Jeffes
Stephen Johns & Michele Bender
Judges of the Supreme Court of NSW
Mr Ervin Katz
The Estate of the late Patricia Lance
Mr David Livingstone
Eva & Timothy Pascoe
William McIlrath Charitable
Foundation
David Maloney & Erin Flaherty
Rodney Rosenblum am & Sylvia
Rosenblum
Manfred & Linda Salamon
JF & A van Ogtrop
Michael & Mary Whelan Trust
Ms Caroline Wilkinson
Jill Wran
Anonymous (2)
Bronze Patrons
$2,500–$4,999
Mr Marc Besen ao & Mrs Eva Besen ao
Jan Bowen
M Bulmer
Firehold Pty Ltd
Stephen Freiberg & Donald Campbell
Anthony Gregg & Deanne Whittleston
Vic & Katie French
Warren Green
Ann Hoban
In memory of Bernard M H Khaw
Matthew McInnes
J A McKernan
R & S Maple-Brown
Greg & Susan Marie
Alan & Joy Martin
Mora Maxwell
James & Elsie Moore
David & Isabel Smithers
Mrs Hedy Switzer
Marliese & Georges Teitler
Dr Richard Wingate
Mr & Mrs T & D Yim
Anonymous (2)
Bronze Patrons
$1,000–$2,499
Charles & Renee Abrams
Mrs Antoinette Albert
Andrew Andersons ao
Mr Henri W Aram oam
Dr Francis J Augustus
David Barnes
Michael Baume ao & Toni Baume
Nicole Berger
Mrs Jan Biber
Allan & Julie Bligh
Lenore P Buckle
In memory of RW Burley
Eric & Rosemary Campbell
The Hon. Justice JC & Mrs Campbell
Dr John H Casey
Joan Connery oam & Maxwell
Connery oam
Debby Cramer & Bill Caukill
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Greta Davis
Lisa & Miro Davis
Matthew Delasey
Mr & Mrs Grant Dixon
John Favaloro
Mr Ian Fenwicke & Prof. Neville
Wills
Michael & Gabrielle Field
Dr & Mrs C Goldschmidt
Akiko Gregory
Janette Hamilton
Dorothy Hoddinott ao
The Hon. David Hunt ao qc &
Mrs Margaret Hunt
Dr & Mrs Michael Hunter
Mr Peter Hutchison
Michael & Anna Joel
Anna-Lisa Klettenberg
Mr Justin Lam
Mr Peter Lazar am
Associate Professor Winston Liauw
Gary Linnane
Sydney & Airdrie Lloyd
Carolyn & Peter Lowry oam
Kevin & Deidre McCann
Robert McDougall
Ian & Pam McGaw
Macquarie Group Foundation
Mr Robert & Mrs Renee Markovic
A Nhan
Ms Jackie O’Brien
Drs Keith & Eileen Ong
Mr R A Oppen
Mr Robert Orrell
Mr & Mrs Ortis
In memory of Sandra Paul
Piatti Holdings Pty Ltd
Robin Potter
Ernest & Judith Rapee
Kenneth R Reed
Patricia H Reid Endowment Pty Ltd
In memory of H St P Scarlett
Caroline Sharpen
Dr Agnes E Sinclair
Catherine Stephen
John & Alix Sullivan
The Hon. Brian Sully qc
Mildred Teitler
John E Tuckey
Mrs M Turkington
In memory of Joan & Rupert
Vallentine
Dr Alla Waldman
In memory of Dr Reg Walker
The Hon. Justice A G Whealy
Ann & Brooks Wilson am
Geoff Wood & Melissa Waites
Mr Robert & Mrs Rosemary Walsh
Mr R R Woodward
In memory of Lorna Wright
Dr John Yu
Anonymous (14)
Bronze Patrons
$500–$999
Mr Peter J Armstrong
Mr & Mrs Garry S Ash
Barlow Cleaning Pty Ltd
Mrs Margaret Bell
Minnie Biggs
Pat & Jenny Burnett
Mr & Mrs Coates
Dr & Mrs Hannes Boshoff
Arnaldo Buch
The Hon. Justice JC & Mrs Campbell
Dr Rebecca Chin
Mrs Sarah Chissick
Mrs Catherine J Clark
R A & M J Clarke
Mrs Joan Connery oam
Jen Cornish
Mr David Cross
Elizabeth Donati
The Dowe Family
Dr Nita & Dr James Durham
Malcolm Ellis & Erin O’Neill
Mrs Margaret Epps
In memory of Peter Everett
Mr & Mrs Farrell
Mr Tom Francis
Vivienne Goldschmidt
Mr Richard Griffin am
Ian R L Harper
Ken Hawkings
Mrs A Hayward
Mr Roger Henning
Harry & Meg Herbert
Mr Joerg Hofmann
Mrs Kimberley Holden
Mr Gregory Hosking
Alex Houghton
Bill & Pam Hughes
Beauty Point Retirement Resort
Niki Kallenberger
Mrs W G Keighley
Mrs Margaret Keogh
Dr Henry Kilham
Chris J Kitching
Mr Aron & Mrs Helen Kleinlehrer
Mr & Mrs Gilles T Kryger
Sonia Lal
Mr Luigi Lamprati
Dr & Mrs Leo Leader
Margaret Lederman
Anita & Chris Levy
Erna & Gerry Levy am
Mrs A Lohan
Mrs Panee Low
Dr David Luis
Dr Jean Malcolm
Philip & Catherine McClelland
Mrs Flora MacDonald
Mrs Helen Meddings
Mrs Toshiko Meric
P J Miller
David & Andree Milman
Kenneth N Mitchell
Chris Morgan-Hunn
Mrs Milja Morris
Coffs Airport Security Car Park
Dr Mike O’Connor am
Mr Graham North
Dr A J Palmer
Justice George Palmer am
Mr Andrew C Patterson
Dr Kevin Pedemont
Dr Natalie E Pelham
Lois & Ken Rae
Anna Ro
Pamela Rogers
Lesley & Andrew Rosenberg
Agnes Ross
Mrs Pamela Sayers
Garry Scarf & Morgie Blaxill
William Sewell
Mrs Diane Shteinman am
Ms Stephanie Smee
Ms Tatiana Sokolova
Doug & Judy Sotheren
Mrs Judith Southam
Margaret Suthers
Mr Lindsay & Mrs Suzanne Stone
Norman & Lydia Taylor
Dr Heng Tey & Mrs Cilla Tey
Mrs Alma Toohey & Mr Edward
Spicer
Kevin Troy
Judge Robyn Tupman
Gillian Turner & Rob Bishop
Prof Gordon E Wall
Mrs Margaret Wallis
Ronald Walledge
Mr Palmer Wang
Ms Elizabeth Wilkinson
Audrey & Michael Wilson
A Willmers & R Pal
Dr Richard Wing
Dr Peter Wong & Mrs Emmy K Wong
Mr Robert Woods
Mrs Everly Wyss
Mrs Robin Yabsley
Anonymous (15)
To find out more about becoming
a Sydney Symphony Patron, please
contact the Philanthropy Office
on (02) 8215 4625 or email
[email protected]
sydney symphony 25
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony is assisted by the Commonwealth Government through the
Australia Council, its arts funding and advisory body
PREMIER PARTNER
The Sydney Symphony is assisted by the NSW Government through Arts NSW
COMMUNITY PARTNER
PLATINUM PARTNER
GOLD PARTNERS
SILVER PARTNERS
executive
search
REGIONAL TOUR PARTNERS
MARKETING PARTNER
Fine Music 102.5
26 sydney symphony
MAJOR PARTNERS
Photo: Terry Lane
ORCHESTRA NEWS | JULY–AUGUST 2012
❝
I’m in search
of the perfect
instrument.
❞
CHASING PERFECTION
Principal Horn Ben Jacks explains how the horn
earned its reputation as a fickle tool of trade.
A quick Google of “hardest
instrument to play” reveals
a widely held belief that the
French horn is the most difficult
to master. How did Ben Jacks,
Principal Horn, come to choose
this most capricious instrument?
‘It was a case of simple economics. My mother was a music
teacher. I went to the school
where she was teaching, and
there was a spare horn in the
storeroom. There wasn’t anyone
else playing it, so the school
was offering free lessons for a
semester to encourage someone
to try.’
Did the young Ben know what
lay ahead? ‘I have a memory
of an early lesson with Eric
Bramble [former Associate
Principal Horn of MSO]. He
said, “Ben, sometimes playing
the French horn makes you feel
like doing this,” and then kicked
a chair across the room and into
the wall! He was otherwise a
polite, well-spoken professional!’
The challenges to mastering
this instrument are inherent
in the physics of the French
horn. A great degree of finesse
is required to form exactly the
right embouchure, or shape of
the mouth, and direct the speed
of air through the instrument to
achieve the desired note at the
desired dynamic. ‘If you think
about the physics of it, it can
become quite daunting,’ says Ben.
‘You don’t want to be questioning yourself on a soft high entry.
They’re often much trickier than
the big loud entries.’
Ben credits Dale Clevenger,
Principal Horn of the Chicago
Symphony Orchestra, as the
teacher who had the greatest
influence on him. ‘He gave me
some excellent advice: “If something happens [in performance],
you’ve got to forget about it
immediately. Focus on the line
and phrase. If you focus on what
went wrong, it will just happen
again.” ’
Perhaps it’s a brass cliché, but
Ben cites the big Romantics –
Strauss and Mahler – as amongst
his favourites to play. ‘It’s such
heroic writing. They really let
the horn sing and shine through
all its registers. The older I get,
though, the more I appreciate
Brahms. I understand better
the intricacy and genius of his
writing.’
‘As a professional, I suffer
something of an affliction – I’m
in search of the perfect instrument. I play four horns, have
another on order and am considering a sixth… Is my wife going
to read this?’
Orchestra Online
Your Say
REFRESHING TIMES
Thank you Sydney
Symphony, for another
wonderful Family Classics
concert [May]. Special
thanks to timpanist Mark
Robinson for being so
friendly, talking to my
son and his friend about
percussion instruments.
Mark went out of his way
to converse with my son.
This means an awful lot to
a 10 year old.
Angie Dalli
Q. What’s black and white and red all over?
A. The new Sydney Symphony website!
www.sydneysymphony.com
We’ve launched a revamped Sydney Symphony
website – up and running since early July!
Your feedback and comments have helped our
web agency Deepend design the new site for easy
navigation and straightforward ticket purchase.
Our new What’s On calendar allows you to view
concerts by month, searching is improved, and you
can filter for your favourite category of music or for
particular artists, making it easier to find exactly
what you’re looking for.
We’ve also incorporated lots of fun features,
including videos, a live Twitter feed and our annual
tour blog. In coming weeks we’ll be reinstating
audio samples and podcasts and launching a new
historical timeline. Meanwhile, you can still
download program books from this season and
years past, and pdfs of these Bravo! newsletters.
If you still need an incentive to visit the new
site, consider making your next subscription
purchase online. After our 2013 season launches
on Wednesday 8 August, those who subscribe online
before 30 September will receive a free DVD of
The Concert. (One DVD per household.)
Did I really see Dene Olding
playing in the back row of
the violins at the concert
on Saturday 12 May, or was I
seeing things? If it was him,
what had he done to
be so demoted?
Jennifer Hotop
It was indeed Dene Olding,
our Concertmaster, sitting at
the back of the section
for this concert. But rest
assured, he hasn’t been
demoted! Rather, as we’ve
recently invited a number
of guest musicians to
try out for the role of CoConcertmaster, Dene
has been joining the
section – albeit towards the
back – so that he too can
develop an informed opinion
about the candidates.
I am very pleased and
excited with the news
that David Robertson has
been engaged from 2014
onwards. My husband
and I lived in St Louis for
11 years, and for 10 of those,
we were season ticket
holders to the St Louis
Symphony. We remember
the excitement when David
Robertson was appointed
there, and were pleased with
the sense of renewed vitality
he brought to the orchestra.
We heard many fantastic
concerts with
him on the podium. For
me, one highlight was a
performance of Messiaen’s
Turangalîla Symphony.
I really appreciate his
commitment to modern
music and hope it continues
when he arrives in Sydney.
Jennifer Milne
A cigar on the piano was
all that was missing from
last night’s performance
of A Gershwin Tribute. The
wicked wit of Mr Bramwell
Tovey, the mischievous grin
of Mr David Jones, the
great voice of Ms Tracey
Dahl, and last but not
least every member of
the orchestra made the
evening a most memorable
experience.
Isabell St Leon
My wife and I have been
very supportive of the SSO
for many years. Last night’s
Gershwin concert was out
of this world… All we can
say is that it demonstrates
how world class your
concerts are! Please keep
up the unbelievably good
performances.
Peter Kennewel
We like to hear from you.
Write to [email protected] or
Bravo! Reply Paid 4338, Sydney NSW 2001.
Proud sponsor of the
Sydney Symphony
in their 80th year
of timeless entertainment
7,0(/(66*,)766,1&(
: : :526( 621 /<&20 $8
The Score
Photo Adam Hourigan / APN
Regional Touring
Ribbons of Colour
WEAVING MAGIC
An orchestra on tour fulfils cultural needs at night and
sparks new interest by day.
A tree-change is not without its
drawbacks. ‘I was a regular at SSO
concerts in Sydney before moving
to the mid-North coast 12 months
ago,’ said Robyn Neasmith, ‘and
had been feeling rather deprived
of my “cultural fill”.’ When the
Sydney Symphony visited Taree
on its recent annual regional tour,
Robyn was delighted. ‘I got my fill!’
By all reports, audiences were
thrilled. ‘What was so wonderful
was the joy and pleasure that the
orchestra gave to so many in the
local community who had never
had the privilege of seeing them
perform,’ said Robyn.
Conductor Benjamin Northey
led the side-by-side forces of the
Sydney Symphony and Sydney
Sinfonia on a tour to Taree,
Grafton and Newcastle, where in
addition to giving performances
by night, they also presented
schools concerts during the day.
More than 2,000 children from
regional NSW were enchanted by
saxophonist Nicholas Russoniello
(2011 ABC/Symphony Australia
Young Performer of the Year)
weaving his way through the
audience as he performed Barry
Cockcroft’s Black and Blue.
‘The kids loved it!’ said Ben,
himself a former saxophonist.
‘The piece was really jazzy, lots
of wailing, very clever stuff.
You know, it was at a concert just
like this that Leonard Bernstein
decided he was going to be a
musician. He heard Ravel’s Bolero
at a New York Philharmonic
schools concert and the rest is
history.’
‘We found lots of ways of
engaging the kids in the concert,
by asking them to come up with
words for the main theme of
Dvořák’s Ninth Symphony, for
instance. Here’s what they worked
out: “Peanut butter fits on the table,
with vegemite, with vegemite, with
vegemite on toast.” They sang it
so loud!’ laughed Ben. [Try it
yourself – you’ll see the words fit
beautifully!]
One special group of music
lovers came from St Dominic’s
Centre for Hearing Impaired
Children. After the concert,
Sinfonia cellists went out into the
audience to give these children
the chance to feel the instruments
as they were being played.
‘These concerts aren’t just
about potentially sparking the
interest of a young musician,’ said
Ben. ‘They’re also about fostering
an audience who are interested
and invested. Concert-goers who,
down the track, we hope will
really love music.’
Symphony for the Common Man
Thursday Afternoon Symphony
Thu 6 Sep | 1.30pm
Emirates Metro Series
Fri 7 Sep | 8pm
Great Classics
Sat 8 Sep | 2pm
Photo: Val Anasco
Double bassist
and Sinfonia
member Douglas
Rutherford hands
his bow to Cowper
Public School
student Tess
Chevalier at the
Saraton Theatre,
Grafton.
Some music doesn’t just sound
extraordinary – it’s also visually
stunning. And Takemitsu’s From
me flows what you call Time is one
of those pieces. It’s scored for five
percussionists and orchestra, but
it’s no ordinary percussion section
you’ll be seeing when we play this
piece in September.
Most striking are the five
coloured ribbons extending from
bells above the stage, and manipulated by the soloists, who wear
matching colours. These represent
the five natural phenomena: water
(blue), fire (red), earth (yellow),
wind (green) and sky (white).
There’s also a huge array of world
percussion – Japanese temple
bowls placed on timpani drums,
Indonesian wooden angklungs, and
Pakistani Noah bells, to name a few.
‘There’s more than the usual
amount of preparation,’ says Principal Percussion Rebecca Lagos.
‘We have to source some strange
instruments, work out how we’re
going to suspend five bells above
the orchestra…’ And that’s before
rehearsals have even begun!
A piece like this requires a special
kind of mapping. ‘For percussionists, every piece has a different
combination of instruments. We
organise all those different elements
into a single instrument. There’s a
lot of choreography required, and
it may take time before you have
your set-up exactly right.’
The final effect is one of solemnity and ritual. ‘The music sounds
incredibly impressionistic and
romantic, delicate and beautiful.
Anyone expecting a driving, rhythmbased piece will be surprised.’
CODA
SYDNEY SYMPHONY SPRINT!
Fifteen fearless Sydney Symphony
musicians and staff are re-forming
Team Sydney Symphony Sprint to
take another tilt at the City2Surf
on Sunday 12 August. First Violin
Jennifer Hoy explains why they’ve
chosen Nordoff-Robbins Music
Therapy as their charity:
‘All of us at the Sydney Symphony
are fortunate enough to be able to
perform, experience and share great
music every day – we can’t imagine
life without it! …We have chosen to
run for Nordoff-Robbins because they
provide the unique gift of music to
people who are in need – including
those with physical and intellectual
disabilities, mental health problems,
and learning and behavioural
difficulties. Help us make music an
everyday part of life for those in our
community who need it most!’
If you want to support Sydney
Symphony Sprint as they
tackle Heartbreak Hill this year,
visit their giving page at bit.ly/
City2SurfSprint2012
SOUND UPDATE
DIAMOND JUBILEE
Work continues with the acoustic
improvements to the Concert Hall.
The black drapes of the past year
are now gone and the original
sawtooth panels have been replaced
with flat ones. Acoustician Larry
Kirkegaard has been hard at work,
refining the angles of the new panels.
The project team is also looking into
issues of wheelchair access and
changes to sightlines from the boxes
that have resulted from the new
panels.
The Sydney Symphony contributed
to the celebration of the Queen’s
Diamond Jubilee by recording a song
with Gary Barlow (front man with
boy band Take That, and head judge
on The X Factor in the UK). ‘Sing’
features musicians from throughout
the Commonwealth – including the
African Children’s Choir, the Slum
Drummers from Kenya, and Geoffrey
Gurrumul Yunupingu – accompanied
by the Sydney Symphony. The
track is part of a special Diamond
Jubilee album, available from
iTunes and music shops.
More info: bit.ly/JubileeSing
PLAYERS LINKED
In June, 44 student musicians, aged
between 11 and 60, took part in
the Sydney Symphony Playerlink
program in Albury. During three
days of intensive workshops, the
students worked closely with
members of the Sydney Symphony,
exploring ensemble playing, musical
interpretation and technical skills.
The weekend ended with a public
concert that included Rossini’s
William Tell Overture and the Trepak
(Russian Dance) from Tchaikovsky’s
Nutcracker.
BRAVO EDITOR Genevieve Lang
Please address all correspondence to the Publications Editor:
Email [email protected]
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM [Chair]
Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch,
Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Mr Peter Mason AM,
Dr Thomas Parry AM, Mr Leo Schofield AM, Mr John Symond AM
EXECUTIVE MANAGEMENT
Acting Chief Executive Officer Jonathan Bielski
Director, Theatre and Events David Claringbold
Director, Marketing, Communications and Director, Customer Services
Victoria Doidge
Building Development and Maintenance Greg McTaggart
Director, Venue Partners and Safety Julia Pucci
Chief Financial Officer Claire Spencer
SYDNEY OPERA HOUSE
Bennelong Point GPO Box 4274, Sydney NSW 2001
Administration (02) 9250 7111 Box Office (02) 9250 7777
Facsimile (02) 9250 7666 Website sydneyoperahouse.com
Mark Robinson (Assistant Principal
Timpani / Tutti Percussion) and his
wife Lindsay welcomed Harris James
on Thursday 14 June. Big sister
Chloe has agreed to keep him. And
double bassist Steve Larson, with
partner Melissa Barnard (cellist in
the Australian Chamber Orchestra)
welcomed their daughter Maia. What
are the chances she’s going to be a
string player?
sydneysymphony.com/bravo
SYMPHONY SERVICES INTERNATIONAL
Clocktower Square, Argyle Street,
The Rocks NSW 2000
GPO Box 4972,
Sydney NSW 2001
Telephone (02) 8215 4644
Box Office (02) 8215 4600
Facsimile (02) 8215 4646
www.sydneysymphony.com
All rights reserved, no part of this publication may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopy, recording
or any information storage or retrieval system, without permission in writing.
The opinions expressed in this publication do not necessarily reflect the beliefs
of the editor, publisher or any distributor of the programs. While every effort has
been made to ensure accuracy of statements in this publication, we cannot accept
responsibility for any errors or omissions, or for matters arising from clerical or
printers’ errors. Every effort has been made to secure permission for copyright
material prior to printing.
OUR FAMILY JUST KEEPS
GROWING
Suite 2, Level 5,
1 Oxford Street, Darlinghurst NSW 2010
PO Box 1145, Darlinghurst NSW 1300
Telephone (02) 8622 9400 Facsimile (02) 8622 9422
www.symphonyinternational.net
This is a PLAYBILL / SHOWBILL publication.
Playbill Proprietary Limited / Showbill Proprietary Limited
ACN 003 311 064 ABN 27 003 311 064
Head Office: Suite A, Level 1, Building 16,
Fox Studios Australia, Park Road North, Moore Park NSW 2021
PO Box 410, Paddington NSW 2021
Telephone: +61 2 9921 5353
Fax: +61 2 9449 6053
E-mail: [email protected] Website: www.playbill.com.au
Chairman Brian Nebenzahl OAM RFD
Managing Director Michael Nebenzahl
Editorial Director Jocelyn Nebenzahl
Manager—Production & Graphic Design Debbie Clarke
Manager—Production—Classical Music Alan Ziegler
Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin
All enquiries for advertising space in this publication should be directed to the above company and address.
Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein
is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered
title of Showbill Proprietary Limited.
By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the
condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the
publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of
binding or cover than that in which it was published, or distributed at any other event than specified on the title
page of this publication
16847 — 1/270712 — 22S S53/55
PAPER PARTNER