WELCOME TO TEA & SYMPHONY - … · It is my great pleasure to welcome you to this concert in the 2011 Tea & Symphony ... Bartók’s Concerto for Orchestra, ... solo viola, or solo

It is my great pleasure to welcome you to this concert in the 2011 Tea & Symphony series.

This morning’s program presents a 20th-century classic, Bartók’s Concerto for Orchestra, composed towards the end of his life, in 1943. This powerful and virtuosic music was a success from the beginning and has won the hearts of generations of music lovers since, not least because it gives a great orchestra like the Sydney Symphony the chance to truly shine.

To begin, we’ll hear music by an Australian composer, an exact contemporary of Bartók’s. Both men shared a lifelong interest in folk music and folk-inspired melody as well as a boundless imagination for the possibilities of orchestral sound. And when Percy Grainger brings these two inspirations together in music such as In a Nutshell, completed in 1916, the result is brilliant and colourful.

Kambly has epitomised the Swiss tradition of the fi nest biscuits for three generations. Each masterpiece from the Emmental Valley is a small thank you for life; a declaration of love for the very best; the peak of fi ne, elegant taste.

Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fi tting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people’s love of live symphonic music.

Kambly is proud to be in its fourth year as sponsor of the Tea & Symphony series. We hope you enjoy this morning’s program and look forward to welcoming you to future concerts in the series throughout 2011.

Oscar A. KamblyChairmanKambly of Switzerland

WELCOME TO TEA & SYMPHONY

Biscuits at Tea & Symphony concertskindly provided by Kambly

PRESENTING PARTNER

2011 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY

Friday 27 May | 11amSydney Opera House Concert Hall

SYMPHONIC SPOTLIGHT Nicholas Carter conductor

PERCY GRAINGER (1882–1961)In a Nutshell

Arrival Platform HumletGay but Wistful PastoralGum-suckers’ March

BÉLA BARTÓK (1881–1945)Concerto for Orchestra

Introduction (Andante non troppo – Allegro vivace)Game of Pairs (Allegro scherzando)Elegy (Andante non troppo)Interrupted Intermezzo (Allegretto)Finale (Pesante – Presto)

Music from this program has been recorded for broadcast on ABC Classic FM on Saturday 11 June at 1pm.

Estimated durations: 17 minutes, 36 minutes

The concert will conclude at approximately 12.05pm.

Conductor Benjamin Northey has had to withdraw from this week’s concerts for personal reasons. We are grateful to Nicholas Carter for stepping in at very short notice.

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ABOUT THE MUSIC

GRAINGER In a Nutshell

In September 1914, Grainger and his mother Rose arrived in

New York from London. Launching what was to be a 47-year

American career, he signed contracts with the publisher

Schirmer and the Duo-Art piano roll company and scored

successes as piano recitalist and concerto soloist. In support

of the Allied war eff ort, he gave recitals with Nellie Melba

and embarked on a 40-concert American tour.

In June 1916, Grainger was invited to compose a piece for

the Norfolk Festival of Music in neighbouring Connecticut.

He collected and orchestrated four unrelated pieces whose

origins stretched back to 1905. As was usual for him, the

piano fi gured as a central instrument in each, buttressed

by a large percussion section, including the tuned Swiss

staff bells, and a steel marimba. The premiere was a huge

success, despite some demurrings over the ‘vulgarity’ of

the fi nal movement. ‘If it wasn’t vulgar,’ Rose retorted, ‘it

wouldn’t be Percy!’

The fi rst movement, Arrival Platform Humlet, also

exists as a single piece in a generous array of other versions:

for piano solo, piano four-hands, for solo ‘resonaphone’

(marimba), solo violin, solo viola, or solo oboe (or multiples

of those instruments). Like nearly all his music from this

time, the piece is dedicated to Rose; the English translation

of the Maori dedication reads: ‘For the darling of my heart,

for the object of my aff ections.’

Unique amongst Grainger’s pieces, this short snapshot

is devoid of harmony. A single melodic line bustles along,

recalling the Japanese miyaboshi scale. Elsewhere, Grainger,

who had a great interest in oriental and other non-Western

music, described it as ‘the sort of thing one hums to oneself

as an accompaniment to one’s tramping feet as one happily,

excitedly, paces up and down arrival platforms, great fun!’

Similarly, the second movement, Gay but Wistful, exists in versions for piano(s) and/or orchestra, and

Grainger’s own transcriptions for recorder solo. It conveys

echoes of London dance halls at the end of the 19th century,

perhaps also evoking the American South that resonates

through the music of Grainger’s closest composer friend,

Frederick Delius.

The bland title of the third movement, Pastoral, provides no indication that its nine minutes entail one

of Grainger’s longest and most progressive orchestral

movements. Marked ‘Restful and Dreamy, but wayward in

time’, it is launched by a lilting oboe solo and builds to a

climax that some commentators have suggested points to

Grainger was born and grew up in Melbourne. After studying in Germany, he moved with his mother to England in 1901, where he became one of the leading contributors to what is known as the English folk song revival. He was among the fi rst to take a phonograph into the fi elds to record and later transcribe the traditional music of rural England. Many of the folksongs he collected were arranged for orchestra (and other combinations, including brass and military band) in beautiful, imaginative scorings.

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PERCY GRAINGER Australian composer (1882–1961)

Grainger’s interest in ‘unwritten’ music extended beyond his own musical tradition: to the music of Rarotongan islanders, or the songs of Arrernte tribes-people from Central Australia, which he transcribed from wax cylinder recordings made by Melbourne University professor, Baldwin Spencer. His insatiable curiosity fed an innovative mind.

Messiaen’s Turangalîla-symphonie three decades later. A more

likely comparison might be made with the music of Charles

Ives, who lived barely an hour away from Grainger in the

US (though they never met).

The fourth movement, Gum-suckers’ March, is ‘a

huge romp of gaiety’ whose chief melody is the same as

that in his Colonial Song and Australian Up-Country Song.

In all these nostalgia-drenched pieces, Grainger refl ects

on the ‘sentimental wistfulness’ of his native Australia.

Here, though, Grainger may be recalling his Melbourne

childhood: ‘Gum-suckers’ was the name given by other

Australians to Victorians!

ADAPTED FROM NOTES BY VINCENT PLUSH AND GORDON KALTON WILLIAMSSYMPHONY AUSTRALIA ©2011

In addition to the percussion and a prominent piano part, the orchestra for In A Nutshell comprises two fl utes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani, harp, celesta and strings.

In a Nutshell was last performed by the Sydney Symphony in 1988, conducted by Benjamin Northey’s former conducting teacher, John Hopkins.

6 | Sydney Symphony

BARTÓK Concerto for Orchestra

Bartók was 59 years old when he immigrated to the

United States with his second wife and former pupil, Ditta

Pásztory-Bartók. His adjustment to the new environment

was made diffi cult, even traumatic, by several factors.

Bartók, who had been the foremost musical celebrity

in his native Hungary, became an émigré composer

who, although not entirely unknown in the Western

Hemisphere, was far from being a household name and

had to relaunch his career.

Bartók was ill-equipped for such a struggle. He was

not prepared to make any compromises. He was not

interested in university positions because he did not

believe in teaching composition. He did concertise a little

as a pianist, mainly in a two-piano duo with his wife and a

few times as soloist in his Second Piano Concerto, yet his

main ambition throughout this period was to continue

his research in ethnomusicology. Having learned about

Milman Parry’s collection of recordings from Yugoslavia,

preserved at Columbia University, he devoted many hours

to transcribing these recordings. He received a grant to do

this work, but the grant ran out before Bartók could fi nish

the project. It was also at this time – late in 1942 – that

Bartók’s health fi rst began to deteriorate, with fevers, pain,

and weakness, but with no immediate diagnosis (the fi rst

signs of the leukæmia that would claim his life in 1945).

The situation was grave indeed when Bartók, lying in

a New York hospital, received an unexpected visit from

Serge Koussevitzky, the conductor of the Boston

Symphony Orchestra. Koussevitzky commissioned a

new orchestral work in memory of his wife and left a

cheque for half the amount of the commission on the

composer’s bedside table. He and everybody else took great

pains to conceal from Bartók the fact that the idea of the

commission had come from two of the composer’s friends,

violinist Joseph Szigeti and conductor Fritz Reiner; had

Bartók known this, the commission would have seemed

to him a form of charity that he might even have turned

down.

The commission quite literally gave Bartók, who had

composed virtually nothing for the last two years, a new

lease on life. As Agatha Fassett, a close personal friend,

wrote in her fascinating book on Bartók’s American years

(The Naked Face of Genius, Boston 1958):

Perhaps it was instantly, in this moment of excitement, that the

restraint so heavily crusted within him began to dissolve and

The commission quite literally gave Bartók…a new lease on life.

7 | Sydney Symphony

melt away, for only a day later, when he was home again and

relating the story to us, an enormous change seemed to have

taken place in him already – a change that nobody could fail

to see. It seemed as if the obstructed forces within him were

released at last, and the entire centre of his being had been

restored and reawakened, even though he was still lying limp

on his bed, hardly any stronger than he was before he went to

the hospital.

Work on the score proceeded rapidly, thanks in part

to the American Society of Composers, Authors And

Publishers (ASCAP), which arranged for Bartók to spend

the summer months of 1943 at a private sanatorium in

Lake Saranac, New York. Bartók’s health improved, he

gained some weight (going from barely 40 kilograms to

48), and the full score of the Concerto for Orchestra was

completed by October.

BÉLA BARTÓK Hungarian composer (1881–1945)

8 | Sydney Symphony

Bartók’s ‘Explanation’, written for the fi rst performance

The title of this symphony-like instrumental work is explained by its tendency to treat the single instrument groups in a ‘concertant’ or soloistic manner. The ‘virtuoso’ treatment appears, for instance, in the fugato sections of the development of the fi rst movement (brass instruments), or in the ‘perpetuum mobile’-like passages of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments appear consecutively with brilliant passages.

As for the structure of the work, the fi rst and fi fth movements are written in a more or less regular sonata form. The development of the fi rst movement contains fugato sections for brass; the exposition in the fi nale is somewhat extended, and its development consists of a fugue built on the last theme of the exposition.

Less traditional forms are found in the second and third movements. The main part of the second movement consists of a chain of independent short sections, by wind instruments consecutively introduced in fi ve pairs (bassoons, oboes, clarinets, fl utes, and muted trumpets). Thematically, the fi ve sections have nothing in common and could be symbolised by the letters a, b, c, d, e. A kind of ‘trio’ – a short chorale for brass instruments and side-drum – follows, after which the fi ve sections are recapitulated in a more elaborate instrumentation.

The structure of the third movement likewise is chain-like; three themes appear successively. These constitute the core of the movement, which is enframed by a misty texture of rudimentary motives. Most of the thematic material of this movement derives from the ‘Introduction’ to the fi rst movement. The form of the fourth movement – ‘Intermezzo interrotto’ – could be rendered by the letter symbols ‘A B A – interruption – B A.’

The general mood of the work represents – apart from the jesting second movement – a gradual transition from the sternness of the fi rst movement and the lugubrious death-song of the third, to the life-assertion of the last one.

9 | Sydney Symphony

Listening Guide

In opting for a fi ve-movement form with a central slow

movement and two quasi-scherzos in second and fourth

place respectively, Bartók returned to a compositional

design he had fi rst discovered in his early Suite No.1 for

orchestra 40 years earlier and used again in his String

Quartet No.4 (1928). It was one of several symmetrical

structures he favoured in his large-scale works, one that

aff orded a great deal of diversity in character organized

around a single governing principle.

The fi rst movement (Introduzione) opens with a slow

introduction whose chains of ascending fourths, played by

cellos and basses, create the impression of a world being

born out of primeval chaos. The fi rst ‘concertante’ solo, for

fl ute, still has something indecisive to it, but the second,

for three trumpets, is a fully-formed idea that borrows

its formal structure (though not its actual melody) from

Hungarian folksong. The tempo gradually increases and

reaches Allegro vivace; the fast section is dominated by two

themes, both of which, like the theme of the introduction,

are built on ascending fourths. This energetic music is

only temporarily interrupted by a lyrical interlude in

which the oboe and the harp seem to carry on an intimate

conversation.

The second movement (Giuoco delle coppie or ‘Game of Pairs’) opens and closes with a brief snare drum solo.

The fi ve pairs of wind instruments Bartók mentioned in

his outline play their themes in parallel intervals; we hear,

in turn, two bassoons in sixths, two oboes in thirds, two

clarinets in sevenths, two fl utes in fi fths, and fi nally, two

muted trumpets in major seconds.

As Bartók explains in his own program note, the third-movement (Elegia) opens with some ascending fourths

that clearly allude to the fi rst movement’s slow introduction.

The glissandos on the harp and the soft woodwind

fi guration recall a moment in Bartók’s opera Bluebeard’s

Castle, when the opera’s heroine, Judith, sees the Lake of

Tears behind the sixth door of the castle. The middle

section of the Elegy is based on the same quasi-folksong

we heard in the introduction to the fi rst movement. Played

this time by the full orchestra, it sounds much more tragic

than before. The movement ends with a haunting piccolo

solo, after which the boisterous string unisons of the fourth

movement come as quite a jolt.

Bartók told his pupil, pianist György Sándor, a little story

he had associated with the fourth-movement (Intermezzo

‘The general mood of the work represents – apart from the jesting second movement – a gradual transition from the sternness of the fi rst movement and the lugubrious death-song of the third, to the life-assertion of the last one.’BÉLA BARTÓK

10 | Sydney Symphony

interotto or ‘Interrupted Intermezzo’). A young man

serenades his sweetheart. He is surprised by a gang of

drunkards who smash his instrument. Despite the pain he

feels, he continues his serenade.

There are some clues in the movement, however, that

reveal a meaning running deeper than the story would

suggest. Many people think that the beautiful cantabile

melody played by the violas is a rhythmically modifi ed

version of a popular Hungarian operetta melody: ‘Hungary,

you are beautiful...’ – and it is quite obvious that the real

subject of the movement is Bartók’s nostalgia for his native

land. And since the time was 1943, it is equally obvious

what caused the disruption of the idyll. This disruption

has caused a great deal of commentary because Bartók

appeared to be parodying a prominent passage from

Shostakovich’s Seventh (Leningrad) Symphony, which had

recently created a major sensation in the United States. In

his recent book My Father, Bartók’s younger son Peter tells

the story of how Bartók listened to the radio broadcast

of Shostakovich’s Seventh and objected to what seemed

endless repetitions of the same theme. (The similarity to

the song ‘Da geh ich zu Maxim’ from Franz Lehár’s operetta

The Merry Widow was probably not intended by either

Bartók or Shostakovich.)

It should be noted that the Shostakovich melody,

variously referred to as the theme of war or fascism, had

its own sarcastic overtones that Bartók either missed or

ignored. Moreover, its function in the symphony was

to ‘interrupt’ peaceful life, just as its Bartókian parody

interrupted a peaceful serenade.

The Finale belongs to the type of movement inspired by

the spirit of folk dance that Bartók used at the end of many

of his major works. After the opening horn fanfare, the

violins start a perpetual motion in rapid semiquavers that

runs through almost the entire movement. In the central

section, a large-scale fugato (a section based on imitative

counterpoint) unfolds. After a recapitulation which

includes a brief lyrical episode in a slower tempo, the work

ends with a powerful climax.

PETER LAKI ©2006

Pet er Laki is the editor of Bartók and his World (1995).

11 | Sydney Symphony

ABOUT THE CONDUCTOR

Nicholas Carter conductorAssociate Conductor, supported by Symphony Services International

and Premier Partner Credit Suisse

Earlier this year, Nicholas Carter was appointed Associate

Conductor of the Sydney Symphony, following two years

as Assistant Conductor, during which time he conducted

performances with the Sydney Symphony and the Sydney

Sinfonia, and assisted Vladimir Ashkenazy, Donald Runnicles,

Yannick Nézet-Séguin and Simone Young, among others.

He is a graduate of the University of Melbourne (voice

and piano) and was a member of the inaugural Victorian

Opera Artist Development Program, in which he conducted

productions including Così fan tutte and Don Giovanni. For

OzOpera, he conducted productions of Brundibar and The

Beggar’s Opera.

He has also conducted performances with Orchestra

Victoria and the West Australian, Adelaide and Melbourne

symphony orchestras, and ChamberMade Opera’s production

of The Children’s Bach. He was co-chorusmaster for the

Melbourne Symphony Orchestra performances of The Flying

Dutchman and Shostakovich’s Symphony No.13, and was

assistant conductor for the world premiere of Brett Dean’s

Bliss (Opera Australia).

This year Nicholas Carter also conducts the Melbourne,

Adelaide and Queensland symphony orchestras, and the

Melbourne Chamber Orchestra. In July he will be the

Associate Conductor of the Grand Tetons Music Festival

(Wyoming) and in September he takes up the position of

Assistant Conductor at the Hamburg Opera. This year for the

Sydney Symphony he has conducted the orchestra in concerts

and educational programs on the Riverina tour and will

conduct Viennese-themed concerts in Wollongong and at the

Sydney Town Hall in June.

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MUSICIANS

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

Performing in this concert…

FIRST VIOLINS Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Georges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Freya Franzen†

Claire Herrick*Alexander Norton*

SECOND VIOLINS Marina Marsden Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

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

Victoria Jacono-Gilmovich*Emily Qin#

VIOLASRoger BenedictAnne-Louise Comerford Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Leonid Volovelsky Jacqueline Cronin#

Amy Diefes*Tara Houghton†

David Wicks#

CELLOSCatherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

Patrick Suthers*Adam Szabo†

Rachael Tobin#

DOUBLE BASSESKees Boersma Neil BrawleyPrincipal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward Mark Lipski*

FLUTES Emma Sholl Rosamund Plummer Principal Piccolo

Katie Zagorski†

OBOESDiana Doherty David Papp Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONSRoger Brooke Fiona McNamara Noriko Shimada Principal Contrabassoon

HORNSBen Jacks Geoffrey O’Reilly Lee BracegirdleEuan HarveyKaty Grisdale†

TRUMPETSDaniel Mendelow John FosterAnthony Heinrichs

TROMBONESRonald Prussing Nick Byrne Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIMark Robinson Assistant Principal

PERCUSSIONRebecca Lagos Colin Piper Joshua Hill*Kevin Man*Chiron Meller*Brian Nixon*Alison Pratt*Philip South*

HARP Louise Johnson Natalie Wong*

KEYBOARDS Josephine Allan# Principal

Catherine Davis*

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

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates ©

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Michael DauthConcertmaster ©

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Dene OldingConcertmaster ©

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse

13 | Sydney Symphony

THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

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

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Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AM Jennifer Hoy Irene Lee David Smithers AM

Ewen Crouch Rory Jeffes David Livingston Gabrielle TrainorRoss Grant Andrew Kaldor Goetz Richter

Founded in 1932 by the Australian

Broadcasting Corporation, the Sydney

Symphony has evolved into one of the

world’s fi nest orchestras as Sydney has

become one of the world’s great cities.

Resident at the Sydney Opera House, the

Sydney Symphony also performs in venues

throughout Sydney and NSW. International

tours have earned the orchestra worldwide

recognition for artistic excellence, most

recently in a European tour that included

the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s fi rst Chief

Conductor was Sir Eugene Goossens,

appointed in 1947; he was followed by

Nicolai Malko, Dean Dixon, Moshe Atzmon,

Willem van Otterloo, Louis Frémaux, Sir

Charles Mackerras, Zdenek Mácal, Stuart

Challender, Edo de Waart and Gianluigi

Gelmetti. The orchestra’s history also boasts

collaborations with legendary fi gures such

as George Szell, Sir Thomas Beecham, Otto

Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning

education program is central to its

commitment to the future of symphonic

music, and the orchestra promotes the

work of Australian composers through

performances, recordings and commissions.

The Sydney Symphony Live label has

captured performances with Alexander

Lazarev, Gianluigi Gelmetti, Sir Charles

Mackerras and Vladimir Ashkenazy. The

orchestra has also released recordings with

Ashkenazy on the Exton/Triton labels, and

numerous recordings for ABC Classics.

14 | Sydney Symphony

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station

BRONZE PARTNER MARKETING PARTNER

GOLD PARTNERS

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REGIONAL TOUR PARTNERS

PrimaryIndustries

SALUTE

15 | Sydney Symphony

PLAYING YOUR PART

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BRONZE PATRONS $500–$999Mr C R Adamson Ms Baiba B. Berzins & Dr Peter Loveday Mrs Jan Biber Dr & Mrs Hannes Boshoff Dr Miles Burgess Ita Buttrose AO OBE Stephen Byrne & Susie Gleeson Hon. Justice J C & Mrs Campbell

Mrs Catherine J Clark Joan Connery OAM & Maxwell Connery OAM Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie Cameron Robert Gelling Dr & Mrs C Goldschmidt Mr Robert Green Mr Richard Griffin AM Jules & Tanya Hall Mr Hugh Hallard Dr Heng & Mrs Cilla Tey Roger Henning Rev Harry & Mrs Meg Herbert Michelle Hilton-Vernon Mr Joerg Hofmann Dominique Hogan-Doran Mr Brian Horsfield Greta James Iven & Sylvia Klineberg Dr & Mrs Leo Leader Margaret Lederman Martine Letts Erna & Gerry Levy AM Dr Winston Liauw Sydney & Airdrie Lloyd Carolyn & Peter Lowry OAM Dr David Luis Mrs M MacRae OAM Mrs Silvana Mantellato Geoff & Jane McClellan Ian & Pam McGraw Mrs Inara Merrick Kenneth N Mitchell Helen Morgan Mrs Margaret Newton Sandy Nightingale Mr Graham North Dr M C O’Connor AM Mrs Rachel O’Conor A Willmers & R Pal Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont Lois & Ken Rae Pamela Rogers Dr Mark & Mrs Gillian Selikowitz Mrs Diane Shteinman AM Robyn Smiles Rev Doug & Mrs Judith Sotheren John & Alix Sullivan Mr D M Swan Ms Wendy Thompson Prof Gordon E Wall Ronald Walledge David & Katrina Williams Audrey & Michael Wilson Mr Robert Woods Mr & Mrs Glenn Wyss Anonymous (11)

To find out more about becoming a Sydney Symphony Patron please contact the Philanthropy Office on (02) 8215 4625 or email [email protected]

Clocktower Square, Argyle Street,The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

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SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine BrennerRev Dr Arthur Bridge AM

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Mr Evan Williams AM

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