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CUTTING THROUGH CLASSICAL
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PEPE ROMERO
Master of the Guitar
A handsome 11-CD box set honouring the unique
art of Pepe Romero, who celebrates his 70th
birthday in 2014. Music by Bach, Vivaldi,
Mozart, Torroba, Rodrigo, Villa-Lobos, Albniz,
Falla and Granados.
478 5669 (11CD)
NICOLA BENEDETTI
A Scottish Fantasy
Using Bruchs Scottish Fantasy as its centrepiece,
celebrated violinist Nicola Benedetti explores her
Scottish heritage with an album of its best-loved
music, featuring songs such as Loch Lomond,
My Love is Like a Red Red Rose and more.
478 6690
VALENTINA LISITSA
Chasing Pianos
Valentina Lisitsa enters into the spirit of The Piano
by re-creating the cinematic, kaleidoscopic world of
Michael Nyman. Includes music from The Piano,
The Diary of Anne Frank, A Zed and Two Noughts,
Carrington and others.
478 6421
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11
Joaqun Rodrigo
Concierto de Aranjuez for guitar and orchestra
Allegro con spirito
Adagio
Allegro gentile
Pepe Romero guitar
The Concierto de Aranjuez for guitar and orchestra is
Rodrigos most famous creation, the piece that immediately
established his reputation as the leading Spanish post- war
composer. It remains not only the best-known guitar concerto
but one of the most popular of all concertos, its overwhelming
fame mirroring that of The Sorcerers Apprentice in the works
of Rodrigos teacher Paul Dukas.
In 1933 Rodrigo married the Turkish pianist Victoria Kamhi
who was to become the blind composers copyist and the
couple honeymooned in the exquisite surrounds of Aranjuez.
Rodrigo left Spain again with the outbreak of civil war in 1936,
and it was in Paris in the spring of 1939 that he composed the
Concierto de Aranjuez for the virtuoso guitarist Regino Sainz
de la Maza.
Its hardly surprising, then, that for all its Spanish ambience,
the Concierto is equally avoured by French neoclassicism.
Rodrigo captures perfectly the atmosphere of the palace at
Aranjuez summer home to the Bourbon kings in the 17th
and 18th centuries. His Spain is a rococo Spain, just as
Aranjuez is a Spanish Versailles. There is less of the deep spirit
of Andalusia associated with Manuel de Falla, and more of
an 18th-century manner, valuing all that is colourful, elegant
and pleasing.
The choice of solo instrument ensures a passion that is
never far from delicacy. It would be unjust to expect strong
sonorities from this Concierto, said Rodrigo, they would
falsify its essence and distort an instrument made for subtle
ambiguities. Its strength is to be found in its very lightness
and in the intensity of its contrasts. The Concierto de Aranjuez
is meant to sound like the hidden breeze that stirs the treetops
in the parks, and it should be only as strong as a buttery and
as dainty as a veronica. (A veronica is a particular type of pass
in bull-ghting, requiring the utmost elegance and precision
of execution.)
Rodrigo matches his orchestration to the strength of the
buttery, with a relatively small classical orchestra of strings
with pairs of woodwinds, and just two trumpets and two horns
in the brass section. The rst movement begins with the soloist
playing strummed chords called rasgueados over a long,
sustained note from the double basses; the rhythm comes
Keynotes
RODRIGO
Born Sagunto, 1901
Died Madrid, 1999
Joaqun Rodrigo was born on 22
November, St Cecilias Day, and so
was perhaps destined to a life in
music. A bout of diphtheria at the
age of three left him blind but
didnt prevent him from
developing his musical talents as
a pianist and composer. His
teachers in Paris included Paul
Dukas, and like Dukas he suffered
the dubious blessing of becoming
famous for just one piece, the
Concierto de Aranjuez, which
made his name when it was
premiered by Regino Sainz de la
Maza in 1940. He never played
guitar, but Pepe Romero once
described him as the great
guitarist.
CONCIERTO DE ARANJUEZ
The inspiration for this guitar
concerto came from the summer
palace of Aranjuez, a place with
happy associations for Rodrigo
(he spent his honeymoon there),
but also representing for him an
idealised Spain. The music is a
magical mix of rococo elegance
and the vigour of traditional
Spanish dance rhythms as
strong as a butterfly and as dainty
as a veronica said the composer.
The popularity of the complete
concerto is rivalled only by that of
the slow movement, which has
lent its beautiful melancholy to
cover versions ranging from Miles
Davis and Nana Mouskouri to the
Grimethorpe Colliery Band.
12
The royal palace of Aranjuez, whose musical associations gave Rodrigo the title and feeling of
his concerto, was the favoured residence of the Bourbon kings of Spain. It is an elegant cream
and terracotta coloured building, especially graced by its extensive landscaped gardens, whose
avenues are lined with tall trees, and dotted with fountains drawing on the river alongside.
Hidden in the gardens is the charming Casa del labrador (farmers house), a kind of Spanish
version of Versailles Petit Trianon. Here kings and queens liked to sport in a well-groomed but
natural setting.
Aranjuez is especially linked with the Spanish art and music of the Rococo. Here Domenico
Scarlatti lived and worked in the mid-18th century, presumably composing at Aranjuez many of
his harpsichord sonatas, and perhaps absorbing folksongs from the farmers of the surrounding
countryside. The artist Mengs, Goyas teacher,
was brought to Aranjuez from Italy as artist-in-
residence, adorning the palace with canvasses and
painting its ceilings. In the 20th century, the painter
Rusiol lived at Aranjuez and explored the colours
and patterns of its gardens. Now Rodrigo has made
its name even more famous than that of Philip IIs
massive, forbidding monastery-palace, the Escorial.
If that 16th-century palace could be said to stand
for Spains religious and imperial destiny, her tragic
sense of life, Aranjuez in the Spanish consciousness
could represent a lighter, playful enjoyment of
beauty, not without a wistful longing for past
simplicities.
DAVID GARRETT
13
from the fandango, with its intoxicating alternations of two
slow and three quick beats. After this tiny, spirited introduction,
the guitar and orchestra weave an intricate dance the
soloist rising above the orchestra as well as accompanying
it, colouring rather than competing with shimmering solos
from the bassoon, cor anglais, oboe, ute and clarinet.
But it is the Adagio rather than the dance-like outer
movements that has been responsible for the concertos
immediate and enduring popularity, not to mention taking on
a life of its own as a standalone hit. In what is probably the
most irresistibly mournful solo written for any instrument, the
cor anglais is given a theme based on an Andalusian lament
sung during Holy Week. But there is also a hint of the idyllic
and sensuous atmosphere of a Spanish summer evening
this romantic serenade is answered by equally ornate
passages from the guitar soloist before the full orchestra
takes up the theme.
As in the rst movement, the nale balances the graceful
precision of rococo dances with the compelling syncopated
and irregular rhythms typical of so much Spanish music, in
this case briskly alternating groups of two and three beats.
Rodrigo is the native Spaniard but, as did Boccherini before
him, he knows how to blend Spanish character with universal
galanterie.
SYMPHONY AUSTRALIA 1999/2010
The Concierto de Aranjuez calls for an orchestra of two utes (one
doubling piccolo), two oboes (one doubling cor anglais), two clarinets,
two bassoons, two horns, two trumpets, and strings.
The SSO rst performed the Concierto in 1972 with Willem van
Otterloo and guitarist John Williams and most recently in 2010 with
Slava Grigoryan as soloist and Miguel Harth-Bedoya conducting. In 1986
the Sydney Symphony Orchestra performed the harp version of the
concerto with soloist Marisa Robles and conductor Zdenk Mcal.
In his tribute to Joaqun
Rodrigo on his 90th
birthday, Pepe Romero
dubbed Spains most
famous composer the
great guitarist. I do not
know, he continued,
whether this is a result
of his not being a guitar
player or in spite of it
TCHAIKOVSKYS VIOLIN CONCERTO
WITH JAMES EHNES
A live recording with the sensational James Ehnes performing
Tchaikovskys beloved Violin Concerto.
SYDNEYSYMPHONY.COM
CALL (02) 8215 4600 MONFRI 9AM5PM
RRP $25
AVAILABLE IN THE CONCERT HALL
FOYER AND OTHER RETAILERS
14
Keynotes
VIVALDI
Born Venice, 1678
Died Vienna, 1741
In his lifetime Antonio Vivaldi
went by the nickname il prete
rosso his hair was red and he
was a priest, although he ceased
saying Mass about a year after his
ordination. Instead he took a post
as director of music for the famed
Piet orphanage in Venice and
gained renown as a virtuoso
violinist and as a composer of
operas (neglected nowadays),
sacred choral works such as his
popular setting of the Gloria, and
the instrumental concertos that
have become his chief claim
to fame. In fact Vivaldi wrote
more concertos than just about
anybody (500 and counting), of
which the best-known are the
Four Seasons violin concertos.
Antonio Vivaldi
Guitar Concerto in D
(adapted from the Concerto for mandolin and two
violins, RV 93)
Allegro giusto
Largo
Allegro
Pepe Romero guitar
With the revival of his music in the 1950s, Antonio Vivaldi leapt
from almost complete obscurity to popular renown, even more
famous than he had been in his lifetime, when he was rmly
established as the most popular composer for the violin, as
well as player on that instrument. The Four Seasons alone
would have assured Vivaldi a place in the modern repertoire,
but there was more to be discovered, including hundreds upon
hundreds of brilliant instrumental concertos mostly for
violin that rival The Four Seasons in their virtuosity and
inventiveness.
Nearly all these concertos were composed for the
Conservatorio dell Ospedale della Piet, one of four renowned
music schools for girls in 18th-century Venice. At the Piet,
orphans and illegitimate daughters of the nobility were
given an education and trained to sing and play instruments,
preparing them for either a respectable marriage or a career
on the stage. As music master at the Piet (a post that he
held in one way or another for nearly 40 years), Vivaldi
established the orphanage-conservatory as something of
a tourist attraction for musical people everywhere.
One tourist, Charles de Brosses, reported: They sing like
angels, play the violin, ute, organ, oboe, cello, bassoon in
short no instrument is large enough to frighten themI swear
nothing is more charming than to see a young and pretty nun,
dressed in white, a sprig of pomegranate blossom behind
one ear, leading the orchestra and beating time with all the
grace and precision imaginable. Judging from the music
Vivaldi wrote for them, the young musicians of the Piet must
have been very ne players indeed. And they seem to have
inspired the rst known concertos for cello, bassoon,
mandolin and autino.
But despite having hundreds concertos to his name, Vivaldi
never wrote a guitar concerto. The guitar concerto you hear in
this concert was originally conceived as a chamber concerto
an intimate affair with just one musician per part. Those parts
were for mandolin (a gut-strung mandolino milanese, the
smallest member of the lute family), two violins and a
15
The Baroque Concerto
Vivaldi effectively invented the
solo concerto. In his hands it
took its familiar three-movement
form (fast slow fast), and the
distinctive ritornello structure for
individual movements reached its
full development. (The legacy of
both features was inherited by
Classical composers such as
Mozart.)
Ritornello form operates on a
similar principal to chorus-and-
verse. The ritornello theme (little
return) behaves like a chorus;
between each appearance is a
solo episode, providing
contrasting musical ideas and
an opportunity to explore foreign
keys. This strategy gives the
music its irresistible blend of
brilliance and invention.
Practising priest or musical madman?
There were two views on why Vivaldi, who had taken orders,
never said Mass. Its likely that Vivaldi suffered from a form
of asthma, based on an explanation he gave in a letter in
1737:
When I had been ordained a priest for a year or a bit more,
I discontinued saying Mass, having had to leave the altar
without completing it because of a chest ailment...that
has burdened me since birth. For this reason I nearly
always stay home, and I only go out in a gondola because
I can no longer walk.
But he didnt exactly stay home, often roving Europe as a
composer and virtuoso violinist, and one 18th-century
writer, P.L. de Boigelou, put forward this theory:
One day when Vivaldi was saying Mass, a musical theme
came into his mind. He at once left the altar where he
was ofciating and repaired to the sacristy to write out
his theme, then he came back to nish the Mass. He was
reported to the Inquisition, which luckily looked on him
as a musician, that is, as a madman, and merely forbade
him to say Mass from that time forward.
continuo group (basso continuo being the baroque answer to
the bass-and-chords function of a modern rhythm section).
As a chamber concerto it cleverly combines elements of
solo display and cooperation between plucked and bowed
strings a characteristic retained even when the music is
transcribed for guitar and the richer sound of a string
orchestra. The concerto is a favourite of guitarists, but
gained wider popularity in 1979 when it was adopted for the
soundtrack of Kramer vs. Kramer, starring Dustin Hoffman
and Meryl Streep.
The quickly owing rst movement loosely follows a
ritornello structure in which the full ensemble plays a
recurring theme interspersed by lightly accompanied solo
sections from the guitar. The Largo, by contrast, is an
extended soliloquy for the soloist above sustained, muted
chords in the strings. The nal movement is a cheerful,
tripping gigue, returning to the ritornello structure of the
opening movement.
ADAPTED FROM NOTES BY YVONNE FRINDLE 1998/2007
This arrangement of Vivaldis Concerto RV 93 calls for solo guitar, string
orchestra and keyboard continuo.
We believe this is our rst performance of the concerto.
16
Keynotes
BEETHOVEN
Born Bonn, 1770
Died Vienna, 1827
In orchestral repertoire at least,
Beethovens busiest years were
between 1800 and 1812, when
he completed eight of his nine
symphonies and the five piano
concertos. And until 1808 he was
also active as a piano soloist.
During these years, Beethoven
was stretching his audience,
who (on the whole) were gamely
following as he pushed the
boundaries of structure, style
and musical expression.
EIGHTH SYMPHONY
Beethoven may have been in
his 40s when he wrote it, but
the Eighth Symphony has a
youthful energy and a definite
humorous side. (Dont feel
alarmed if Beethovens
sometimes startling effects
prompt you to laugh out loud.)
Surprisingly, given that
his symphonies had been
growing longer, this is one of
Beethovens shortest the result
of a powerful concentration of
musical material. Its full of
unexpected gestures including
the abrupt ending he gives to
the cheerful second movement
and a rogue note that intrudes
on the opening of the fourth
movement. The third movement,
which by now his listeners
would have expected to be an
exuberant scherzo, is instead,
a broad and flowing minuet.
The finalebursting with
vitalityprovides the centre
of gravity for the symphony,
as if all the other movements
have been leading to just this
moment.
Ludwig van Beethoven
Symphony No.8 in F, Op.93
Allegro vivace e con brio
Allegretto scherzando
Tempo di Menuetto
Allegro vivace
Beethoven wastes no time in his Eighth Symphony: theres
no introduction, no suspenseful meandering of harmony
instead the conductors baton comes down on the rst notes
of the main theme. Its fast (Allegro), its lively (vivace) and
Beethoven asks that it be played with vigour (con brio). It sets
the tone for the symphony as a whole, which is concentrated,
as if Beethoven has taken the power and content of a longer
symphony and compressed it to a work of smaller proportions
but even greater intensity little, but vast was how Sir George
Grove described it.
The result is only slightly longer than his rst symphony,
completed 12 years before, and it gives the impression that
Beethoven had for once heeded the advice of his more
reactionary critics and returned to Classical principles of
balance in form and content, clarity of structure and wit and
invention. The Eighth Symphony glows with inner calm and
a classical perfection, but even so, this isnt the kind of
symphony that Mozart would have written, nor is it the
Beethoven of the First Symphony.
That beginning is a bold stroke, setting off uncharacteristically
with a straightforward tune. The tune suggests Haydn, but the
gesture does not Haydn would surely have preceded such
a self-contained melody with a slow introduction. The mood
verges on recklessness, and Beethoven keeps it up with a rich
variety of musical ideas all presented within a very short space
of time.
So much better!
Beethovens Seventh and Eighth symphonies were both
completed in 1812 and given public premieres in Vienna in
the winter of 181314. But, like the earlier pairing of the Fifth
and Pastoral Symphonies (from 1808), it is a marriage of
contrasts. The Seventh Symphony, long recognised for
its compelling treatment of rhythm, enjoyed almost instant
popularity and its second movement assumed the status of
a hit. It was a great symphony, the composer himself
thought so. The Eighth Symphony, however, was less of a
success than the Seventh. Thats because its so much
better, Beethoven is reported to have said.
17
Theres more that his audiences wouldnt have been
expecting. The symphony doesnt have a slow movement,
nor does it have a scherzo, the wildly playful movement
that Beethoven had made a standard element of his
symphonies.
The place of the slow movement is taken by the Allegretto
scherzando. This is supposedly a joking tribute to Maelzel,
inventor of the metronome the theme turns up in a canon,
which Beethoven supposedly improvised at a supper where
his friend Maelzel was present. Unfortunately the story (and
the canon) are the invention of Beethovens biographer
Schindler, but if you want to go along with the ction, you
can hear the ticking of Maelzels timekeeping device in the
wind sections spiky repeated chords, which underpin the
beginning of the movement and return whenever the sudden
changes in volume and whimsical melodies threaten to lead
the music from its main idea.
The scherzo is replaced by something positively old-
fashioned: a owing movement in the tempo of a minuet,
the dance form that Mozart or Haydn would have used at this
point in their symphonies. It comes across as courtly and
comfortable and cheerful in every way. In the middle of the
movement the horns, clarinet and a busy solo cello are given
the spotlight.
The nale returns to the impetuous character of the rst
movement. It sets off in a rush with a light-footed, dashing
theme, discreet enough until, barely 15 seconds in, Beethoven
throws in a rogue note, a very loud C sharp that simply doesnt
belong in the symphonys key of F major. Somehow he
manages to continue as if nothing untoward had happened
just as you do when recovering from a stumble and with
good reason: he has plenty of other musical surprises in store,
setting up expectations and then misleading his listeners.
He hints at and then denies us the repeated exposition of
themes expected of a movement in sonata form, misleadingly
beginning the development section in the home key. When
that C sharp intrudes again, its more insistent, a cue for the
music to drag us off on excursions to remote and unexplored
harmonies. So far does Beethoven wander, that it takes him
longer than usual to bring the music home to F major the
result is a grand, extended coda (tail) to bring this spirited
symphony to its jubilant end.
YVONNE FRINDLE 2011
Beethovens Eighth Symphony calls for pairs of utes, oboes, clarinets,
bassoons, horns and trumpets; timpani and strings.
The SSO rst performed the symphony in 1941, conducted by Percy
Code, and most recently in 2010, conducted by Oleg Caetani.
An engraved portrait of the
composer made in 1814 by
Blasius Hfel. Beethoven was 44
years old, with eight symphonies
and the five piano concertos to
his credit.
18
Recently appointed Music Director of the
Phoenix Symphony, Tito Muoz is increasingly
recognised as a gifted and versatile conductor.
He previously served as Music Director of the
Opra National de Lorraine and Orchestre
symphonique et lyrique de Nancy in France,
and has held assistant conductor posts with
the Cleveland Orchestra, Cincinnati Symphony
Orchestra, Cincinnati Chamber Orchestra and
Aspen Music Festival.
An accomplished violinist, Tito Muoz began
his musical training at the Juilliard School,
Manhattan School of Music and Fiorello H
LaGuardia High School of Music & Art and
Performing Arts, before studying at Queens
College (CUNY) as a violin student of Daniel
Phillips. From 2004 to 2006 he attended the
American Academy of Conducting at Aspen,
where he studied with David Zinman and Murry
Sidlin and participated in masterclasses with
Asher Fisch, Leon Fleisher, George Manahan,
David Robertson and Leonard Slatkin. He won
the Aspen Music Festivals 2005 Robert J Harth
Conductor Prize and the 2006 Aspen Conducting
Prize, returning as the festivals Assistant
Conductor in 2007 and later as a guest
conductor.
Tito Muoz made his professional conducting
debut in 2006 with the National Symphony
Orchestra at the Kennedy Center, invited by
Leonard Slatkin as a participant of the National
Conducting Institute. That same year, at the
invitation of David Zinman, he made his Cleveland
Orchestra debut at the Blossom Music Festival.
Since then he has conducted orchestras
throughout the United States, as well as summer
festival engagements including the Chautauqua
Symphony, Grant Park Orchestra and Chicago
Philharmonic at the Ravinia Festival, and he
returns annually to conduct the Cleveland
Orchestra. Joint performances with the Joffrey
Ballet and the Cleveland Orchestra in 2009 led
to further collaborations, including a complete
Nutcracker and the orchestras rst staged Rite
of Spring, as well as an invitation to tour with the
Joffrey Ballet in the 201011 season.
Following debuts in Europe with the Lausanne
Chamber Orchestra and the Opra de Rennes,
he conducted the Danish Radio Sinfonietta,
Deutsche Radio Philharmonie Saarbrcken,
Luxembourg Philharmonic, and the Orchestre
National de Lorraine. Earlier this year he made
his Auckland Philharmonia Orchestra debut.
Tito Muoz
conductor
THE ARTISTS
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One of the most celebrated and versatile
musicians of his generation, Spanish-born
guitarist Pepe Romero has enjoyed a varied and
illustrious career since he rst set foot on the
concert stage aged seven. Together with his
father, the legendary Celedonio Romero, and his
brothers Celin and Angelthe Royal Family of
the Guitar he established Los Romeros as the
worlds leading guitar quartet. (Los Romeros gave
the premiere of Rodrigos Concierto andaluz.)
Known for his compelling and virtuosic classical
performances, Pepe Romero is also a passionate
advocate of the traditional amenco of his native
Andalusia.
He has appeared as soloistwith the worlds
greatest orchestras and ensembles, collaborating
with the most celebrated conductors and
composers. He has made more than 50 recordings,
including more than 20 concertos with the
Academy of St Martin-in-the-Fields. Among his
recent recordings are Concierto festivo, written
for him by Ernesto Cordero, the song cycle Mi
jardn solitario by Lorenzo Palomo, and a Spanish
solo collection, Spanish Nights (which includes
the premiere recording of Suite Madrilea No.1
by Celedonio Romero). In 2012, he received a
Latin Grammy nomination for Best Classical
Album for his recording of Concierto festivo.
Last year he played many concerts worldwide
honouring the 100th anniversary of the birth of
his father. This year he is touring the world
celebrating his own 70th birthday, a journey
which began with an all-Bach recital in New York
City, and will include birthday recitals in Hong
Kong, Zurich, Philadelphia, Baltimore, Dallas,
Munich, Berlin, Tokyo, Hamburg, Istanbul and
Adelaide.
In 2004, he was named Distinguished Artist
in Residence at the University of Southern
Californias Thornton School of Music; he also
teaches master classes at USC, in the Salzburg
Summer Academy, the Schleswig-Holstein
Festival and the Crdoba Guitar Festival. Other
honours include the Order of Isabel la Catlica,
honorary doctorates from the San Francisco
Conservatory of Music and the University of
Victoria, and the Premio Andalucia de Msica,
Spains highest recognition for contribution to
the arts. He was featured in the award-winning
lm documentary Shadows and Light: Joaqun
Rodrigo at 90.
Pepe Romero
guitar
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SYDNEY SYMPHONY ORCHESTRA
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony Orchestra
has evolved into one of the worlds nest
orchestras as Sydney has become one of the
worlds great cities.
Resident at the iconic Sydney Opera House,
where it gives more than 100 performances
each year, the SSO also performs in venues
throughout Sydney and regional New South
Wales. International tours to Europe, Asia and
the USA including three visits to China have
earned the orchestra worldwide recognition for
artistic excellence.
The orchestras rst Chief Conductor was
Sir Eugene Goossens, appointed in 1947; he was
followed by Nicolai Malko, Dean Dixon, Moshe
Atzmon, Willem van Otterloo, Louis Frmaux,
Sir Charles Mackerras, Zdenk Mcal, Stuart
Challender, Edo de Waart and Gianluigi Gelmetti.
Vladimir Ashkenazy was Principal Conductor
from 2009 to 2013. The orchestras history also
boasts collaborations with legendary gures
such as George Szell, Sir Thomas Beecham,
Otto Klemperer and Igor Stravinsky.
The SSOs 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, Lee Bracegirdle, Gordon Kerry, Mary
Finsterer, Nigel Westlake and Georges Lentz,
and the orchestras recordings of music by
Brett Dean have been released on both the BIS
and SSO Live labels.
Other releases on the SSO Live label,
established in 2006, include performances
with Alexander Lazarev, Gianluigi Gelmetti,
Sir Charles Mackerras, Vladimir Ashkenazy and
David Robertson. In 201011 the orchestra made
concert recordings of the complete Mahler
symphonies with Ashkenazy, and has also
released recordings of Rachmaninoff and Elgar
orchestral works on the Exton/Triton labels, as
well as numerous recordings on ABC Classics.
This is the rst year of David Robertsons
tenure as Chief Conductor and Artistic Director.
DAVID ROBERTSON
Chief Conductor and Artistic Director
PATRON
Her Excellency, Prof. The Hon. Dame Marie Bashir AD CVO
21
FIRST VIOLINS
Sun Yi
ASSOCIATE CONCERTMASTER
Kirsten Williams
ASSOCIATE CONCERTMASTER
Lerida Delbridge
ASSISTANT CONCERTMASTER
Jenny Booth
Brielle Clapson
Claire Herrick
Georges Lentz
Nicola Lewis
Emily Long
Alexandra Mitchell
Alexander Norton
Elizabeth Jones*
Andrew Haveron
CONCERTMASTER
Dene Olding
CONCERTMASTER
Fiona Ziegler
ASSISTANT CONCERTMASTER
Sophie Cole
Amber Davis
Lone Ziegler
SECOND VIOLINS
Marianne Broadfoot
Emma Jezek
ASSISTANT PRINCIPAL
Emma Hayes
Shuti Huang
Stan W Kornel
Benjamin Li
Nicole Masters
Maja Verunica
Vivien Jeffery
Kirsty Hilton
Marina Marsden
Maria Durek
Philippa Paige
Biyana Rozenblit
VIOLAS
Roger Benedict
Tobias Breider
Sandro Costantino
Rosemary Curtin
Graham Hennings
Felicity Tsai
Amanda Verner
Leonid Volovelsky
Anne-Louise Comerford
Justin Williams
ASSISTANT PRINCIPAL
Jane Hazelwood
Stuart Johnson
Justine Marsden
CELLOS
Catherine Hewgill
Henry David Varema
Fenella Gill
Elizabeth Neville
Adrian Wallis
David Wickham
Umberto Clerici
Leah Lynn
ASSISTANT PRINCIPAL
Kristy Conrau
Timothy Nankervis
Christopher Pidcock
DOUBLE BASSES
Alex Henery
David Campbell
Steven Larson
Benjamin Ward
Kees Boersma
Neil Brawley
PRINCIPAL EMERITUS
Richard Lynn
David Murray
FLUTES
Janet Webb
Carolyn Harris
Emma Sholl
Rosamund Plummer
PRINCIPAL PICCOLO
OBOES
Shefali Pryor
Alexandre Oguey
PRINCIPAL COR ANGLAIS
Diana Doherty
David Papp
CLARINETS
Francesco Celata
Craig Wernicke
PRINCIPAL BASS CLARINET
Lawrence Dobell
Christopher Tingay
BASSOONS
Matthew Wilkie
Fiona McNamara
Noriko Shimada
PRINCIPAL CONTRABASSOON
HORNS
Robert Johnson
Rachel Silver
Ben Jacks
Geoffrey OReilly
PRINCIPAL 3RD
Marnie Sebire
Euan Harvey
TRUMPETS
David Elton
Anthony Heinrichs
Paul Goodchild
TROMBONES
Ronald Prussing
Scott Kinmont
Nick Byrne
Christopher Harris
PRINCIPAL BASS TROMBONE
TUBA
Steve Ross
TIMPANI
Mark Robinson
ASSISTANT PRINCIPAL
Richard Miller
PERCUSSION
Rebecca Lagos
Timothy Constable
HARP
Louise Johnson
HARPSICHORD
Stewart Smith*
BOLD = PRINCIPAL
ITALICS = ASSOCIATE PRINCIPAL
= CONTRACT MUSICIAN
* = GUEST MUSICIAN
GREY = PERMANENT MEMBER OF THE
SYDNEY SYMPHONY ORCHESTRA NOT
APPEARING IN THIS CONCERT
The men of the Sydney
Symphony Orchestra are
proudly outtted by
Van Heusen.
To see photographs of the full roster of permanent musicians
and nd out more about the orchestra, visit our website:
www.sydneysymphony.com/SSO_musicians
If you dont have access to the internet, ask one of our customer
service representatives for a copy of our Musicians yer.
MUSICIANS
David Robertson
CHIEF CONDUCTOR
AND ARTISTIC DIRECTOR
SUPPORTED BY
EMIRATES
Dene Olding
CONCERTMASTER
Jessica Cottis
ASSISTANT CONDUCTOR
SUPPORTED BY PREMIER
PARTNER CREDIT SUISSE
Andrew Haveron
CONCERTMASTER
22
BEHIND THE SCENES
MANAGING DIRECTOR
Rory Jeffes
EXECUTIVE TEAM ASSISTANT
Lisa Davies-Galli
ARTISTIC OPERATIONS
DIRECTOR OF ARTISTIC PLANNING
Benjamin Schwartz
ARTISTIC ADMINISTRATION MANAGER
Eleasha Mah
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING ENTERPRISE MANAGER
Philip Powers
Library
Anna Cernik
Victoria Grant
Mary-Ann Mead
LEARNING AND ENGAGEMENT
DIRECTOR OF LEARNING AND ENGAGEMENT
Kim Waldock
EMERGING ARTISTS PROGRAM MANAGER
Mark Lawrenson
EDUCATION MANAGER
Rachel McLarin
EDUCATION OFFICER
Amy Walsh
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
ORCHESTRA MANAGER
Rachel Whealy
ORCHESTRA COORDINATOR
Georgia Fryer
OPERATIONS MANAGER
Kerry-Anne Cook
PRODUCTION MANAGER
Laura Daniel
STAGE MANAGER
Courtney Wilson
PRODUCTION COORDINATORS
Tim Dayman
Dave Stabback
SALES AND MARKETING
DIRECTOR OF SALES & MARKETING
Mark J Elliott
SENIOR SALES & MARKETING MANAGER
Penny Evans
MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
MARKETING MANAGER, CLASSICAL SALES
Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA
Eve Le Gall
MARKETING MANAGER, CRM & DATABASE
Matthew Hodge
DATABASE ANALYST
David Patrick
SENIOR GRAPHIC DESIGNER
Christie Brewster
GRAPHIC DESIGNER
Tessa Conn
MARKETING COORDINATOR
Jonathon Symonds
SENIOR ONLINE MARKETING COORDINATOR
Jenny Sargant
ONLINE MARKETING COORDINATOR
Jonathan Davidoff
Box Office
MANAGER OF BOX OFFICE SALES &
OPERATIONS
Lynn McLaughlin
BOX OFFICE SYSTEMS SUPERVISOR
Jennifer Laing
BOX OFFICE BUSINESS ADMINISTRATOR
John Robertson
CUSTOMER SERVICE REPRESENTATIVES
Karen Wagg Senior CSR
Michael Dowling
Katarzyna Ostafijczuk
Tim Walsh
Publications
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
Philanthropy
HEAD OF PHILANTHROPY
Luke Andrew Gay
DEVELOPMENT MANAGER
Amelia Morgan-Hunn
PHILANTHROPY COORDINATOR
Sarah Morrisby
Corporate Relations
BUSINESS DEVELOPMENT MANAGER
Belinda Besson
CORPORATE RELATIONS MANAGER
Janine Harris
Communications
PUBLIC RELATIONS MANAGER
Katherine Stevenson
COMMUNICATIONS & MEDIA MANAGER
Bridget Cormack
DIGITAL CONTENT PRODUCER
Kai Raisbeck
SOCIAL MEDIA AND PUBLICITY OFFICER
Caitlin Benetatos
BUSINESS SERVICES
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTURE
IN-HOUSE COUNSEL
Michel Maree Hryce
SYDNEY SYMPHONY ORCHESTRA STAFF
John C Conde AO Chairman
Terrey Arcus AM
Ewen Crouch AM
Ross Grant
Catherine Hewgill
Jennifer Hoy
Rory Jeffes
Andrew Kaldor AM
David Livingstone
The Hon. Justice AJ Meagher
Goetz Richter
SYDNEY SYMPHONY
ORCHESTRA BOARD
SYDNEY SYMPHONY
ORCHESTRA 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
David Maloney AM
David Malouf AO
Deborah Marr
The Hon. Justice Jane Mathews AO
Danny May
Wendy McCarthy AO
Jane Morschel
Dr Timothy Pascoe AM
Prof. Ron Penny AO
Jerome Rowley
Paul Salteri AM
Sandra Salteri
Juliana Schaeffer
Leo Schofield AM
Fred Stein OAM
Gabrielle Trainor
John van Ogtrop
Peter Weiss AO HonDLitt
Mary Whelan
Rosemary White
23
SYDNEY SYMPHONY ORCHESTRA PATRONS
MAESTROS CIRCLE
SUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
Peter Weiss AO Founding President & Doris Weiss
John C Conde AO Chairman
Brian Abel
Geoff Ainsworth AM
Tom Breen & Rachael Kohn
The Berg Family Foundation
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson
Penelope Seidler AM
Mr Fred Street AM & Mrs Dorothy Street
Mr Frank Lowy AC & Mrs Shirley Lowy OAM
Brian & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
Through their inspired financial support,
Patrons ensure the SSOs continued success,
resilience and growth. Join the SSO Patrons
Program today and make a difference.
sydneysymphony.com/patrons
(02) 8215 4674 philanthropy@sydneysymphony.com
MAKE A DIFFERENCE
FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,
CALL (02) 8215 4619.
n n n n n n n n n n
CHAIR PATRONS
01 Roger Benedict
Principal Viola
Kim Williams AM &
Catherine Dovey Chair
02 Umberto Clerici
Principal Cello
Garry & Shiva Rich Chair
03 Lawrence Dobell
Principal Clarinet
Anne & Terrey Arcus AM
Chair
04 Diana Doherty
Principal Oboe
Andrew Kaldor AM &
Renata Kaldor AO Chair
05 Richard Gill OAM
Artistic Director, Education
Paul Salteri AM &
Sandra Salteri Chair
06 Jane Hazelwood, Viola
Bob & Julie Clampett Chair
in memory of
Carolyn Clampett
07 Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
08 Kirsty Hilton
Principal Second Violin
Corrs Chambers Westgarth
Chair
09 Robert Johnson
Principal Horn
James & Leonie Furber
Chair
10 Elizabeth Neville
Cello
Ruth & Bob Magid Chair
11 Shefali Pryor
Associate Principal Oboe
Mrs Barbara Murphy
Chair
12 Emma Sholl
Associate Principal Flute
Robert & Janet Constable
Chair
13 Janet Webb
Principal Flute
Helen Lynch AM &
Helen Bauer Chair
14 Kirsten Williams,
Associate Concertmaster
I Kallinikos Chair
10 12 11 09
05 07 08 06
13 14
01 03 04 02
24
PLAYING YOUR PART
The Sydney Symphony Orchestra 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 www.sydneysymphony.com/patrons
DIAMOND PATRONS:
$30,000+
Geoff Ainsworth AM
Anne & Terrey Arcus AM
Doug & Alison Battersby
The Berg Family Foundation
Tom Breen & Rachael Kohn
Mr John C Conde AO
Robert & Janet Constable
The Estate of Dr Lynn Joseph
Mr Andrew Kaldor AM &
Mrs Renata Kaldor AO
In Memory of Matthew Krel
Mrs Roslyn Packer AO
Ian Potter Foundation
Paul Salteri AM & Sandra Salteri
Scully Foundation
Mrs W Stening
Mr Fred Street AM &
Mrs Dorothy Street
Peter Weiss AO & Doris Weiss
Mr Brian & Mrs Rosemary White
Kim Williams AM & Catherine
Dovey
PLATINUM PATRONS:
$20,000$29,999
Brian Abel
Robert Albert AO & Elizabeth
Albert
Sandra & Neil Burns
James & Leonie Furber
I Kallinikos
Helen Lynch AM & Helen Bauer
Mrs T Merewether OAM
Mrs Barbara Murphy
Mr B G OConor
Vicki Olsson
Andy & Deirdre Plummer
David Robertson
Mrs Penelope Seidler AM
G & C Solomon in memory of
Joan MacKenzie
Geoff Stearn
Ray Wilson oam in memory of
James Agapitos OAM
Anonymous (1)
GOLD PATRONS:
$10,000$19,999
Bailey Family Foundation
Alan & Christine Bishop
Audrey Blunden
Mr Robert Brakspear
Ian & Jennifer Burton
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Michael Crouch AO & Shanny
Crouch
The Hon. Mrs Ashley
Dawson-Damer AM
Paul Espie
Edward & Diane Federman
Nora Goodridge
Mr Ross Grant
Mr Ervin Katz
James N Kirby Foundation
Ruth & Bob Magid
The Hon. Justice AJ Meagher &
Mrs Fran Meagher
Mr John Morschel
Drs Keith & Eileen Ong
Garry & Shiva Rich
Caroline Wilkinson
Anonymous (2)
SILVER PATRONS:
$5000$9,999
Dr Francis Augustus
Stephen J Bell
Dr Hannes & Mrs Barbara
Boshoff
Mr Alexander & Mrs Vera
Boyarsky
Peter Braithwaite & Gary
Linnane
Mr David & Mrs Halina Brett
Ewen Crouch AM & Catherine
Crouch
Ian Dickson & Reg Holloway
In memory of Dr Lee
MacCormick Edwards
Dr Stephen Freiberg & Donald
Campbell
Dr Colin Goldschmidt
The Greatorex Foundation
Rory & Jane Jeffes
The late Mrs Isabelle Joseph
Frank Lowy AM & Shirley
Lowy OAM
J A McKernan
David Maloney AM & Erin
Flaherty
R & S Maple-Brown
Justice Jane Mathews AO
Mora Maxwell
William McIlrath Charitable
Foundation
John & Akky van Ogtrop
Seamus Robert Quick
Rodney Rosenblum AM &
Sylvia Rosenblum
Dr Evelyn Royal
The late Greta C Ryan
Manfred & Linda Salamon
Mrs Joyce Sproat &
Mrs Janet Cooke
Mr John Symond AM
David Tudehope & Liz Dibbs
Mr Robert & Mrs Rosemary
Walsh
Westpac Group
Michael & Mary Whelan Trust
In memory of Geoff White
June & Alan Woods Family
Bequest
Anonymous (2)
BRONZE PATRONS:
PRESTO $2,500$4,999
Mr Henri W Aram OAM
Ian Brady
Mr Mark Bryant
Dr Rebecca Chin
Dr Diana Choquette &
Mr Robert Milliner
Mr B & Mrs M Coles
Mr Howard Connors
Greta Davis
Firehold Pty Ltd
Warren Green
Anthony Gregg
Ann Hoban
Irwin Imhof in memory of
Herta Imhof
Mr John Lam-Po-Tang
James & Elsie Moore
Mr Darrol Norman
Ms Jackie OBrien
Dr Agnes E Sinclair
Tony Strachan
Yim Family Foundation
BRONZE PATRONS:
VIVACE $1,000$2,499
Mrs Lenore Adamson
Mrs Antoinette Albert
Rae & David Allen
Andrew Andersons AO
Mr Matthew Andrews
The Hon Justice Michael Ball
David Barnes
Mr Garry Besson
Allan & Julie Bligh
Jan Bowen
Lenore P Buckle
Margaret Bulmer
In memory of RW Burley
Mrs Rhonda Caddy
Mrs Stella Chen
Ms Suzanne Collins
Joan Connery OAM &
Maxwell Connery OAM
Debby Cramer & Bill Caukill
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Lisa & Miro Davis
Elizabeth Donati
Colin Draper & Mary Jane
Brodribb
Prof. & Mrs John Edmonds
Malcolm Ellis & Erin ONeill
Mrs Margaret Epps
Professor Michael Field AM
Mr Tom Francis
Mr Matt Garrett
Vivienne Goldschmidt &
Owen Jones
Mrs Fay Grear
In Memory of Angelica Green
Akiko Gregory
Mr & Mrs Harold & Althea
Halliday
Janette Hamilton
Angus Holden
Dr & Mrs Michael Hunter
Michael & Anna Joel
Mrs W G Keighley
Dr Andrew Kennedy
Aron Kleinlehrer
Mr Andrew Korda & Ms Susan
Pearson
Mr Justin Lam
Mr Peter Lazar AM
Professor Winston Liauw
Airdrie Lloyd
Peter Lowry OAM & Dr Carolyn
Lowry OAM
Kevin & Deirdre McCann
Ian & Pam McGaw
Macquarie Group Foundation
Barbara Maidment
John Mar
Renee Markovic
Henry & Ursula Mooser
Milja & David Morris
Mrs J Mulveney
Dr Mike OConnor AM
Mr & Mrs Ortis
Mr Andrew C Patterson
Dr Natalie E Pelham
Almut Piatti
In memory of Sandra Paul
Pottinger
Dr Raffi Qasabian
Michael Quailey
Mr Patrick Quinn-Graham
Ernest & Judith Rapee
Kenneth R Reed
Patricia H Reid Endowment
Pty Ltd
Dr Marilyn Richardson
Lesley & Andrew Rosenberg
In memory of H St P Scarlett
Mr Samuel F Sheffer
David & Alison Shilligton
David Smithers AM & Isabel
Smithers
Dr Judy Soper
Mrs Judith Southam
25
PLAYING YOUR PART
TO FIND OUT MORE ABOUT BECOMING A
SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE
CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674
OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM
n n n n n n n n n n
Ms Barbara Spencer
Mrs Elizabeth Squair
Catherine Stephen
The Hon. Brian Sully QC
Mrs Margaret Swanson
The Taplin Family
Kevin Troy
John E Tuckey
Judge Robyn Tupman
Dr Alla Waldman
Miss Sherry Wang
Westpac Banking Corporation
Henry & Ruth Weinberg
The Hon. Justice A G Whealy
Dr Richard T White
Mrs Leonore Whyte
A Willmers & R Pal
Dr Edward J Wills
Prof. Neville Wills & Ian
Fenwicke
Ann & Brooks C Wilson AM
Dr Richard Wing
Dr Peter Wong & Mrs Emmy K
Wong
Geoff Wood & Melissa Waites
Sir Robert Woods
Mr & Mrs Lindsay Woolveridge
In memory of Lorna Wright
Dr John Yu
Anonymous (15)
BRONZE PATRONS:
ALLEGRO $500$999
Ms Jenny Allum
Mr Peter J Armstrong
Garry & Tricia Ash
Mr & Mrs George Ball
Dr Lilon Bandler
Barlow Cleaning Pty Ltd
Michael Baume AO & Toni Baume
Beauty Point Retirement Resort
Mr Michael Beck
Dr Andrew Bell
Richard & Margaret Bell
Mrs Jan Biber
Minnie Biggs
G D Bolton
Mr Colin G Booth
Dr Margaret Booth
In memory of Jillian Bowers
Mrs R D Bridges OBE
R D & L M Broadfoot
Dr Peter Broughton
Dr David Bryant
Arnaldo Buch
Dr Miles Burgess
Pat & Jenny Burnett
Eric & Rosemary Campbell
Mr JC Campbell QC &
Mrs Campbell
Barrie Carter
Mr Jonathan Chissick
Mrs Sandra Clark
In memory of Beth Harpley
Mr Phillip Cornwell
Dom Cottam & Kanako Imamura
Dr Peter Craswell
Mr David Cross
Phil Diment AM & Bill Zafiropoulos
Dr David Dixon
Susan Doenau
Mrs Jane Drexler
Dr Nita Durham
John Favaloro
Mrs Lesley Finn
Ms Julie Flynn & Mr Trevor Cook
Mrs Paula Flynn
Mr John Gaden
Clive & Jenny Goodwin
Ruth Grahame
Mr Robert Green
Richard Griffin AM
Dr Jan Grose
Benjamin Hasic & Belinda Davie
Mr Robert Havard
Mrs Joan Henley
Roger Henning
Sue Hewitt
In memory of Emil Hilton
Dorothy Hoddinott AO
Mr Kevin Holland & Mrs Roslyn
Andrews
Bill & Pam Hughes
Ms Cynthia Kaye
Mrs Margaret Keogh
Dr Henry Kilham
Dr Joyce Kirk
Chris J Kitching
Mrs Patricia Kleinhans
Anna-Lisa Klettenberg
Sonia Lal
L M B Lamprati
Elaine M Langshaw
Dr Leo & Mrs Shirley Leader
Margaret Lederman
Mrs Erna Levy
Mrs A Lohan
Mr Gabriel Lopata
Panee Low
Dr David Luis
Melvyn Madigan
Ms Jolanta Masojada
Helen & Phil Meddings
I Merrick
Louise Miller
Patricia Miller
Kenneth Newton Mitchell
Helen Morgan
Chris Morgan-Hunn
Mr Graham North
E J Nuffield
Mr Sead Nurkic
Dr A J Palmer
Dr Kevin Pedemont
Dr John Pitt
Mrs Greeba Pritchard
The Hon. Dr Rodney Purvis AM
& Mrs Marian Purvis
Miss Julie Radosavljevic
Renaissance Tours
Anna Ro
Mr David Robinson
Agnes Ross
Mrs Christine Rowell-Miller
Mr Kenneth Ryan
Garry Scarf & Morgie Blaxill
Peter & Virginia Shaw
V Shore
Mrs Diane Shteinman AM
Victoria Smyth
Doug & Judy Sotheren
Colin Spencer
James & Alice Spigelman
Ashley & Aveen Stephenson
Margaret & William Suthers
Dr & Mrs H K Tey
Dr Jenepher Thomas
Mr Michael Thompson
Ms Rhonda Ting
Alma Toohey
Mrs M Turkington
Gillian Turner & Rob Bishop
Mr Robert Veel
Ronald Walledge
In memory of Denis Wallis
In memoriam JBL Watt
Miss Roslyn Wheeler
The Wilkinson Family
Audrey & Michael Wilson
Yetty Windt
Dr Richard Wingate
Mr Evan Wong
Mrs Robin Yabsley
Anonymous (45)
SYDNEY SYMPHONY ORCHESTRA VANGUARD
A MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS
Vanguard Collective
Justin Di Lollo Chair
Belinda Bentley
Amelia Morgan-Hunn
Jonathan Pease
Shefali Pryor
Seamus R Quick
Camille Thioulouse
Members
James Armstrong
Joan Ballantine
Andrew Baxter
Mar Beltran
Nicole Billet
David Bluff
Peter Braithwaite
Blake Briggs
Andrea Brown
Melanie Brown
Prof. Attila Brungs
Ian & Jennifer Burton
Helen Caldwell
Hilary Caldwell
Paul Colgan
Juliet Curtin
Alvaro R Fernandez
Alastair Furnival
Alexandra Gibson
Sam Giddings
Marina Go
Jeremy Goff
Tony Grierson
Louise Haggerty
Rose Herceg
Philip Heuzenroeder
Francis Hicks
Peter Howard
Jennifer Hoy
Katie Hryce
Justin Jameson
Jonathan Kennedy
Aernout Kerbert
Patrick Kok
Alisa Lai
Tristan Landers
Gary Linnane
Gabriel Lopata
Kylie McCaig
Rebecca MacFarling
David McKean
Taine Moufarrige
Nick Nichles
Kate OReilly
Sudeep Rao
Michael Reede
Paul Reidy
Chris Robertson
Dr Benjamin Robinson
Jacqueline Rowlands
Benjamin Schwartz
Caroline Sharpen
Katherine Shaw
Randal Tame
Sandra Tang
Michael Tidball
Mark Timmins
Kim Waldock
Jonathan Watkinson
Jon Wilkie
Yvonne Zammit
26
SALUTE
The Sydney Symphony Orchestra is assisted by the
Commonwealth Government through the Australia Council,
its arts funding and advisory body
GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is
assisted by the NSW Government
through Arts NSW
PRINCIPAL PARTNER
EDUCATION PARTNER PLATINUM PARTNER
MAJOR PARTNERS
GOLD PARTNERS
REGIONAL TOUR PARTNER MARKETING PARTNER VANGUARD PARTNER
PREMIER PARTNER
SILVER PARTNERS
s i n f i n i mu s i c . c o m
UNIVERSAL MUSIC AUSTRALIA
Salute 2014_FOUR-2A_23Jul.indd 1 23/07/14 9:03 AM
Tuning, tuning,
tuning