WELCOME

Donald Runnicles guides us in Bruckner’s expansive Symphony No.7. We are delighted to welcome you to tonight’s Emirates Metro Series concert featuring one of ’s best-loved symphonies led by Principal Guest Conductor Donald Runnicles, as part of his artistic project Music of Inspiration. Bruckner’s Seventh is a magnificent monument of sound. You are about to experience a vigorous work of music, that will yet envelop you with a delicate embrace. Inspired by a dream and written at the time of Wagner’s imminent death, the Adagio could be read as an elegy to Bruckner’s music idol. As it did in the Symphony’s premiere in 1884, the Orchestra today also features four unusual Wagner tubas. Maestro Runnicles is one of the great Bruckner’s conductors and advocates, enjoying enduring titles and relationships with several of the world’s most significant opera companies and orchestras, including the Deutsche Oper , the Atlanta Symphony and the BBC Scottish Symphony Orchestra. At Emirates, we are also honoured to have forged long-lasting relationships in and around the world with an extensive portfolio of sports and cultural partners for over 30 years now. We believe sponsorships are one of the best ways to connect with our passengers, allowing us to share and support their interests. Our partnership with the Symphony Orchestra is no exception, as we celebrate 17 years of rewarding collaboration. On that note, it is my pleasure to welcome you to this Emirates Metro Series concert, Donald Runnicles conducts Bruckner Symphony No.7.

Barry Brown Emirates’ Divisional Vice President for Australasia 2019 CONCERT SEASON

THURSDAY AFTERNOON SYMPHONY THURSDAY 17 OCTOBER, 1.30PM EMIRATES METRO SERIES FRIDAY 18 OCTOBER, 8PM GREAT CLASSICS SATURDAY 19 OCTOBER, 2PM

SYDNEY OPERA HOUSE CONCERT HALL The Lowy Chair of Chief Conductor and Artistic Director

Donald Runnicles conducts Bruckner Symphony No.7

Donald Runnicles conductor Saturday’s concert will be broadcast on ABC Classic on 29 October at 8pm, and OLIVIER MESSIAEN (1908–1992) again on 17 January 2020 at 8pm. Les Offrandes oubliées (The Forgotten Offerings) Pre-concert talk by Scott Davie in the ANTON BRUCKNER (1824–1896) Northern Foyer, 45 minutes before the performance. Symphony No.7 Allegro moderato Estimated durations: 11 minutes; Adagio. Sehr feierlich und sehr langsam 1 hour and 4 minutes. Scherzo. Sehr schnell Finale. Bewegt, doch nicht schnell The concert will be performed without interval and conclude at approximately 2.50pm (Thursday), 9.20pm (Friday) and 3.20pm (Saturday). n n n n n n n n Cover image: Donald Runnicles (Photo by Robert Catto) THE ARTISTS © SIMON PAULY

Donald Runnicles conductor PRINCIPAL GUEST CONDUCTOR, SYDNEY SYMPHONY

Sydney Symphony Principal Guest Conductor of Chicago. In summer 2018, he conducted the Donald Runnicles is General Music Director of the complete Ring Cycle with the San Francisco Deutsche Oper Berlin and Music Director of the Opera, and led the World Orchestra for Peace Grand Teton Music Festival (Jackson, Wyoming), performing Beethoven’s Ninth Symphony at as well as Principal Guest Conductor of the the Proms. Atlanta Symphony Orchestra. He is also Beyond his annual commitments, Conductor Emeritus of the BBC Scottish Donald Runnicles is active in symphonic Symphony Orchestra, having served as its Chief repertoire and guest conducts some of the world’s Conductor from 2009-2016. He enjoys close finest symphony orchestras. Though fully relationships with several of the world’s most engaged with five titled positions, he maintains significant opera companies and orchestras and regular guest relationships with the Berlin is especially celebrated for his interpretations of Philharmonic, London Symphony Orchestra, and Romantic and post-Romantic symphonic and the Philadelphia Orchestra. opera repertoire. From 1992 to 2008, Donald Runnicles was Recent conducting appearances have included Music Director of the . During the Deutsche Oper’s appearance in a concert his tenure, he led more than 60 productions performance of Manon Lescaut at the including the world premieres of John Adams’ Festival, with the Toronto Doctor Atomic and Conrad Susa’s Les Liaisons Symphony Orchestra and Mahler’s Song of the dangereuses. Recent recordings include Glanert’s Earth with the BBC Scottish Symphony Orchestra. L’Invisible and James MacMillan’s Violin Concerto Other 2018-19 season highlights included the (with Vadim Repin) and Symphony No.4. world premiere of Detlev Glanert’s Oceane at the Deutsche Oper along with new Deutsche Oper productions of Berg’s Wozzeck and Zemlinsky’s Der Zwerg, and Strauss’ Elektra at the Lyric Opera

6 ABOUT THE MUSIC

Olivier Messiaen (1908–1992) Les Offrandes oubliées (The Forgotten Offerings) About the composer: Born in Avignon, Olivier Messiaen entered the Paris Conservatoire at the age of 11, later becoming a teacher there and Professor of Composition in 1966. He first became known only as a composer of organ music (he was organist at the church of Sainte-Trinité in Paris from 1931 until his death); but as a pupil of Paul Dukas, he began early to compose for orchestra. A devout Roman Catholic, Messiaen, 1931, Trinité his compositions are mainly in the nature of religious praise and commentary. IN BRIEF Many of Messiaen’s most famous works date from the 1940s. Messiaen believed that his mission as In 1941, while in a German prison camp, he wrote the Quartet for a composer was to communicate the the End of Time. A lengthy piece for two pianos, Visions de l’Amen, truths of his Catholic faith, and to do was completed in 1943. Trois Petites Liturgies de la présence divine so created an idiosyncratic language followed, building up a series of religious works, such as the 20 based on ‘synthetic’ modes, rhythm pieces making up the Vingt Regards sur l’Enfant-Jésus inscribed to derived from Indian music and Greek poetry, and the ecstatic songs of birds. his pupil and great interpreter of his works, the pianist Yvonne Les Offrandes oubliées, his first Loriod, who later became his wife. orchestral work, is a meditation on Messiaen’s characteristic sound results from his distinctive three key symbols of Catholic theology blend of harmony and rhythm. Interestingly he referred to himself – the Cross, Sin and the sacrament of as ‘compositeur et rythmicien’, which underlines the place of the Eucharist. rhythm in his music, utilising the elasticity of Gregorian chant and the complexity of Greek and Indian (tala) rhythms. His harmony derives from his own invented modes (‘modes of limited transposition’). Able to perceive sounds as colours, Messiaen used his synaesthesia as a compositional tool to effect a special bloom or colour. An ardent, ecstatic quality can be heard in the frequent Messiaen’s emulation of birdsong in works such as Oiseaux exotiques and compositions are Chronochromie, and the ‘Tristan-esque’ yearning in works such mainly in the nature of as the Turangalîla-symphonie. Later pieces included Des Canyons aux étoiles (From the Canyons to the Stars), inspired by a visit to religious praise and southern Utah and completed in 1974; and Messiaen’s only opera, commentary. St Francis of Assisi, completed in 1983. Australian birdcalls were incorporated in Éclairs sur l’Au-Delà (Illuminations of the Beyond), Messiaen’s last completed work.

7

Official Piano Partner of the Sydney Symphony International Pianist in Recital Series

PIANO SALES | TUNING | REPAIRS | RESTORATIONS | HIRE | TUITION themeandvariations.com.au Messiaen taught some of the most important composers of the His music testifies to post-War period, including Boulez, Stockhausen, Xenakis and later the survival of eternal George Benjamin who followed the inspiring example of the beauties in a century individual language he forged from a wide variety of musical and artistic sources, and the communicable strength of his vision. which has often seen His music testifies to the survival of eternal beauties in a century unwelcome change. which has often seen unwelcome change. ABRIDGED FROM GORDON KALTON WILLIAMS ABC/SYMPHONY AUSTRALIA © 1994 The composer himself wrote of this work: Les Offrandes oubliées was premiered on 19 February 1931, at the Théâtre des Champs-Elysées in Paris, under the direction of Walter © BRIDGEMAN IMAGES Straram. I had just turned 22. It was my first work played by an orchestra, and my first contact with the public at large. The work is in three parts: The Cross: lamentation of the strings, the sorrowful ‘neumes’ of which divide the melody into groups of uneven duration, cut by long mauve and grey wailings. The Sin: presented here as a kind of ‘race to the abyss’ in an almost ‘mechanised’ speed. You will notice the strong flexional ending accents, whistling of the harmonics in glissando, the incisive calls of the trumpets. The Eucharist: long and slow phrase of the violins, which rises over a blanket of pianissimo chords, with reds, gold, blues (like a 16th-century stained glass far away stained glass window), in the light of muted solo chords. window depicting the legend of The Sin is the forgetting of God. The Cross and the Eucharist are the Cross: the authentification the Divine Offerings. ‘This is my Body, given for you – this is my of the Cross, Eglise Saint Blood, spilled for you.’ Quentin, Dienville, France. Les Offrandes oubliées requires an orchestra of 3 flutes, 3 oboes (1 doubling cor anglais), 3 clarinets (1 doubling bass), 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussion and strings. The Sydney Symphony Orchestra gave the Australian premiere of this work in 1973 under Willem van Otterloo, and performed it most recently in June 2001 under Reinbert de Leeuw.

9 Anton Bruckner (1824–1896) Symphony No.7 Allegro moderato Adagio. Sehr feierlich und sehr langsam Scherzo. Sehr schnell Finale. Bewegt, doch nicht schnell At the age of 60, the diffident, pious Anton Bruckner suddenly achieved international fame as a composer, and the work which catalysed Europe’s attention was the Seventh Symphony. The composer had moved from the provinces to the imperial capital in Bruckner, 1890 1868 to take up a position at the Vienna Conservatory, where he succeeded his teacher Simon Sechter as Professor of Harmony and Counterpoint, as well as accepting an honorary appointment as organist to the Hofkapelle, or court chapel. He also taught at the teacher training College of St Anna, and travelled as far afield as Paris and London in his capacity as one of the greatest organists – IN BRIEF and improvisors – of the age. But until the mid-1880s, his own Like Messiaen, Bruckner was a devout music had failed to find a foothold in Vienna. Catholic whose work was almost This is partly the result of Bruckner’s idolisation of the music of entirely dedicated ‘to dear God’ and , which was anathema in a city where Brahms sought to proclaim God’s greatness. presided as the resident Great Composer and the powerful critic, After God, Bruckner idolised Richard Eduard Hanslick regarded Brahms, not Wagner or Liszt, as Wagner, though his music emulates embodying the ‘true’ tradition of German music. He routinely Wagner’s much less than is often attacked Bruckner’s music in print, and Brahms himself dismissed assumed, and uses a much more Bruckner until late in his own life, saying ‘In the case of Bruckner modest orchestra. The Adagio of this work reflects Bruckner’s premonition of one needn’t use the word “Symphony”; it’s enough to talk of a kind Wagner’s death and his grief on the of “fake” which will be forgotten in a few years’. ‘master’s’ passing. Overall the piece Wagner, on the other hand, seems genuinely to have admired takes the classical symphonic form Bruckner’s work. The two composers had met in 1873 when and expands it in a cosmic vision that Bruckner approached Wagner for permission to dedicate his Third ends in radiance. Symphony to the ‘Master of all masters’. Their meeting, over several beers, was a highlight of Bruckner’s life; Wagner’s acceptance of the dedication gave Bruckner immense confidence. Sadly, the premiere of the Third was a fiasco; Bruckner responded by retreating – revising extant scores rather than writing anything new. In 1881, however, Hans Richter gave a triumphant first performance of the Fourth Symphony. Bruckner was already back at work, but the success must have encouraged him: he completed his Sixth Symphony and began work on the Seventh later that year. The composition took place over two years during which time Bruckner wrote little else. He did, however, travel to Bayreuth to hear the first performance of Wagner’s last opera, Parsifal, conducted by Hermann Levi. Bruckner and Wagner saw each other several times during the visit. Gabriel Engel writes: ‘Wagner would deplore the disappointing state of contemporary music, exclaiming: “I know of only one who may be compared to Beethoven — and he is Bruckner!”’

10 While working on the Seventh Symphony, Bruckner later remarked, ‘One day I came home and felt very sad. It occurred to me that the Master would soon die, and at that moment the C sharp minor theme of the Adagio came to me.’ Indeed, during the composition of the slow movement, Bruckner heard the news of Wagner’s death, incorporating his grief into the final pages of the movement. But the piece as a whole was conceived before Bruckner’s premonition, and our response shouldn’t be over-determined by the Wagner connection. The dimensions and trajectory of the work are signalled by the melody with which the first movement begins. Built over a typical shimmer of strings, the long and very beautiful tune consists of clearly delineated and contrasting phrases: the first, for instance, outlines the key of E major over two octaves, before moving Bruckner and Wagner in through seemingly distant keys; a ‘false’ close gives way to yet Bayreuth (1873). Silhouette by more varied phrases and hints of further tonal exploration before Otto Böhler returning to E for a fuller restatement of the melody itself. The movement displays Bruckner’s habitual use of three contrasting groups of themes, the second of which is what he liked to call a ‘song-period’, and out of these he spins a lengthy series of contrasting musical worlds. This principle governs the whole work. The key of C sharp minor, though closely related to the work’s ‘home key’ of E major, is avoided through the first movement so that its appearance in the second is more emphatic. This is, of course, the premonitory elegy for Wagner, and Bruckner introduces four Wagner tubas into the score at this point. But the model for the movement is to be found in the slow movement of Beethoven’s Ninth Symphony. The ‘very slow and very solemn’ material with which Bruckner’s commences is in due course contrasted with a theme in a different mood, speed and key. Bruckner was working on the climax of the movement – a majestic passage in C major – when he heard of Wagner’s death. He quotes a motive from his Te Deum (associated with the words ‘Non confundar in aeternum’ – let me never be put to shame) but it is in the coda which follows with its almost Wagnerian horn calls that Bruckner farewells the Master. After the catharsis of the Adagio, Bruckner produces one of his most delightfully energetic, and deceptively simple, scherzos. Again, the movement’s key – A minor – has been avoided so far. The octave and perfect fifth which constitute the theme of this section are the most stable intervals in tonal music (and relate the theme to that of the opening of the first movement), but Bruckner effortlessly plays this stability off against a series of unexpected excursions into different keys, and it proves a genuinely witty foil to the central, more lyrical, Trio section.

11 The Finale, less massive than some, is nonetheless constructed out of four large sections of material. The pattern of keys a third apart is reflected in this structure: the first section is in E major, and deliberately recalls the first movement in its use of the stable intervals of the common chord; the second and third sections are, respectively, in keys a third above and below E; finally the fourth section, using material based on the first, charts the journey from the key of A back to the home key. With the death of Wagner, Bruckner was the heir-apparent for his now large group of supporters in Vienna. Nonetheless, he at first tried to stop performances of this work there, fearing that Hanslick’s opposition would undermine his growing reputation in other parts of the German-speaking world. The Seventh’s premiere was in the Leipzig Gewandhaus under Arthur Nikisch in 1884 and the applause lasted for 15 minutes. Hermann Levi, who had facilitated Bruckner’s dedication of the work to the Wagner-mad Ludwig II of Bavaria, gave the work in Munich, declaring it ‘the most significant symphonic work since 1827’ (the year of Beethoven’s Ninth) and within a few years it had been heard throughout Germany as well as in New York, Chicago, Amsterdam, Budapest and London. When it finally was heard in Vienna in 1886, Hanslick’s colleague Kalbeck memorably wrote ‘It comes from the Nibelungen and goes to the devil!’ Actually, it is music about going to heaven, or, as Robert Simpson puts it, ‘a patient search for pacification’. Appropriately, the Adagio was performed at the composer’s funeral. Engel writes that ‘Brahms, a very sick old man, stood outside the gate, but refused to enter. Someone heard him mutter sadly: “It will be my turn soon,” and then he sighed and went wearily home.’

GORDON KERRY © 2002

Bruckner’s Seventh Symphony requires an orchestra of double winds, 8 horns (4 doubling Wagner tubas), 3 trumpets, 3 trombones, tuba, timpani, 2 percussion and strings. Bernard Heinze conducted the Sydney Symphony Orchestra’s first performance of Bruckner’s Seventh Symphony in May 1945. The Orchestra’s most recent performance was in August 2010 under Simone Young.

12 A Russian Gala

Be enraptured by Behzod Abduraimov’s compelling artistry in Tchaikovsky’s dazzling Piano Concerto No.1 and experience the sweeping emotions of Rachmaninoff’s second symphony.

Lionel Bringuier conductor Behzod Abduraimov piano

8 & 9 November

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13 SYDNEY SYMPHONY ORCHESTRA PHOTO: KEITH SAUNDERS KEITH PHOTO:

DAVID ROBERTSON Sir , Zdeněk Mácal, Stuart THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from PATRON Her Excellency The Honourable Margaret Beazley ao qc 2009 to 2013. The Orchestra’s history also boasts collaborations with legendary figures such as Founded in 1932 by the Australian Broadcasting George Szell, Sir Thomas Beecham, Otto Klemperer Commission, the Sydney Symphony Orchestra has and Igor Stravinsky. evolved into one of the world’s finest orchestras as The Sydney Symphony’s award-winning Sydney has become one of the world’s great cities. Learning and Engagement program is central to its Resident at the iconic Sydney Opera House, the commitment to the future of live symphonic Sydney Symphony Orchestra also performs in music, developing audiences and engaging the venues throughout Sydney and regional New South participation of young people. The Orchestra Wales, and international tours to Europe, Asia and promotes the work of Australian composers the USA have earned the Orchestra worldwide through performances, recordings and recognition for artistic excellence. commissions. Recent premieres have included Well on its way to becoming the premier major works by Ross Edwards, Lee Bracegirdle, orchestra of the Asia Pacific region, the Sydney Gordon Kerry, Mary Finsterer, Nigel Westlake, Paul Symphony Orchestra has toured China on five Stanhope and Georges Lentz, and recordings of occasions, and in 2014 won the arts category in music by Brett Dean have been released on both the Australian Government’s inaugural Australia- the BIS and SSO Live labels. China Achievement Awards, recognising ground- Other releases on the SSO Live label, breaking work in nurturing the cultural and artistic established in 2006, include performances relationship between the two nations. conducted by Alexander Lazarev, Sir Charles The Orchestra’s first chief conductor was Sir Mackerras and David Robertson, as well as the Eugene Goossens, appointed in 1947; he was complete Mahler symphonies conducted by followed by Nicolai Malko, Dean Dixon, Moshe Vladimir Ashkenazy. Atzmon, Willem van Otterloo, Louis Frémaux, 2019 is David Robertson’s sixth season as Chief Conductor and Artistic Director.

14 THE ORCHESTRA

David Robertson Donald Runnicles Vladimir Ashkenazy Andrew Haveron THE LOWY CHAIR OF CHIEF PRINCIPAL GUEST CONDUCTOR CONDUCTOR LAUREATE CONCERTMASTER CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY VICKI OLSSON

FIRST VIOLINS VIOLAS FLUTES TRUMPETS Andrew Haveron Tobias Breider Joshua Batty David Elton CONCERTMASTER PRINCIPAL PRINCIPAL PRINCIPAL Harry Bennetts Anne-Louise Comerford Emma Sholl Anthony Heinrichs ASSOCIATE CONCERTMASTER ASSOCIATE PRINCIPAL ASSOCIATE PRINCIPAL Colin Grisdale* Sun Yi Justin Williams Carolyn Harris Paul Goodchild ASSOCIATE CONCERTMASTER ACTING ASSOCIATE PRINCIPAL ASSOCIATE PRINCIPAL OBOES Lerida Delbridge Rosemary Curtin Shefali Pryor TROMBONES ASSISTANT CONCERTMASTER Jane Hazelwood Fiona Ziegler Graham Hennings ASSOCIATE PRINCIPAL Ronald Prussing Alexandre Oguey PRINCIPAL ASSISTANT CONCERTMASTER Stuart Johnson Nick Byrne Jenny Booth Justine Marsden PRINCIPAL Christopher Harris Brielle Clapson Felicity Tsai Eve Osborn† Sophie Cole Amanda Verner Diana Doherty PRINCIPAL BASS TROMBONE Scott Kinmont Claire Herrick Leonid Volovelsky PRINCIPAL ASSOCIATE PRINCIPAL Georges Lentz Beth Condon† David Papp Nicola Lewis Roger Benedict CLARINETS TUBA Emily Long PRINCIPAL Francesco Celata Steve Rossé Alexandra Mitchell Sandro Constantino ACTING PRINCIPAL PRINCIPAL Alexander Norton CELLOS Christopher Tingay TIMPANI Anna Skálová Umberto Clerici Alexander Morris Mark Robinson Léone Ziegler PRINCIPAL PRINCIPAL BASS CLARINET ACTING PRINCIPAL Kirsten Williams Catherine Hewgill ASSOCIATE CONCERTMASTER BASSOONS PERCUSSION PRINCIPAL EMERITUS Matthew Wilkie Rebecca Lagos Leah Lynn PRINCIPAL EMERITUS PRINCIPAL SECOND VIOLINS ACTING ASSOCIATE PRINCIPAL Fiona McNamara Timothy Constable Marina Marsden Kristy Conrau Melissa Woodroffe° Philip South* PRINCIPAL Timothy Nankervis Todd Gibson-Cornish Emma Jezek Elizabeth Neville PRINCIPAL ASSISTANT PRINCIPAL Christopher Pidcock Noriko Shimada * = GUEST MUSICIAN ° = CONTRACT MUSICIAN Alice Bartsch Adrian Wallis PRINCIPAL CONTRABASSOON Victoria Bihun David Wickham † = SYDNEY SYMPHONY FELLOW Rebecca Gill Paul Stender* HORNS Grey = PERMANENT MEMBER OF Bertrand Chatenet* THE SYDNEY SYMPHONY ORCHESTRA Emma Hayes Fenella Gill NOT APPEARING IN THIS CONCERT Shuti Huang GUEST PRINCIPAL DOUBLE BASSES Monique Irik Ben Jacks Kees Boersma Wendy Kong PRINCIPAL PRINCIPAL Stan W Kornel Geoffrey O’Reilly David Campbell Benjamin Li PRINCIPAL 3RD Steven Larson Nicole Masters Euan Harvey Richard Lynn Maja Verunica Marnie Sebire Benjamin Ward Riikka Sintonen* Rachel Silver David Barlow† Kirsty Hilton Aidan Gabriels† Josef Bisits* Jenny McLeod-Sneyd* PRINCIPAL Robin Brawley* Marianne Edwards Alex Henery ASSOCIATE PRINCIPAL PRINCIPAL Jaan Pallandi

The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons. www.sydneysymphony.com/SSO_musicians

15 SYDNEY SYMPHONY ORCHESTRA

Patron Administration Her Excellency The Honourable EXECUTIVE Patricia Laksmono External Affairs Officer Margaret Beazley ao qc Emma Dunch Chief Executive Officer Governor of Ilmar Leetberg Artist Liaison Manager Sarah Falzarano Director of Finance Alyssa Lim Publicity Manager Richard Hemsworth Director of Operations Rosie Marks-Smith Orchestra Personnel Board of Directors Aernout Kerbert Director of Orchestra Manager Terrey Arcus am Chairman Management Alastair McKean Library Manager Geoff Ainsworth am Luke Nestorowicz Director of Marketing Rachel McLarin Orchestra Personnel Manager Andrew Baxter Lynn McLaughlin Head of CRM Kees Boersma Raff Wilson Director of Artistic Planning Ewen Crouch am Mary-Ann Mead Librarian Emma Dunch CEO Lars Mehlan Head of Corporate Relations Catherine Hewgill Ross Chapman Production Manager Marketing Associate The Hon. Justice AJ Meagher Mihka Chee External Affairs Manager Tom Niall Karen Moses Alex Norden Operations Manager Callum Close Philanthropy Manager John Vallance Aeva O’Dea Office Administrator Geoff Wilson Ian Colley Customer Analyst Lauren Patten Philanthropy Officer Meg Collis Philanthropy Coordinator Minerva Prescott Accountant Kerry-Anne Cook Associate Director Council of Operations & Touring Andrea Reitano Digital Marketing Coordinator PATRON EMERITUS Pim den Dekker Head of Customer Service Genevieve Scott Stage Manager The Hon Prof Dame Marie Bashir ad cvo and Ticketing Elissa Seed Production Coordinator Michael Dowling Customer Service COUNCIL MEMBERS Indah Shillingford Design Lead Representative Brian Abel Andrea Shrewsbury Marketing Project Manager Doug Battersby Jennifer Drysdale Head of Philanthropy Peter Silver Acting Director, Sydney Christine Bishop Douglas Emery Marketing Manager Symphony Presents Dr Rebecca Chin Emma Ferrer Accounts Assistant Laura Soutter Payroll Officer John C Conde ao The Hon. John Della Bosca Meera Gooley Head of Digital Marketing Brendon Taylor Production Coordinator Alan Fang Victoria Grant Librarian Ruth Tolentino Finance Manager Hannah Fink and Andrew Shapiro Sam Torrens Artistic Planning Manager Erin Flaherty Tess Herrett Marketing Associate Dr Stephen Freiberg Michel Maree Hryce In-House Counsel, Simonette Turner Orchestra Personnel Manager Robert Joannides People & Culture Stephen Wilson Senior Customer Service Manager Simon Johnson Gary Linnane Meklit Kibret Community Engagement Officer Amy Zhou Graphic Designer Helen Lynch am David Maloney am Danny May Jane Morschel Dr Eileen Ong Andy Plummer Deirdre Plummer Seamus Robert Quick Paul Salteri am Sandra Salteri Juliana Schaeffer Fred Stein oam Mary Whelan Brian White ao Rosemary White HONORARY COUNCIL MEMBERS Ita Buttrose ac obe Donald Hazelwood ao obe Yvonne Kenny am Wendy McCarthy ao Dene Olding am Leo Schofield am Peter Weiss ao

Concertmasters Emeritus

Donald Hazelwood AO OBE Dene Olding AM

16 SYDNEY SYMPHONY ORCHESTRA PATRONS

The Sydney Symphony Orchestra gratefully acknowledges the music lovers who support us. Your generous philanthropy is instrumental to our continued artistic excellence and helps to sustain our important education and regional touring programs. In addition to those listed below, we also acknowledge those supporters who wish to remain anonymous.

VISIONARIES Geoffrey Robertson ao Dr Lee MacCormick Edwards Jane Thornton oam & Graeme Roberston Charitable Foundation Peter Thornton Brian Abel Tim Robertson Mora Maxwell Kevin Troy Geoff Ainsworth am & Robert McDougall Judge Robyn Tupman Johanna Featherstone James Stening Judith A McKernan Ken Unsworth Anne Arcus & Terrey Arcus am Judy & Sam Weiss Jackie O’Brien Dr Alla Waldman The Berg Family Foundation Caroline Wilkinson oam Sandra Plowman The Hon. Justice A G Whealy Dr Rachael Kohn ao & June & Alan Woods Mark & Lindsay Robinson Evan Wong & Maura Cordial Mr Tom Breen Family Bequest Dr Agnes E Sinclair Lindsay & Margaret Woolveridge Robert & Janet Constable $10,000+ Dougall Squair Josette Wunder Crown Resorts Foundation Ainsworth Foundation Howard Tanner am & Mary Tanner Sir Frank Lowy ac & $1,000+ Rob Baulderstone & Mary Whelan David FC Thomas & Lady Shirley Lowy oam Audrey Blunden Katerina Thomas Lenore Adamson Ruth & Bob Magid oam John Aitken Daniel & Drina Brezniak Women’s Health & Research Roslyn Packer ac Institute of Australia Rae & David Allen (President, Maestro’s Circle) Richard Cobden sc Robert Veel Henri W Aram oam Packer Family Foundation Janet Cooke Robert & Rosemary Walsh In memory of Toby Avent Thyne Reid Foundation Ewen Crouch am & Yim Family Foundation John Augustus & Kim Ryrie Peter Weiss ao (President Catherine Crouch Dr John Yu ac Lyn Baker Emeritus, Maestro’s Circle) & Ian Dickson & Reg Holloway Malcolm & Joanna Barlow Doris Weiss The Greatorex Fund $2,500+ Dr Richard & Mrs Margaret Bell Carolyn Githens Colin & Richard Adams G & L Besson MAESTRO’S CIRCLE Nora Goodridge oam David Barnes Mark Bethwaite am Robert Albert ao & James Graham am & In memory of Lance Bennett Minnie Biggs Elizabeth Albert Helen Graham In memory of Rosemary Boyle, Allan & Julie Bligh Christine Bishop Ross Grant Music Teacher Judith Bloxham John C Conde ao The Hilmer Family Endowment In memory of R W Burley Andre Boerema Dr Gary Holmes & Jim & Kim Jobson Cheung Family Irene & Robert Bonella Dr Anne Reeckmann Roland Lee Jill E Choulkes Dr Barbara Booth & Ingrid Kaiser Dr Janet Merewether Dr Paul Collett Dr Margaret Booth I Kallinikos Dr Dominic Pak & Cecilia Tsai Andrew & Barbara Dowe Jan Bowen am Anthony & Sharon Lee Mr & Mrs Nigel Price Sarah & Tony Falzarano Ros Bracher am Foundation Sylvia Rosenblum Ian Fenwicke & the late Prof Peter Braithwaite & Gary Linnane Warren & Marianne Lesnie The Ross Trust Neville Wills Mrs H Breekveldt The late Hon Jane Mathews ao Rod Sims & Alison Pert Michael & Rochelle Goot Ita Buttrose ac obe Catriona Morgan-Hunn Tony Strachan Anthony Gregg Hugh & Hilary Cairns Rachel & Geoffrey O’Conor Russell Tagg & Pat Woolley Sherry & Tom Gregory Michel-Henri Carriol Vicki Olsson M D Chapman am & J M Chapman Kim Williams am & Catherine Dovey Jill Hickson am Drs Keith & Eileen Ong Roger Hudson & Norman & Suellen Chapman David Robertson & Orli Shaham SUPPORTERS PROGRAM Claudia Rossi-Hudson Dr Diana Choquette Paul Salteri am & Sandra Salteri Andrew Kaldor am & David Churches & Helen Rose $5,000+ Penelope Seidler am Renata Kaldor ao Donald Clark In memory of Mrs W Stening Stephen J Bell W G Keighley In memory of L & R Collins Kathy White Dr Victor Bien & Dr Heng Khung & Mrs Cilla Tey Joan Connery oam In memory of Dr Bill Webb & Ms Silvana d’Iapico Professor Andrew Korda am & Debby Cramer & Bill Caukill Mrs Helen Webb Beverley & Phil Birnbaum Susan Pearson Dr Peter Craswell Ray Wilson oam, in memory of Boyarsky Family Trust A/Prof Winston Liauw & Ellen Liauw Mary Anne Cronin James Agapitos oam Ian & Jennifer Burton Juliet Lockhart Trevor Cook & Julie Flynn PATRONS PROGRAM Hon J C Campbell qc & Gabriel Lopata Charles P Curran ac & Mrs Campbell Peter Lowry oam & Mrs Eva Curran $15,000+ Margot Chinneck Dr Carolyn Lowry oam John Curotta Antoinette Albert Roxane Clayton David Maloney am & Erin Flaherty Diana Daly Doug & Alison Battersby B & M Coles Renee Markovic The Hon. Justice David Davies & Dugald Black Howard & Maureen Connors Matthew McInnes Mr Paul Presa Sandra & Neil Burns Donus Australia Foundation Dr V Jean McPherson Greta Davis Robert & L Alison Carr Limited Phil & Helen Meddings Lisa & Miro Davis The Deveson Family Dr Rebecca Chin Paul R Espie ao James & Elsie Moore Kate Dixon Bob & Julie Clampett Richard Flanagan Janet Newman Susan Doenau Emma Dunch Dr Stephen Freiberg & Timothy & Eva Pascoe Edward & Diane Federman Andrew Patterson & Steven Bardy Stuart & Alex Donaldson Donald Campbell Simon Johnson Graham Quinton Peter Doyle Dr Colin Goldschmidt Dr Barry Landa Suzanne Rea & Graham Stewart JP & Jen Drysdale Sylvia and the late Sol Levi Warren Green Patricia H Reid Endowment Pty Ltd Professor Jenny Edwards Dr Jan Grose oam Helen Lynch am & Helen Bauer Dr Evelyn Royal Dr Rupert C Edwards Susan Maple-Brown am James & Yvonne Hochroth Shah Rusiti The Hon. Justice Sylvia Emmett Russell & Mary McMurray Kimberley & Angus Holden Manfred & Linda Salamon Suellen & Ron Enestrom The Hon. Justice AJ Meagher & Peter M Howard Tony Schlosser John B Fairfax ao & Libby Fairfax Mrs Fran Meagher David Jeremy Sophie Schultz Hannah Fink & Andrew Shapiro John & Jane Morschel Ervin Katz Helen & Sam Sheffer Mr & Mrs Alexander Fischl Karen Moses Justice Francois Kunc & Yvonne Sontag Vernon Flay & Linda Gilbert Kenneth R Reed am Ms Felicity Rourke Titia Sprague Frielich Family Foundation Garry & Shiva Rich John Lam-Po-Tang Jo Strutt & the late John Strutt Lynne Frolich

17 SYDNEY SYMPHONY ORCHESTRA PATRONS

Jennifer Fulton Alexander & Rosemary Roche Alexandra & Axel Buchner Dr Leo Leader & Mrs Shirley Leader Dr Greg Gard & Lesley & Andrew Rosenberg Darren Buczma Cheok F Lee Dr Joanne Grimsdale Christine Rowell-Miller Anne Cahill oam Catherine Leslie Irene & John Garran Jorie Ryan for Meredith Ryan Lorraine Cairnes & Peter Moffitt Erna Levy Ray & Lindy Gerke Kenneth Ryan Eric & Rosemary Campbell Liftronic Pty Ltd Stephen Gillies & Jo Metzke Hon Justice Ronald Sackville ao Mary Carter Joseph Lipski Clive & Jenny Goodwin & Mrs Pam Sackville Freda Cassen Anne Loveridge Marilyn & Max Gosling In memory of H St P Scarlett C Cathels Panee Low Andrea Govaert & Solange Schulz P C Chan Wik Farwerck George & Mary Shad Callum Close & James Tolhurst Lyon Family In memory of Angelica Green Kathleen Shaw Alison Clugston-Cornes Elaine MacDonald Robert Green Peter & Virginia Shaw Brian Cohen Frank Machart Geoffrey Greenwell Alison Shillington & Meg Isabelle Collis Melvyn Madigan Akiko Gregory the late David Shillington In memory of Beth Harpley Silvana Mantellato Harry & Althea Halliday Dr Evan Siegel Dom Cottam & Kanako Imamura Molly McConville Kim Harding & Irene Miller Margaret Sikora lan Creighton Alastair McKean V Hartstein Marlene & Spencer Simmons Robin & Wendy Cumming Margaret McKenna Donald Hazelwood ao obe & Maureen Smith John & Jill Curtin Ross McNair & Robin Richardson Helen Hazelwood Barbara & Bruce Solomon Katarina Cvitkovic I Merrick Jennifer Hershon Anthoula Danilatos Judith Southam John Mitchell Sue Hewitt Geoff & Christine Davidson Donna St Clair Kenneth Newton Mitchell Dr Lybus Hillman Fred Stein oam Christie & Don Davison Alan Hauserman & Janet Nash Michelle Hilton, in memory of my Catherine Stephen Mark Dempsey & Jodi Steele father, Emil Hilton Dr Vera Stoermer Anne Dineen John R Nethercote Dorothy Hoddinott ao Rosemary Swift Dr David Dixon Graham North Georgina Horton D P Taranto & A J Cassidy Grant & Kate Dixon Kate Parsons Dr Brian Hsu & Mrs Felicity Hsu M Teh Marion Dixon Dr Kevin Pedemont Dr Michael & Mrs Penny Hunter Mildred Teitler Lili Du Tobias Pfau In memory of Geoffrey Israel Jonathan Teperson Camron Dyer & Richard Mason Erika & Denis Pidcock Beth Jackson & John Griffiths Dr Jenepher Thomas Ron Dyer oam & Dorothy Dyer Dr Michael Pidcock Margaret Johnston H M Tregarthen John A Easton & Glenda C Easton Jane Purkiss Dr Owen Jones & Margaret Epps Gillian Turner & Rob Bishop The Hon. Dr Rodney Purvis am qc Vivienne Goldschmidt John Favaloro Helen Twibill & Mrs Marian Purvis Fran & Dave Kallaway Suzanne & Ross Tzannes am Dr Roger Feltham Leslie Kennedy Carole Ferguson Dongming & Jiyi Ren Dr John Vallance Kim & Graham Richmond Anna-Lisa Klettenberg Mary Vallentine ao E Fidler Megan Rofe Justin Lam John & Akky van Ogtrop Lesley Finn Beatrice Lang Mr & Mrs Waddington Barbara Fogarty Catherine H Rogers Peter Lazar am Ronald Walledge Arlene Goldman Peter & Heather Roland Robert Lee In memory of Denis Wallis Sharon Goldschmidt Agnes Ross The Levins Family Foundation In memory of Don Ward Dr Leo Gothelf Kaye Russell Benjamin Li Jerry Whitcomb Carole A P Grace Peter & Edith Ryba A Lohan Dr Peter White Richard Griffin am & Jay Griffin Justin Schaffer Dr Linda Lorenza Peter Williamson Peter & Yvonne Halas William Sewell Michael & Hilary Lunzer A L Willmers & R Pal Christopher Harris Daniela Shannon Barbara Maidment Michael Harvey Dr Edward J Wills Diane Shteinman am John & Sophia Mar Sandra Haslam Margaret Wilson Ian & Jan Sloan Anna & Danny Marcus Dr Richard Wing Robert Havard Alexandra Martin Rosemary Heal Charles Soloman Dr Peter W Wong Jennifer Spitzer Danny May In memory of Lorna Wright James Henderson Robert Spry Kevin McCann am & R Yabsley Roger Henning & Anton Enus Deidre McCann Lynette Hilton Dr Vladan Starcevic Ian & Pam McGaw $500+ Prof Ken Ho & Mrs Tess Ho Cheri Stevenson Evelyn Meaney John & Livia Aboud Sally Hochfeld Ian Taylor Keith Miller Phillip Alexander & Geoff Hogbin Pam & Ross Tegel Dr Robert Mitchell Elizabeth Steel Andrew & Carmella Hollo Ludovic Theau Henry & Ursula Mooser Heather & Peter Andrews Suzzanne & Alexander Houghton Daryl & Claire Thorn Nick & Juliet Andrews Howard Morris Heather & Malcom Hughes Alma Toohey Luke Arnull P Muller Philip Jameson Kathryn J Turner Judith Mulveney Garry & Tricia Ash Dr Mary Johnsson Kristina Vesk oam Janet & Michael Neustein Lauren Atmore Michael Jones Yvonne Newhouse & John Bagnall Scott & Ellie Kable Lynette Walker Henry Brender Paul Balkus Karanikas Family Holdings Pty Ltd June Walpole Darrol Norman & Sandra Horton The Hon. Chief Justice Bathurst Beverly Katz & Anthony Larkum Edward West J E Norman & G V Norman & Mrs Bathurst In memory of Pauline Keating Robert Wheen Professor Mike O’Connor am Jan Bell Kim & Megan Kemmis Dr Peter White Judith Olsen Chris Bennett M Keogh In memory of JB Whittle Mr & Mrs Ortis Susan Berger Dr Henry Kilham P & B Williamson In memory of Sandra Paul Baiba Berzins Jennifer King In memory of Trevor Williamson Christina Pender The Hon. Michael Black ac qc & Susan Kitchin & John Woolford Don & Heather Wilson Stephen Perkins Mrs Margaret Black Margaret Kyburz Marianna Wong Peter & Louise Black Almut Piatti Sonia Lal Sue Woodhead Dr John I Pitt Jane Blackmore Tania Lamble In memory of Olwen Woolcott Greeba Pritchard Richard Bloor Eugen Lamotte & Duncan George Dr Raffi Qasabian & Kees Boersma & Kirsty McCahon Patrick Lane Dawn & Graham Worner Dr John Wynter Stephen Booth The Laing Family Juliana Wusun Patrick Quinn-Graham Ian & Barbara Brady Elaine M Langshaw Paul Wyckaert Ernest & Judith Rapee Libby Braybrooks Dr Allan Laughlin L D & H Y In memory of Katherine R D & L M Broadfoot Olive Lawson Joyce Yong Robertson Dr Tracy Bryan Antoinette le Marchant Helga & Michele Zwi

18 SYDNEY SYMPHONY ORCHESTRA PATRONS

Chair Patrons David Robertson Umberto Clerici Jane Hazelwood Timothy Nankervis The Lowy Chair of Principal Cello Viola Cello Chief Conductor and Garry & Shiva Rich Chair Bob & Julie Clampett Chair Dr Rebecca Chin & Family Chair Artistic Director in memory of Carolyn Clampett Anne-Louise Comerford Elizabeth Neville Emma Dunch Associate Principal Viola Claire Herrick Cello Chief Executive Officer White Family Chair Violin Ruth & Bob Magid OAM Chair I Kallinikos Chair Kristy Conrau Mary & Russell McMurray Chair Alexandre Oguey Andrew Haveron Cello Catherine Hewgill Principal Cor Anglais Concertmaster James Graham AM & Principal Cello Mackenzie’s Friend Chair Vicki Olsson Chair Helen Graham Chair The Hon. Justice AJ & Mark Robinson Joshua Batty Timothy Constable Mrs Fran Meagher Chair Acting Principal Timpani Principal Flute Percussion Kirsty Hilton Sylvia Rosenblum Chair Karen Moses Chair The late Hon. Jane Mathews AO Principal Second Violin in memory of Rodney Chair Victoria Bihun Drs Keith & Eileen Ong Chair Rosenblum Violin Lerida Delbridge Scott Kinmont Emma Sholl Sylvia & the late Sol Levi Chair Assistant Concertmaster Associate Principal Trombone Associate Principal Flute Simon Johnson Chair Kees Boersma Audrey Blunden Chair Robert & Janet Constable Chair Principal Double Bass Diana Doherty Leah Lynn Justin Williams Council Chair Principal Oboe Assistant Principal Cello Assistant Principal Viola John C Conde AO Chair Tobias Breider Sydney Symphony Orchestra Robert & L Alison Carr Chair Principal Viola Paul Goodchild Vanguard Chair (lead support Roslyn Packer ac & Associate Principal Trumpet from Taine Moufarrige and Gretel Packer Chair Friends of the late Hon. Jane Seamus R Quick) Mathews AO Chair Nick Byrne Nicole Masters Trombone Carolyn Harris Violin Robertson Family Chair Flute Nora Goodridge oam Chair Dr Barry Landa Chair

“I will be forever grateful for the support that Jane Mathews gave the Orchestra, and to The Friends of Jane Mathews who have been inspired by Jane in the support of my Chair. We will never forget her, or the significant impact that she had on our music community.” — Paul Goodchild, Associate Principal Trumpet FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM CALL (02) 8215 4674

19 SYDNEY SYMPHONY ORCHESTRA PATRONS

Sydney Symphony Fellowship The Fellowship program receives generous support from Paul Salteri am & Sandra Salteri and the Estate of the late Helen MacDonnell Morgan. Fellowship Artistic Director, Roger Benedict is supported

by Warren & Marianne Lesnie. ANTHONY GEERNAERT PHOTO: fellowship patrons Robert Albert AO & Elizabeth Albert Violin Fellow Black, Morgan-Hunn & Stening Oboe Fellow Christine Bishop Percussion Fellow Sandra & Neil Burns Clarinet Fellow Carolyn Githens Double Bass Fellow Dr Gary Holmes & Dr Anne Reeckmann Horn Fellow In memory of Matthew Krel Violin Fellow Warren & Marianne Lesnie Trumpet Fellow The Ross Trust Double Bass Fellow In memory of Joyce Sproat Viola Fellow In memory of Mrs W Stening Cello Fellow June & Alan Woods Family Bequest Bassoon Fellow

Sydney Symphony Orchestra 2019 Fellows

Sydney Symphony Orchestra Commissions 2019

Each year – both alone and in collaboration with other orchestras worldwide – the Sydney Symphony Orchestra commissions new works for the mainstage concert season. These commissions represent Australian and international composers, established and new voices, and reflect our commitment to the nurturing of orchestral music.

STEVE REICH Music for Ensemble and Orchestra Premiered February 2019 Commissioned with the support of Dr Stephen Freiberg & Donald Campbell

CHRISTOPHER ROUSE Bassoon Concerto Help spark a lifetime Premiering 28, 29, 30 November 2019 love of music and support Commissioned with the support of Geoff Stearn the Orchestra’s future.

PLEASE DONATE TODAY

(02) 8215 4674 [email protected]

20 SYDNEY SYMPHONY ORCHESTRA PATRONS

Sydney Symphony Bequest Society Sydney Symphony Orchestra Vanguard We recognise the generosity and vision of donors who help to Sydney Symphony Vanguard is an adventurous way to secure a bright future for the Sydney Symphony by making demonstrate your commitment to supporting a secure future a bequest. The Sydney Symphony Bequest Society honours for orchestral music and live performance. A membership the legacy of Stuart Challender, the Sydney Symphony program for the musically curious, Vanguard is your ticket to Orchestra’s renowned Chief Conductor from 1987 until his join the Sydney Symphony community. untimely death in 1991. In addition to those listed below, VANGUARD COLLECTIVE Cassandra Scott we also acknowledge those who wish to remain anonymous. Justin Di Lollo Chair Mischa Simmonds Warwick K Anderson Dr John Lam-Po-Tang Taine Moufarrige Tim Steele Henri W Aram OAM & Robin Aram Dr Barry Landa Founding Patron Ben Sweeten Timothy Ball Peter Lazar AM Chris Robertson & Katherine Shaw Ian Taylor Dr Rosemary Barnard Daniel Lemesle Founding Patrons Lena Teo Stephen J Bell Ardelle Lohan Paul Colgan Robyn Thomas Christine Bishop Dr Linda Lorenza Judith Bloxham Oscar McMahon Russell Van Howe & Simon Beets Mary McCarter Dr Danika Wright David & Halina Brett Louise Miller Shefali Pryor R Burns Jane Wurth James & Elsie Moore VANGUARD MEMBERS David Churches & Helen Rose Barbara Murphy Howard Connors Duncan & Wendy Abernethy Greta Davis Douglas Paisley Laird Abernethy Glenys Fitzpatrick Jane Purkiss Gabrielle Aimes Dr Stephen Freiberg Kate Roberts Emilia Archibald Dr Richard Spurway Vic & Katie French Attila Balogh Jennifer Fulton Rosemary Swift Andrew Baxter Brian Galway Mary Vallentine AO Geoffrey Greenwell Ray Wilson OAM Dr Victoria Beyer Pauline M Griffin AM Dawn & Graham Worner Daniel Booth Dr Andrew Botros Christie Brewster Nikki Brown Chloe Burnett Sandra Butler Alicia Cabrera Jacqueline Chalmers Dharma Chandran Dr Rebecca Chin Tanya Costello Alex Cowie Anthony Cowie Peter Creeden Paul Deschamps Stuart Challender, Sydney Symphony Orchestra Paul & Rachelle Edwards Chief Conductor and Artistic Director 1987–1991 Roslyn Farrar Matthew Garrett & We gratefully acknowledge those who have left a Courtney Thomason bequest to the Sydney Symphony Orchestra Rob Gaunt The Estate of the late Ross Adamson Sam Giddings The Estate of the late Douglas Vincent Agnew Kathryn Higgs The Estate of the late Dr Alison Margaret Burrell Katie Hryce The Estate of the late Carolyn Clampett Virginia Judge The Estate of the late Jonathan Earl William Clark Aernout Kerbert The Estate of the late Martha Danos Robert Larosa The Estate of the late Roma Valeria Joy Ellis Kate Lavender The Estate of the late Paul Louis de Leuil Lauren Macaulay The Estate of the late Colin T Enderby The Estate of the late Mrs E Herrman Elizabeth McEvoy The Estate of the late Irwin Imhof Carl McLaughlin The Estate of the late Isabelle Joseph Sabrina Meier The Estate of the late Dr Lynn Joseph Adrian Miller The Estate of the late Matthew Krel Jemma Morris The Estate of the late Helen MacDonnell Morgan Alex Nicholas The Estate of the late Greta C Ryan Timothy Nicholls & James Camilleri The Estate of the late Foster Smart Joel Pinkham The Estate of the late Joyce Sproat Seamus Robert Quick June & Alan Woods Family Bequest We are proud to acknowledge Katie Robertson those donors who have IF YOU WOULD LIKE MORE INFORMATION ON MAKING A Alvaro Rodas Fernandez given in support of our work BEQUEST TO THE SYDNEY SYMPHONY ORCHESTRA, PLEASE Wouter Roesems over the last twelve months. CONTACT OUR PHILANTHROPY TEAM ON 8215 4625. Rachel Scanlon (1 September, 2019)

21 SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is assisted by the The Sydney Symphony Orchestra is Commonwealth Government through the Australia assisted by the NSW Government Council, its arts funding and advisory body. through Create NSW.

PREMIER PARTNER

PLATINUM PARTNER MAJOR PARTNERS

FOUNDATIONS

GOLD PARTNERS

SILVER PARTNERS MEDIA PARTNERS

COMMUNITY & INDUSTRY PARTNERS

VANGUARD PARTNER EVENT PARTNER REGIONAL TOUR PARTNER