Download Report

2011 SEASON
Favourite ﬁfﬁilm soundtracks
JAMES
MORRISON
AT THE MOVIES
FRI 18 FEBRUARY 8PM
SAT 19 FEBRUARY 8PM
KALEIDOSCOPE
WELCOME
It is my great pleasure to welcome you to the
first concert in the Kaleidoscope series for 2011,
James Morrison at the Movies, proudly supported
by Wilson Parking.
We are delighted to have jazzman extraordinaire,
James Morrison, join us this evening, leading the
orchestra in a tribute to the trumpet in the movies.
This concert brings together some of the great
musical moments from the silver screen for an
evening full of the Kaleidoscope spirit that we’re
so proud to support.
As manager of the Sydney Opera House Car
Park, Wilson Parking is proud of its association as
a Silver partner of the Sydney Symphony, and we
trust you as our valued patrons will enjoy tonight’s
performance.
Peter Witts
State Manager – NSW
Wilson Parking Australia
2011 SEASON
KALEIDOSCOPE
Friday 18 February
| 8pm
Saturday 19 February | 8pm
Sydney Opera House Concert Hall
JAMES MORRISON AT THE MOVIES
James Morrison trumpet | Marc Taddei conductor |
Emma Pask vocals | The Idea of North
James Muller guitar | Phil Stack double bass | Gordon Rytmeister drums
Richard Strauss
Thus Spake Zarathustra: opening music
(as heard in 2001: A Space Odyssey)
Meredith Willson
Seventy-Six Trombones
(from The Music Man)
Scott Joplin
The Entertainer (from The Sting)
Johnny Mandel & Paul Francis Webster
The Shadow of Your Smile (from The Sandpiper)
with Emma Pask
Norman, Conti, McCartney & Barry
Themes from 007 – Medley for orchestra
James Bond Theme – For Your Eyes Only –
Live and Let Die – Goldfinger
John Barry
Thunderball
Charlie Chaplin
Smile (from Modern Times)
with The Idea of North
E.Y. ‘Yip’ Harburg & Harold Arlen
Over the Rainbow (from The Wizard of Oz)
Morrison and The Idea of North
Bernard Herrmann
Taxi Driver – A Night Piece
Prelude – Night Prowl – Bloodbath
John Williams
Main Title Music from Star Wars
INTERVAL
Irving Berlin
Easter Parade
Blue Skies
A Pretty Girl is Like a Melody (from Blue Skies)
Alexander’s Ragtime Band
Stephen Sondheim
Send in the Clowns (from A Little Night Music)
with The Idea of North
Thelonius Monk
’Round Midnight
Morrison and the band
Traditional
When the Saints Go Marching In
Alan Jay Lerner & Frederick Loewe
Wouldn’t It Be Loverly (from My Fair Lady)
with Emma Pask
Bob Thiele (as George Douglas) &
George David Weiss
What a Wonderful World
(as heard in Good Morning,Vietnam)
Jerry Herman
Hello, Dolly!
SUPPORTING
PARTNER
Saturday night’s performance will be recorded for
later broadcast on ABC Classic FM.
Pre-concert talk by John Foster at 7.15pm in the Northern Foyer.
Visit sydneysymphony.com/talk-bios for speaker biographies.
Approximate durations: 45 minutes, 20-minute interval, 55 minutes
The concert will conclude at approximately 10.10pm.
For details of arrangements see page 17.
WARNER BROS / THE KOBAL COLLECTION
Robert Preston leads the great parade in The Music Man
INTRODUCTION
The Trumpet Goes to the Movies
When we invited James Morrison to take us to the movies
tonight, we knew he’d be bringing his trumpet along. And
that gave us a thematic thread for the program.
Think of movies and trumpets at the same time and
there’s one ﬁgure who springs immediately to mind:
‘Satchmo’ – the great Louis Armstrong. He got his start in
ﬁlm in the 1930s, played himself opposite Billie Holiday
in the 1947 movie New Orleans, and with Danny Kaye he
made a hit of ‘When the Saints Go Marching In’ in The
Five Pennies (1959). But his most famous cameos saw him
singing ‘Hello, Dolly!’ to Barbra Streisand in 1969 and
performing in duo with Bing Crosby in High Society (1956).
Behind the scenes there’s another trumpeter who made
an extraordinary contribution to the world of ﬁlm music:
John Barry. Classically trained, he led his own band in
the 1950s (The John Barry Seven), and then moved into
the world of ﬁlm and television. He won Oscars for ﬁlms
like Out of Africa and Dances with Wolves, but the scores
for which he’s equally famous were never nominated for
the big awards. By the time of his death last month, he’d
composed for 11 James Bond movies – a record that’s likely
to stand for a while yet – and in this concert we pay tribute
with some of those memorable themes.
But pay attention to any orchestral soundtrack and
you’ll soon notice how important the trumpet is. It’s the
instrument of fanfares – as John Williams well knows.
It gives the sheen to the kind of magical brass writing
that begins Richard Strauss’s Thus Spake Zarathustra (and
the movie 2001). The trumpet can be edgy, frightening,
brazen, proud, rousing…or smooth and lyrical. It can play
classical, it can play jazz, it can hold its own in a parade of
76 trombones (actually, that was 110 cornets, but let’s not
quibble). And tonight we get to hear this most versatile of
instruments in the hands of one of the most versatile of
musicians.
7 | Sydney Symphony
ABOUT THE MUSIC
James Morrison at the Movies
MGM / THE KOBAL COLLECTION
Bookending tonight’s program are two of the most
memorable musical moments in the history of cinema. We
begin with the soaring trumpet of Richard Strauss’ paean
to man’s potential, Also sprach Zarathustra, and end almost
where it all began – with the music of Louis Armstrong,
whose horn heralded the dawn of the Jazz Age in the 1920s
and the fusion of two art forms that would subsequently
portray the human experience with an unprecedented
intensity.
It’s a testament to Stanley Kubrick’s unique cinematic
vision that, even for those who have never seen his 1968
masterpiece 2001: A Space Odyssey, its theme music
has come to symbolise humankind’s eternal quest for
exploration and appetite for domination. To create the
score, Kubrick engaged composer Alex North, with whom
he had previously worked on Spartacus (1960). North
recorded some 40 minutes’ worth of music which Kubrick
ultimately rejected in favour of the classical guide track he’d
used while editing the ﬁlm (North’s discarded score was
re-recorded by Jerry Goldsmith in 1993 and the composer’s
own original 1968 recordings were released in 2007). North
was gutted, but given the non-narrative, highly visual style
of the movie, the music chosen by Kubrick undoubtedly
lends a sense of timelessness to the now-forty-year-old
images of the future.
Richard Strauss, drawing by Leonhard
Fanto (1919)
Keir Dullea in 2001: A Space Odyssey
(1968)
Underpinning the ﬁlm’s central idea of man’s evolution
is Strauss’s Also sprach Zarathustra, which is heard at the
beginning (alignment of the planets and Dawn of Man) and
again at the end when Bowman is transformed into the
Star Child. The Kyrie from Ligeti’s Requiem was an inspired
choice: the unsettling sound of the voices adds an eerie
note to the mysterious appearances of the monolith (the
signiﬁcance of which is never explained). And few could
forget the graceful revolving of the space station to the
strains of The Blue Danube during the spaceship docking
8 | Sydney Symphony
UNIVERSAL / THE KOBAL COLLECTION
sequence. It wouldn’t be the last time that Kubrick was to
eschew a conventional score in favour of works from the
classical repertoire: the soundtrack for A Clockwork Orange
(1971) featured music by, among others, Beethoven, Elgar
and Rossini.
Whereas Kubrick was compelled to go back to the future
for several of his soundtracks, the makers of The Sting
Robert Shaw, Paul Newman and
Robert Redford in The Sting.
CHAPLIN / UNITED ARTISTS / THE KOBAL COLLECTION
(1973) revisited America’s original vernacular music, ragtime,
for their tale of two con men getting even in Depression-era
Chicago. The ﬁlm’s score secured an Academy Award for
Marvin Hamlisch and brought Scott Joplin to the attention of
a whole new generation, many of whom would come to link
the movie indelibly with his greatest tune, ‘The Entertainer’.
Throughout the history of cinema, there have been
ﬁlmmakers whose creative impulse has extended beyond
the directorial. Decades before John Carpenter composed
the music for his ﬁlms Halloween (1978) and The Fog (1980),
Charlie Chaplin dictated his own tunes to studio musical
directors. Chaplin’s sensibilities were ﬁrmly rooted in music
hall and the melodramatic traditions of the 19th-century
Charlie Chaplin and Paulette Goddard
walk into the sunset to the strains of
‘Smile’.
9 | Sydney Symphony
INSIGNIA FILMS / THE KOBAL COLLECTION
stage, and his preference was for romantic, graceful music
that provided a counterpoint to his comedy. Although
he played violin, he never learnt how to read music and
hummed fragments of melodies that would be transcribed
by his arrangers, including David Raksin, who worked
on Modern Times (1936). Chaplin could be a demanding
taskmaster and during a recording session for Modern Times
he incurred the wrath of United Artists’ musical director
Alfred Newman, who promptly walked out, vowing never
to work with him again. However there is no trace of that
conﬂict in the movie’s famous closing scene, where Chaplin
and Paulette Goddard walk into the sunset to the strains of
Chaplin’s own composition ‘Smile’. The ﬁnal fade-out shot
assumed a particularly poignant signiﬁcance: the silent era
had come to a close and Chaplin would never again appear
on screen as the Tramp.
As movie franchises go, the James Bond series is one of
the most successful in screen history. Ian Fleming created
Bond at a particular juncture in post-World War II history:
Britain had begun to lose its status as an imperial power
and the geo-political map was shifting, with Cold War
tensions rising. The West was in the grip of an emerging
consumer culture and revising its notions of class, race, sex
and gender. The ﬁlms especially, exploited these factors,
and added some legendary double entendres for good
measure. The Bond ﬁlms came to be enjoyed on a number
of levels, and it was therefore essential that the music reﬂect
this pluralism. John Barry’s diverse musical credentials
John Barry OBE (1933–2011)
John Barry scored 11 James Bond
films and was awarded five Oscars
for soundtracks such as Dances with
Wolves and Out of Africa. He died last
month of a heart attack at the age
of 77.
10 | Sydney Symphony
DANJAQ/EON/UA / THE KOBAL COLLECTION
Sean Connery was 007 in Thunderball
MGM / THE KOBAL COLLECTION
(classically trained, he played trumpet in the army and with
his own John Barry Seven before arranging for television
and Adam Faith) perfectly equipped him to mix all of the
elements which would make up Bond’s sound-world. His
insightful instrumentation blended traditional sweeping
orchestral arrangements with synthesizers, cimbalom,
exotic percussion, funky Hammond organ lines and jazzy
combo setups featuring ﬂute, vibes, and electric guitar.
And of course there was the signature punchy brass, born
of his admiration for Stan Kenton. Musically, he was of
the moment and his scores helped deﬁne 1960s cinema
and television (The Ipcress File, The Knack...and How to Get
It, The Persuaders). His reworking of Monty Norman’s Bond
theme resulted in arguably the most instantly recognisable
title sequence of all time, and his compositional style
complemented Peter Hunt’s quick editing perfectly.
Goldfinger (1964) was the ﬁrst Bond ﬁlm entirely scored
by Barry and the hit theme song sung by Shirley Bassey
created a trend for subsequent movies in the series. (Ironically,
producer Harry Saltzman hated the song – he considered it
vulgar – and only ceded to Cubby Broccoli and director Guy
Hamilton because of the tight post-production schedule.)
Other composers have had a crack at Bond, including
George Martin (Live And Let Die, with a contribution from
Paul McCartney and Wings for the theme song) and Bill Conti
(For Your Eyes Only). To date, however, Barry has been the most
proliﬁc, with twelve Bond scores to his credit. Tonight we also
hear the theme from the 1965 Bond outing, Thunderball.
As pop and rock music increasingly dominated the
airwaves during the 1960s it became common for ﬁlms to
feature hit songs: ‘Moon River’ (Breakfast at Tiﬀany’s), ‘Born
Free’, ‘The Windmills of Your Mind’ (The Thomas Crown
Aﬀair) and, winner of the 1965 Academy Award for Best
Original Song, ‘The Shadow of Your Smile’ from The
Sandpiper, Vincente Minnelli’s story of a love aﬀair between
Richard Burton and Elizabeth Taylor
in The Sandpiper
11 | Sydney Symphony
LEBRECHT MUSIC & ARTS
a free-spirited artist (Elizabeth Taylor) and a schoolmaster
(Richard Burton). A wistful trumpet rendition of the Johnny
Mandel song accompanied the movie’s dramatic shots of
Big Sur and it has since been recorded by scores of artists.
The desire of producers in the 1960s for movies to
have an associated hit song was a catalyst in the break-up
of one of the most celebrated collaborations in cinema
history: that of Bernard Herrmann and Alfred Hitchcock.
Bernard Herrmann (left) on the set of
Vertigo with Alfred Hitchcock (1958)
COLUMBIA / THE KOBAL COLLECTION
Herrmann provided the music for eight of Hitchcock’s
ﬁlms but, during the making of Torn Curtain (1966),
studio bosses pressured the director into replacing him
with a younger composer who could provide a more
contemporary soundtrack and possibly a hit song. Having
had a commercial failure with Marnie (1964), Hitchcock was
suﬀering a crisis of conﬁdence and complied. Herrmann
subsequently relocated to Britain, where he was later
discovered by a new generation of ﬁlmmakers, including
Brian De Palma, François Truﬀaut and Martin Scorsese, who
invited Herrmann to score his 1976 picture Taxi Driver.
Taxi Driver is a portrait of Travis Bickle, an ex-marine
and introverted loner who drives a cab around New York
City at night to cope with his insomnia. The violence and
Robert de Niro in Martin Scorsese’s
1976 film Taxi Driver
12 | Sydney Symphony
crime that Bickle witnesses from his cab feed his growing
contempt for the world around him (‘all the animals come
out at night…someday a real rain’ll come and wash all the
scum oﬀ the streets’).
Herrmann’s music is often described as dark and
brooding, and the noir-style theme that accompanies the
night driving scenes (Prelude) has a menacing undercurrent
with a hint of latent violence. In stark contrast is Betsy’s
love theme (Blues), a languorous, jazzy number (performed
tonight by James Morrison on alto sax). Travis’ tenuous
hold on reality ﬁnally snaps after he is spurned by Betsy
and encounters child prostitute Iris, and the music takes on
a martial feel, with snare drum and low discordant winds
and muted brass (Night Prowl). When he kills Iris’ pimp and
associates, the love theme returns (Bloodbath), but is brutally
transformed with blaring brass and thundering timpani.
The ﬁnal movement of the suite (Finale) is a reprise of the
love theme; Iris has returned home and Travis is hailed as a
hero. But has he fully recovered? As he is driving away from
a chance encounter with Betsy, we see his eyes dart up to the
rear-view mirror.
Perhaps the most celebrated composer/director
collaboration is that of John Williams and Steven
Spielberg. Willams’ relationship with George Lucas has been
almost as fruitful, however, and it’s been said that Williams’
score for Star Wars in 1977 transformed the landscape of
LUCASFILM / 20TH CENTURY FOX / THE KOBAL COLLECTION
Star Wars brought an epic vision to
the science fiction adventure genre
and its score transformed the
landscape of film music.
ﬁlm music. This is rich imaginative writing that brought
the symphony orchestra as a major component back into
ﬁlms, where Williams has kept it at a time when many ﬁlm
composers have resorted to sequencers. We end the ﬁrst
half of tonight’s concert with the only cinematic fanfare
to rival Alfred Newman’s Twentieth Century Fox signature
theme – the main title music to Star Wars.
13 | Sydney Symphony
WARNER BROS / THE KOBAL COLLECTION
Al Jolson sings ‘Blue Skies’ in
The Jazz Singer (1927)
Carol Channing once said, ‘American musical comedy
is an outgrowth of every immigrant.’ When Al Jolson
astonished cinema audiences with his rendition of Irving
Berlin’s ‘Blue Skies’ in The Jazz Singer in 1927, the shtetlto-showbiz storyline reﬂected the prevailing inﬂuences on
American popular music during the ﬁrst decades of the
20th century. Cantor’s son Berlin was born Israel Baline in
1888 in Russia, his family settling in New York’s Lower East
Side a few years later. Entirely self-taught as a musician –
oddly, he played only on the black keys of the piano and
most of his early songs were therefore written in the key of
F sharp – he composed almost two dozen Broadway shows
between 1914 and 1962. Jerome Kern, when asked to place
Berlin in the history of American song, famously said:
‘Irving Berlin has no place in American music; Irving Berlin
is American music.’
Berlin’s ﬁrst big hit ‘Alexander’s Ragtime Band’ eased
the entry of black musical idioms into American popular
song and set the course for the cross-fertilisation that
ultimately led to the Great American Songbook. He had a
disdain for ‘political’ music but the 1933 revue As Thousands
Cheer, for which he provided the songs, included satirical
sketches and ‘Suppertime’, a song performed by Ethel
Waters about a woman whose husband has been lynched –
provocative in its day. Also in the revue was ‘Easter Parade’,
which was later sung by Judy Garland in the ﬁlm of the
same name. The fourth Berlin number featured in our
concert is ‘A Pretty Girl Is Like a Melody’, the anthem to
which countless celluloid Ziegfeld Follies have paraded.
When one listens to the ﬁrst three notes of ‘Over the
Rainbow’ it’s hard to believe that MGM chief Louis
B. Mayer wanted to cut the song from The Wizard of Oz
14 | Sydney Symphony
Irving Berlin
MGM / THE KOBAL COLLECTION
Fred Astaire and Judy Garland make
a fine couple of swells in Easter
Parade.
(1939) because he felt that the placement of a ballad at the
beginning of the movie would slow it down. The song’s
opening octave leap, followed by a sighing minor chord, so
perfectly encapsulates Dorothy’s yearning for a place beyond
Kansas that it sets up the entire narrative of the ﬁlm. The
movie’s songs were penned by E.Y. ‘Yip’ Harburg and Harold
Arlen, who, like Irving Berlin, was born the son of a rabbi
before heading for Tin Pan Alley, Broadway and Hollywood
(via a stint at the Cotton Club in Harlem). Regarded by many
as a songwriter’s songwriter, Arlen composed a further two
songs that, along with ‘Over the Rainbow’, would come to be
regarded as Judy Garland’s signature tunes: ‘Get Happy’ and
‘The Man That Got Away’.
The success of Rodgers and Hammerstein’s book musical
Oklahoma! during the Second World War triggered an
appetite for nostalgia on Broadway and Meredith Willson’s
musical The Music Man satisﬁed this thoroughly with
its scenes of small-town Americana. Warner Bros. wanted
Frank Sinatra for the 1962 big screen version but Willson
and director Morton DaCosta insisted that Robert Preston
15 | Sydney Symphony
WARNER BROS / THE KOBAL COLLECTION
As travelling conman Harold Hill
in the 1961 film of The Music Man,
Robert Preston inspired a whole town
to make music.
reprise his Tony Award-winning role of con man Harold
Hill, who plans to cheat the good folks of River City, Ioway with his ‘think’ system of learning music. A classically
trained ﬂautist who had played in John Philip Sousa’s band
before working in radio and ﬁlm, Willson based the show
on reminiscences of his home town of Mason City, Iowa.
The big ﬁnale number, ‘Seventy-Six Trombones’, is a
Sousa-style march which in the movie was performed by 41
principal actors, 40 dancers, a 150-member boy’s band and
500 extras.
Tonight James Morrison and his Quartet perform
Thelonius Monk’s standard ‘’Round Midnight’, however
in Bertrand Tavernier’s 1986 movie of the same name it was
‘played’ by Bobby McFerrin, whose muted trumpet-style
vocal stylings appeared over the title sequence. The ﬁlm
features saxophonist Dexter Gordon in the central role of
Dale Turner and is based on events in the life of pianist
Bud Powell, speciﬁcally his later years in Paris and his
befriending by French commercial artist Francis Paudras.
16 | Sydney Symphony
LORRAINE NEILSON
SYMPHONY SERVICES INTERNATIONAL ©2011
Musical Arrangements
Richard Strauss (1864–1949) Thus Spake Zarathustra: opening music |
Scott Joplin (c.1867/68–1917) arranged Bill Holcombe & Carson Rothrock
The Entertainer | Monty Norman, Bill Conti, Paul McCartney & John
Barry, arranged Calvin Custer Themes from 007 – Medley for orchestra |
John Barry (1933–2011) arranged Nic Raine Thunderball | Charlie Chaplin
(1889–1977) arranged James Morrison Smile | E.Y. ‘Yip’ Harburg (1896–1981)
& Harold Arlen (1905–1986) arranged James Morrison Over the Rainbow |
Bernard Herrmann (1911–1975) arranged Christopher Palmer Taxi Driver –
A Night Piece | John Williams (born 1932) Main Title Music from Star
Wars | Meredith Willson (1902–1984) arranged Leroy Anderson Seventy-Six
Trombones | Johnny Mandel (born 1925) & Paul Francis Webster (1907–1984)
arranged James Morrison, orchestrated Sean O’Boyle The Shadow of
Your Smile | Irving Berlin (1888–1989) orchestrated Robert Russell Bennett
Easter Parade | Berlin arranged Tommy Tycho Blue Skies | Berlin arranged
Judy Bailey A Pretty Girl is Like a Melody | Berlin arranged Judy Bailey
Alexander’s Ragtime Band | Stephen Sondheim (born 1930) arranged
Naomi Crellin, orchestrated Graeme Lyall Send in the Clowns | Thelonius
Monk (1917–1982) arranged James Morrison ’Round Midnight | Traditional,
arranged Dan Walker When the Saints Go Marching In | Alan Jay Lerner
(1918–1986) & Frederick Loewe (1901–1988) arranged James Morrison,
orchestrated Sean O’Boyle Wouldn’t It Be Loverly | Bob Thiele, as George
Douglas (1922–1996) & George David Weiss (1921–2010) What a Wonderful
World | Jerry Herman (born 1931) Hello, Dolly!
17 | Sydney Symphony
20TH CENTURY-FOX / CHENAULT PRODS. / THE KOBAL COLLECTION
In addition to a cameo appearance by Martin Scorsese, the
movie includes performances by a who’s who of the jazz
world, including Wayne Shorter, Ron Carter, Tony Williams,
Freddie Hubbard and Herbie Hancock, who won an
Academy Award for the score.
In a program celebrating a medium in which the moving
image and music are so inextricably intertwined, it is ﬁtting
to end with an entertainer who was almost as compelling
to watch as to listen to. Louis Armstrong’s birth coincided
with the dawn of both jazz and cinema and he went on
to appear in dozens of ﬁlms, mostly as himself. He had a
knack for breathing new life into show tunes and making
them his own, most memorably with his recordings of Kurt
Weill’s ‘Mack the Knife’ and ‘Hello, Dolly!’, which knocked
The Beatles oﬀ the Number 1 spot and landed Armstrong
a cameo appearance opposite Barbra Streisand in the 1969
ﬁlm version of the Jerry Herman musical. James Morrison
relives some of Satchmo’s most unforgettable stage and
screen moments, including his rousing duet with Danny
Kaye (‘When the Saints Go Marching In’) from the 1959
ﬁlm The Five Pennies (based on the life of jazz trumpeter Red
Nichols) and the song that resulted in a posthumous hit for
Armstrong following the release of Good Morning, Vietnam,
‘What a Wonderful World’.
Louis Armstrong and Barbra Streisand
on the set of Hello, Dolly!
MORE MUSIC
Selected Discography
Broadcast Diary
THUS SPAKE ZARATHUSTRA
Hear Richard Strauss’s complete creation in a performance
by the Sydney Symphony with conductor Charles Mackerras.
SSO 200705
FEBRUARY–MARCH
JOHN BARRY
The Ultimate John Barry Experience collects some of his
great movie themes and pop songs.
EMI RECORDS 5359342
Friday 25 February, 8pm
GRIEG’S PEER GYNT
Vladimir Ashkenazy conductor
John de Lancie narrator
BERNARD HERRMANN
Esa-Pekka Salonen conducts the Los Angeles Philharmonic
in a recording that includes music from North By
Northwest, Vertigo, Psycho, Fahrenheit 451 and Taxi Driver.
With choir and vocal soloists
SONY 92767
Vladimir Ashkenazy conductor
Jean-Efflam Bavouzet piano
LOUIS ARMSTRONG
The Essential Louis Armstrong includes hits such as Ain’t
Misbehavin’, On the Sunny Side of the Street, Basin Street
Blues, I Got Rhythm, Tea for Two, St Louis Blues and When
the Saints Go Marching In as well as Hello, Dolly! and
Mack the Knife.
NEWSOUND 158992
JAMES MORRISON
Three’s Company
The latest disc from the James Morrison Trio, with tracks
ranging from Bach and Chopin to some of the great
standards.
Friday 4 March, 8pm
MAHLER 6
Liszt, Mahler
Monday 21 March, 8pm
LOVERS & ENIGMAS (2010)
Vladimir Ashkenazy conductor
Richard Strauss, Sibelius, Elgar
Thursday 24 March, 1.05pm
VIVA ESPAÑA (2010)
Miguel Harth-Bedoya conductor
Slava Grigoryan guitar
Turina, Rodrigo, Lovelady, Benzecry, Falla
ORiGiN MUSIC (2010)
Feels Like Spring
A collaboration with the a cappella sensation The Idea of
North – a mix of jazz standards, originals and even a pop
adaptation.
2735660
Most of James Morrison’s recordings are also available
through iTunes.
EMMA PASK
Some Other Spring (2010)
www.emmapask.com
This Madness Called Love (2002)
with James Morrison, Phil Stack (bass), Craig Simon (drums),
David Blenkhorn (guitar), Blaine Whittaker (saxophone)
MR 012
Emma (1999) – debut album
2MBS-FM 102.5
SYDNEY SYMPHONY 2010
Tuesday 8 March, 6pm
Musicians, staff and guest artists discuss what’s in store
in our forthcoming concerts.
Webcasts
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19 | Sydney Symphony
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ABOUT THE ARTISTS
Marc Taddei was born in the United States and studied at
the Juilliard School before moving to New Zealand. In 2007,
following six years as the music director of the Christchurch
Symphony Orchestra, he was appointed music director of the
Wellington Orchestra. Previous posts have included Principal
Guest Conductor for the Christchurch Symphony Orchestra,
and Associate Conductor of the Auckland Philharmonia. He
has also conducted the New Zealand Symphony Orchestra and
productions for Opera New Zealand and the Royal New Zealand
Ballet, and has been a frequent guest at the New Zealand
International Festival of the Arts. In 2005 he conducted a special
televised performance of Vaughan Williams’ Sinfonia antartica,
featuring Sir Edmund Hillary as narrator.
He has worked with the Oregon Symphony Orchestra,
Louisiana Philharmonic, Fort Worth Symphony Orchestra,
Eugene Symphony, New Haven Symphony Orchestra, Southwest
Florida Symphony, Orchestra Victoria, Chamber Orchestra
of Hong Kong, the Silesian State Opera, and the Melbourne,
Adelaide, Queensland and Tasmanian symphony orchestras.
He has collaborated with artists such as Dame Kiri Te Kanawa,
Julian Lloyd Webber, Simon O’Neill, Joanna MacGregor,
Joshua Redman, Pedro Carneiro, Diana Krall, Bobby Shew, Art
Garfunkel and Kenny Rogers.
Marc Taddei’s extensive discography includes British viola
concertos with Helen Callus and the NZSO, a Berlioz Harold
in Italy/Bartók Viola Concerto release, and View from Olympus,
which was named Classical Album of the Year at the 2007 New
Zealand Music Awards. He also conducted the soundtracks for
Dean Spanley and Under the Mountain.
20 | Sydney Symphony
G BECKY NUNES
Marc Taddei conductor
James Morrison trumpet
James Morrison is a virtuoso in the true sense of the word and
plays trumpet and many other instruments. He was given his ﬁrst
instrument at the age of seven; at nine he formed his ﬁrst band;
and at 13 he was playing professionally in nightclubs. When he
was just 16, he made his US debut at the Monterey Jazz Festival.
Following this were performances at the big festivals in
Europe, playing with Dizzy Gillespie, Cab Calloway, Woody Shaw,
Red Rodney, George Benson, Ray Charles, B.B. King, Ray Brown,
Wynton Marsalis and other jazz legends. There were also gigs
in the world’s famous jazz clubs – the Blue Note and Village
Vanguard in New York, the New Morning in Paris and Ronnie
Scott’s in London.
He has recorded Jazz Meets the Symphony with the London
Symphony Orchestra, and performed concerts at the Royal Albert
Hall with the London Philharmonic Orchestra. He has given
royal command performances on two occasions for Her Majesty
Queen Elizabeth II and played for US Presidents Bush and
Clinton at Parliament House in Australia. In 1997, he was awarded
the Order of Australia Medal.
Concert highlights have included Hollywood Bowl, the Israel
National Orchestra and the LA Jazz Festival, and in 2007 he gave
the premiere of Lalo Schifrin’s Concerto for Jazz Trumpet and
Piano with the Sydney Symphony. His work in the Kaleidoscope
series has included tributes to Duke Ellington and Louis
Armstrong.
James Morrison is deeply involved in education, and is
currently designing new instruments with Austrian company
Schagerl.
www.jamesmorrison.com.au
The Idea of North
The Idea of North has been mesmerising audiences around the
world for more than 16 years with a dextrous and distinctive
style. One of Australia’s most acclaimed vocal ensembles,
the multi-award-winning group continues to reinvent their
often-misrepresented genre, creating a very real freshness and
relevance for a cappella singing.
These four singers – Sally Cameron, Naomi Crellin, Nick
Begbie and Andrew Piper – have studied and worked with some
of the truly great singers and arrangers including The New York
Voices, Tuck and Patti, Gene Puerling (The Hi-Lo’s, Singers
Unlimited), Mark Murphy and Cheryl Bentine (Manhattan
Transfer).
Their seventh album, Feels Like Spring, is a collaboration with
James Morrison and won the 2010 ARIA Award for Best Jazz
Album.
21 | Sydney Symphony
www.idea.com.au
Emma Pask vocals
Emma Pask’s talent was spotted by James Morrison when she was
just 16, and she has been touring with Morrison ever since. While
her voice and style are distinctively her own, her performances
are reminiscent of the classic era of jazz, when swing was top of
the charts.
In 2006, she was invited to perform for Nicole Kidman and
Keith Urban’s wedding. Earlier that year, she was awarded the
Mo Award for Jazz Vocalist of the Year. She has been a regular
guest on national television, and she has sung for VIP audiences
including the late Diana, Princess of Wales, Princess Mary of
Denmark and the Prime Minister of Australia.
She has sung with the Shanghai and West Australian
symphony orchestras, Auckland Philharmonic and the BBC
Concert Orchestra. She has also performed with Barbara
Morrison, Don Burrows and Ed Wilson, and appeared at the
Philips International Jazz Festival (Kuala Lumpur), Melbourne’s
Myer Music Bowl, in Cape Town with the Darius Brubeck Trio,
and in Laos and Singapore with the Emma Pask Quintet. She has
recorded with the BBC Big Band and recently released her third
album, Some Other Spring.
Emma Pask made her Sydney Symphony debut in 2009.
www.emmapask.com
James Muller guitar
Born in Adelaide in 1974, James Muller began teaching himself
guitar at the age of 12. At ﬁrst he was inspired by rock guitar
legends of the 60s and 70s; then the harmonic complexities of
jazz caught his ear.
By the time he burst onto the Sydney scene in 1996, at just 21
years of age, he had already recorded his ﬁrst independent album
No You Don’t. He was soon performing with some of the biggest
names in jazz and rock, including James Morrison, Vince Jones,
Katie Noonan, Don Burrows, Renee Geyer and Jimmy Barnes,
as well as Nigel Kennedy. He has also performed with leading
American musicians such as John Scoﬁeld, Chad Wackerman
(Frank Zappa, Allan Holdsworth), Vinni Colaiuta (Sting, Jeﬀ Beck)
and Christian McBride (Pat Metheny).
He has since recorded three more albums under his own
name and made multiple tours to Europe, Asia and the United
States, to critical acclaim. His numerous awards include an
ARIA for Best Jazz Album (All Out) and the National Jazz Award
at the Wangaratta Jazz Festival in 2000; Mo awards for Best Jazz
Instrumentalist and Best Jazz Group in 2001; the APRA award for
Most Performed Jazz Work (‘Paul Bley’ from Thrum) in 2003; and
the 2004 Freedman Fellowship. His albums Thrum and Kaboom
were also nominated for ARIA awards.
22 | Sydney Symphony
www.jamesmuller.com
Phil Stack double bass
Born in 1977, Phil Stack moved from Dubbo to Sydney in 1996 to
study double bass with Craig Scott, Mike Nock and Judy Bailey
at the Conservatorium of Music, graduating with an Associate
Diploma in Jazz Studies. Already active on the local scene, he won
the James Morrison Scholarship in 1997 and began making tours
with James Morrison that same year. These include ﬁve tours of
Europe, performing at some of the top festivals such as the Espoo
international jazz festival in Finland and the Ardrià Festival in
Italy. With Morrison he was a guest of the Munich Symphony
Orchestra in 2002, and they have also toured with the Salzburg
classical brass ensemble, performing both duo and with the
ensemble in concert halls across Slovenia, Switzerland, Italy and
Austria, including the Salzburg Mozarteum.
Phil Stack is a founding member of multi-platinum rock/
pop group Thirsty Merc, which has recorded three albums and
tours extensively. He has also performed with the Adelaide,
Melbourne and Sydney symphony orchestras, as a soloist in Lalo
Shifrin’s Jazz Meets the Symphony, and with Dale Barlow, Tommy
Emmanuel, the James Muller Trio, Lior, Katie Noonan, You Am I,
Mark Murphy and Branford Marsalis.
In 2008 he took ﬁrst place in the National Jazz Awards.
Gordon Rytmeister drums
Born in Sydney in 1968, Gordon Rytmeister began playing drums
at age 13. His initial inspiration came from the raw rock of bands
such as Led Zeppelin and Deep Purple, but he quickly developed
an interest in jazz.
He studied at the Sydney Conservatorium, during which
time he began playing in Mike Nock’s band and later joined
The Don Burrows Quartet. Since then, he has worked with the
cream of Australia’s jazz, pop, rock and country artists, and many
international acts. These include Lalo Schifrin, James Morrison,
Bob Mintzer, Leo Sayer, Bob James, Tom Jones, Bob Florence,
The Commodores, Bob Geldof, Barry Harris, Nat Adderley, Maria
Schneider, Lee Konitz, Glenn Shorrock (from Little River Band),
Tina Arena, The Sydney All Star Big Band, Roger Frampton, Bobby
Shew, Anthony Warlow, Russell Watson, Rob McConnell, Don
Rader, Dale Barlow, Eartha Kitt and Jimmy Barnes.
Gordon Rytmeister is the resident drummer on Australian Idol
and in the 1990s he played ﬁve nights a week on Tonight Live with
Steve Vizard. He co-led the instrumental fusion band GLUE from
the mid-1990s. He can be heard on many movie soundtracks,
albums, and television themes, and recorded Anthony Callea’s
‘The Prayer’.
He has conducted many educational clinics, workshops and
master classes throughout the world, and from 1996 to 2002 he
taught in the Jazz Course at the Sydney Conservatorium.
www.gordonrytmeister.com
Principal Conductor
and Artistic Advisor
© KEITH SAUNDERS
Vladimir Ashkenazy
© KEITH SAUNDERS
© KEITH SAUNDERS
MUSICIANS
Michael Dauth
Dene Olding
Concertmaster
Concertmaster
Performing in this concert…
FIRST VIOLINS
VIOLAS
OBOES
TROMBONES
Dene Olding
Roger Benedict
Anne-Louise
Comerford
Robyn Brookfield
Jane Hazelwood
Stuart Johnson
Justine Marsden
Felicity Tsai
Leonid Volovelsky
Jacqueline Cronin#
Tara Houghton†
David Wicks#
Shefali Pryor
Alexandre Oguey
Ronald Prussing
Scott Kinmont
Christopher Harris
Concertmaster
Kirsten Williams
Associate Concertmaster
Fiona Ziegler
Assistant Concertmaster
Jennifer Booth
Marianne Broadfoot
Brielle Clapson
Sophie Cole
Amber Davis
Nicole Masters
Alexandra Mitchell
Léone Ziegler
Freya Franzen†
Claire Herrick*
Martin Silverton*
SECOND VIOLINS
Jennifer Hoy
A/Assistant Principal
Susan Dobbie
Principal Emeritus
Maria Durek
Emma Hayes
Shuti Huang
Stan W Kornel
Benjamin Li
Emily Long
Philippa Paige
Biyana Rozenblit
Maja Verunica
Katherine Lukey#
CELLOS
Catherine Hewgill
Fenella Gill
Timothy Nankervis
Adrian Wallis
David Wickham
Adam Szabo†
Rachael Tobin#
Paul Stender*
DOUBLE BASSES
Kees Boersma
Neil Brawley
Principal Emeritus
David Campbell
Steven Larson
Richard Lynn
David Murray
FLUTES
Principal Cor Anglais
Principal Bass Trombone
CLARINETS
Francesco Celata
Christopher Tingay
Craig Wernicke
TUBA
Principal Bass Clarinet
TIMPANI
BASSOONS
Matthew Wilkie
Roger Brooke
Melissa Woodroffe†
SAXOPHONES
Martin Kay*
Dan Waples*
Tim Clarkson*
James Ryan*
Steve Rossé
Mark Robinson
Assistant Principal
PERCUSSION
Rebecca Lagos
Colin Piper
Brian Nixon*
Philip South*
HARP
Louise Johnson
HORNS
KEYBOARD
Ben Jacks
Geoffrey O’Reilly
Josephine Allan#
Principal 3rd
Lee Bracegirdle
Marnie Sebire
Katy Grisdale†
ORGAN
TRUMPETS
* = Guest Musician
# = Contract Musician
† = Sydney Symphony
Fellow
Daniel Mendelow
John Foster
Anthony Heinrichs
David Drury*
Emma Sholl
Carolyn Harris
Rosamund Plummer
Principal Piccolo
To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit
our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one
of our customer service representatives for a copy of our Musicians flyer.
24 | Sydney Symphony
THE SYDNEY SYMPHONY
© KEITH SAUNDERS
Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR
PATRON Her Excellency Professor Marie Bashir AC CVO
Founded in 1932 by the Australian Broadcasting
Corporation, the Sydney Symphony has evolved
into one of the world’s ﬁnest orchestras as
Sydney has become one of the world’s great
cities.
Resident at the iconic Sydney Opera House,
where it gives more than 100 performances
each year, the Sydney Symphony also performs
in venues throughout Sydney and regional New
South Wales. International tours to Europe,
Asia and the USA have earned the orchestra
worldwide recognition for artistic excellence,
most recently in a tour of European summer
festivals, including the BBC Proms and the
Edinburgh Festival.
The Sydney Symphony’s ﬁrst Chief
Conductor was Sir Eugene Goossens, appointed
in 1947; he was followed by Nicolai Malko, Dean
Dixon, Moshe Atzmon, Willem van Otterloo,
Louis Frémaux, Sir Charles Mackerras, Zdenek
Mácal, Stuart Challender, Edo de Waart
and, most recently, Gianluigi Gelmetti. The
orchestra’s history also boasts collaborations
with legendary ﬁgures such as George Szell, Sir
Thomas Beecham, Otto Klemperer and Igor
Stravinsky.
25 | Sydney Symphony
The Sydney Symphony’s award-winning
education program is central to its
commitment to the future of live symphonic
music, developing audiences and engaging
the participation of young people. The Sydney
Symphony promotes the work of Australian
composers through performances, recordings
and its commissioning program. Recent
premieres have included major works by
Ross Edwards, Liza Lim, Lee Bracegirdle and
Georges Lentz, and the orchestra’s recording of
works by Brett Dean was released on both the
BIS and Sydney Symphony Live labels.
Other releases on the Sydney Symphony
Live label, established in 2006, include
performances with Alexander Lazarev,
Gianluigi Gelmetti, Sir Charles Mackerras and
Vladimir Ashkenazy. Currently the orchestra is
recording the complete Mahler symphonies.
The Sydney Symphony has also released
recordings with Ashkenazy of Rachmaninoﬀ
and Elgar orchestral works on the Exton/Triton
labels, and numerous recordings on the ABC
Classics label.
This is the third year of Ashkenazy’s tenure
as Principal Conductor and Artistic Advisor.
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony is assisted by the
Commonwealth Government through the
Australia Council, its arts funding and
advisory body
PREMIER PARTNER
PLATINUM PARTNERS
MAJOR PARTNERS
GOLD PARTNERS
SILVER PARTNERS
REGIONAL TOUR PARTNERS
BRONZE PARTNER
MARKETING PARTNER
Emanate
2MBS 102.5 Sydney’s Fine Music Station
26 | Sydney Symphony
The Sydney Symphony is assisted by the
NSW Government through Arts NSW
PLAYING YOUR PART
The Sydney Symphony gratefully acknowledges the music lovers who donate to the
Orchestra each year. Each gift plays an important part in ensuring our continued
artistic excellence and helping to sustain important education and regional touring
programs. Please visit sydneysymphony.com/patrons for a list of all our donors,
including those who give between $100 and $499.
PLATINUM PATRONS
$20,000+
Brian Abel
Geoff & Vicki Ainsworth
Robert Albert AO & Elizabeth Albert
Tom Breen & Rachael Kohn
Sandra & Neil Burns
Ian & Jennifer Burton
Mr John C Conde AO
Robert & Janet Constable
The Hon. Ashley Dawson-Damer
In memory of Hetty & Egon Gordon
The Hansen Family
Ms Rose Herceg
James N. Kirby Foundation
Mr Andrew Kaldor & Mrs Renata
Kaldor AO
D & I Kallinikos
Justice Jane Mathews AO
Mrs Roslyn Packer AO
Greg & Kerry Paramor &
Equity Real Estate Partners
Dr John Roarty in memory of
Mrs June Roarty
Paul & Sandra Salteri
Mrs Penelope Seidler AM
Mrs W Stening
Mr Fred Street AM & Mrs Dorothy
Street
In memory of D M Thew
Mr Peter Weiss AM & Mrs Doris
Weiss
Westfield Group
Ray Wilson OAM in memory of
James Agapitos OAM
Mr Brian and Mrs Rosemary White
June & Alan Woods Family Bequest
Anonymous (1)
GOLD PATRONS
$10,000–$19,999
Alan & Christine Bishop
Bob & Julie Clampett
The Estate of Ruth M Davidson
Penny Edwards
Paul R. Espie
Dr Bruno & Mrs Rhonda Giuffre
Mr David Greatorex AO &
Mrs Deirdre Greatorex
Mrs Joan MacKenzie
Ruth & Bob Magid
Tony & Fran Meagher
Mrs T Merewether oam
Mr B G O’Conor
Mrs Joyce Sproat & Mrs Janet Cooke
Ms Caroline Wilkinson
Anonymous (1)
SILVER PATRONS
$5,000–$9,999
Mr and Mrs Mark Bethwaite
Jan Bowen
Mr Donald Campbell & Dr Stephen
Freiberg
Mr Robert & Mrs L Alison Carr
Mrs Gretchen M Dechert
27 | Sydney Symphony
Ian Dickson & Reg Holloway
James & Leonie Furber
Mr James Graham AM &
Mrs Helen Graham
Stephen Johns & Michele Bender
Judges of the Supreme Court
of NSW
Mr Ervin Katz
Gary Linnane
William McIlrath Charitable
Foundation
Eva & Timothy Pascoe
David & Isabel Smithers
Mrs Hedy Switzer
Ian & Wendy Thompson
Michael & Mary Whelan Trust
Jill Wran
Anonymous (1)
BRONZE PATRONS
$2,500–$4,999
Stephen J Bell
Mr David & Mrs Halina Brett
Lenore P Buckle
Kylie Green
Janette Hamilton
Ann Hoban
Paul & Susan Hotz
Irwin Imhof in memory of
Herta Imhof
Mr Justin Lam
R & S Maple-Brown
Mora Maxwell
Judith McKernan
Justice Geoffrey Palmer
James & Elsie Moore
Bruce & Joy Reid Foundation
Mary Rossi Travel
Georges & Marliese Teitler
Gabrielle Trainor
J F & A van Ogtrop
Geoff Wood & Melissa Waites
Anonymous (1)
BRONZE PATRONS
$1,000–$2,499
Charles & Renee Abrams
Mr Henri W Aram OAM
Terrey Arcus am & Anne Arcus
Claire Armstrong & John Sharpe
Dr Francis J Augustus
Richard Banks
Doug & Alison Battersby
David Barnes
Phil & Elese Bennett
Colin Draper & Mary Jane Brodribb
M Bulmer
Pat & Jenny Burnett
Debby Cramer & Bill Caukill
Ewen & Catherine Crouch
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Lisa & Miro Davis
John Favaloro
Mr Ian Fenwicke & Prof Neville
Wills
Firehold Pty Ltd
Anthony Gregg & Deanne
Whittleston
Akiko Gregory
In memory of Oscar Grynberg
Mrs E Herrman
Mrs Jennifer Hershon
Barbara & John Hirst
Bill & Pam Hughes
The Hon. David Hunt AO QC &
Mrs Margaret Hunt
Dr & Mrs Michael Hunter
The Hon. Paul Keating
Anna-Lisa Klettenberg
In Memory of Bernard M H Khaw
Jeannette King
Wendy Lapointe
Macquarie Group Foundation
Melvyn Madigan
Mr Robert & Mrs Renee Markovic
Kevin & Deidre McCann
Matthew McInnes
Mrs Barbara McNulty OBE
Harry M. Miller, Lauren Miller Cilento
& Josh Cilento
Nola Nettheim
Mr R A Oppen
Mr Robert Orrell
Mr & Mrs Ortis
Maria Page
Piatti Holdings Pty Ltd
Adrian & Dairneen Pilton
Robin Potter
Mr & Ms Stephen Proud
Miss Rosemary Pryor
Dr Raffi Qasabian
Ernest & Judith Rapee
Patricia H Reid
Mr M D Salamon
John Saunders
Juliana Schaeffer
Caroline Sharpen
Mr & Mrs Jean-Marie Simart
Catherine Stephen
Mildred Teitler
Andrew & Isolde Tornya
Gerry & Carolyn Travers
John E Tuckey
Mrs M Turkington
The Hon. Justice A G Whealy
Dr Richard Wingate
Mr R R Woodward
Anonymous (12)
BRONZE PATRONS
$500–$999
Mr 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 Curran
Matthew Delasey
Greg 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]
MAESTRO’S CIRCLE
Andrew Kaldor & Renata Kaldor AO
Roslyn Packer AO
Penelope Seidler AM
Mr Fred Street AM & Mrs Dorothy Street
Westfield Group
Ray Wilson OAM
in memory of the late James Agapitos OAM
Peter Weiss AM – Founding President
& Doris Weiss
John C Conde AO – Chairman
Geoff & Vicki Ainsworth
Tom Breen & Rachael Kohn
The Hon. Ashley Dawson-Damer
In memory of Hetty & Egon Gordon
SYDNEY SYMPHONY LEADERSHIP ENSEMBLE
David Livingstone, CEO
Credit Suisse, Australia
Alan Fang, Chairman, Tianda Group
Macquarie Group Foundation
John Morschel, Chairman, ANZ
DIRECTORS’ CHAIRS
© KEITH SAUNDERS
© KEITH SAUNDERS
04
08
09
05
© KEITH SAUNDERS
07
06
03
© KEITH SAUNDERS
02
© KEITH SAUNDERS
© JEFF BUSBY
01
01
Richard Gill OAM
Artistic Director Education
Sandra and Paul Salteri Chair
04
Nick Byrne
Trombone
RogenSi Chair
07
Paul Goodchild
Associate Principal Trumpet
The Hansen Family Chair
02
Ronald Prussing
Principal Trombone
Industry & Investment NSW
Chair
05
Diana Doherty
Principal Oboe
Andrew Kaldor and
Renata Kaldor AO Chair
08
Catherine Hewgill
Principal Cello
Tony and Fran Meagher Chair
03
Jane Hazelwood
Viola
Veolia Environmental Services
Chair
06
Shefali Pryor
Associate Principal Oboe
Rose Herceg & Neil Lawrence
Chair
09
Emma Sholl
Associate Principal Flute
Robert and Janet Constable
Chair
For information about the Directors’ Chairs program, please call (02) 8215 4619.
28 | Sydney Symphony
BEHIND THE SCENES
Sydney Symphony Board
CHAIRMAN
John C Conde AO
Terrey Arcus AM
Ewen Crouch
Ross Grant
Jennifer Hoy
Rory Jeffes
Andrew Kaldor
Irene Lee
David Livingstone
Goetz Richter
David Smithers AM
Gabrielle Trainor
Sydney Symphony Council
Geoff Ainsworth
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
Ian Macdonald*
Joan MacKenzie
David Maloney
David Malouf AO
Julie Manfredi-Hughes
Deborah Marr
The Hon. Justice
Jane Mathews AO*
Danny May
Wendy McCarthy AO
Jane Morschel
Greg Paramor
Dr Timothy Pascoe AM
Prof. Ron Penny AO
Jerome Rowley
Paul Salteri
Sandra Salteri
Juliana Schaeffer
Leo Schofield AM
Fred Stein OAM
Ivan Ungar
John van Ogtrop*
Peter Weiss AM
Anthony Whelan MBE
Rosemary White
* Regional Touring Committee member
EVERYONE HAS A STORY
FAB19523_Bio Landscape Strip Ad_FA.indd 1
1/02/11 5:02 PM
Sydney Symphony Staff
MANAGING DIRECTOR
Rory Jeffes
EXECUTIVE TEAM ASSISTANT
Lisa Davies-Galli
ARTISTIC
OPERATIONS
DIRECTOR OF ARTISTIC
PLANNING
Peter Czornyj
Artistic Administration
ARTISTIC ADMINISTRATION
MANAGER
Elaine Armstrong
ARTIST LIAISON MANAGER
Ilmar Leetberg
RECORDING PRODUCTION
MANAGER
Philip Powers
Education Programs
DEVELOPMENT
ORCHESTRA
MANAGEMENT
MARKETING & MEDIA SERVICES
COORDINATOR
DIRECTOR OF ORCHESTRA
MANAGEMENT
Alison Martin
Aernout Kerbert
Julia Owens
GRAPHIC DESIGNER
DEPUTY ORCHESTRA MANAGER
CORPORATE RELATIONS
EXECUTIVE
Christie Brewster
Lisa Mullineux
DATA ANALYST
ORCHESTRAL COORDINATOR
Stephen Attfield
Varsha Karnik
Georgia Stamatopoulos
HEAD OF PHILANTHROPY &
PUBLIC AFFAIRS
Box Office
OPERATIONS MANAGER
Caroline Sharpen
MANAGER OF BOX OFFICE SALES
& OPERATIONS
TECHNICAL MANAGER
Leann Meiers
CORPORATE RELATIONS
EXECUTIVE
PHILANTHROPY & PUBLIC
AFFAIRS EXECUTIVE
Kylie Anania
DEVELOPMENT COORDINATOR
Amelia Morgan-Hunn
SALES AND
MARKETING
EDUCATION MANAGER
DIRECTOR OF SALES &
MARKETING
Kim Waldock
Mark J Elliott
ARTIST DEVELOPMENT
MANAGER
SENIOR MARKETING MANAGER,
SINGLE SALES
Bernie Heard
Penny Evans
EDUCATION ASSISTANT
MARKETING MANAGER,
SUBSCRIPTION SALES
Rachel McLarin
ONLINE MANAGER
Eve Le Gall
HEAD OF CORPORATE RELATIONS
Lynn McLaughlin
Derek Coutts
MANAGER OF BOX OFFICE
OPERATIONS
PRODUCTION COORDINATOR
Natasha Purkiss
MANAGER OF SALES & SERVICE
Mark Barnes
STAGE MANAGER
BUSINESS SERVICES
COMMUNICATIONS
HEAD OF COMMUNICATIONS
PUBLICIST
LIBRARIAN
Anna Cernik
Matthew Rive
LIBRARY ASSISTANT
MARKETING MANAGER,
BUSINESS RESOURCES
LIBRARY ASSISTANT
Katherine Stevenson
SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM (Chair)
Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch,
Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO,
Dr Thomas Parry AM, Mr Leo Schofield AM, Mr Evan Williams AM
EXECUTIVE MANAGEMENT
Mr Richard Evans Chief Executive Officer
Mr David Antaw Chief Operating Officer
Mr Jonathan Bielski Executive Producer, SOH Presents
Ms Victoria Doidge Director, Marketing Communications & Customer Services
Mr Greg McTaggart Director, Building Development & Maintenance
Ms Julia Pucci Director, Venue Partners & Safety
Ms Claire Spencer Chief Financial Officer
SYDNEY OPERA HOUSE
Bennelong Point GPO Box 4274, Sydney NSW 2001
Administration (02) 9250 7111 Box Office (02) 9250 7777
Facsimile (02) 9250 7666 Website sydneyoperahouse.com
John Horn
FINANCE MANAGER
Ruth Tolentino
ASSISTANT ACCOUNTANT
Minerva Prescott
Li Li
PAYROLL OFFICER
Publications
Usef Hoosney
PUBLICATIONS EDITOR & MUSIC
PRESENTATION MANAGER
HUMAN RESOURCES
Yvonne Frindle
Clocktower Square, Argyle Street,
The Rocks NSW 2000
GPO Box 4972,
Sydney NSW 2001
Telephone (02) 8215 4644
Box Office (02) 8215 4600
Facsimile (02) 8215 4646
www.sydneysymphony.com
Please address all correspondence to the Publications Editor:
Email [email protected]
DIRECTOR OF FINANCE
ACCOUNTS ASSISTANT
HUMAN RESOURCES MANAGER
Anna Kearsley
Mary-Ann Mead
All rights reserved, no part of this publication may be reproduced or transmitted in
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or any information storage or retrieval system, without permission in writing.
The opinions expressed in this publication do not necessarily reflect the beliefs of the
editor, publisher or any distributor of the programs. While every effort has been made
to ensure accuracy of statements in this publication, we cannot accept responsibility
for any errors or omissions, or for matters arising from clerical or printers’ errors.
Every effort has been made to secure permission for copyright material prior to
printing.
Ian Spence
Peter Gahan
MARKETING MANAGER,
CLASSICAL SALES
Katrina Riddle
PRODUCTION COORDINATOR
Steve Clarke
Michael Dowling
Erich Gockel
John Robertson
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Tim Dayman
CUSTOMER SERVICE
REPRESENTATIVES
Simon Crossley-Meates
Library
Kerry-Anne Cook
SYMPHONY SERVICES INTERNATIONAL
Suite 2, Level 5,
1 Oxford Street, Darlinghurst NSW 2010
PO Box 1145, Darlinghurst NSW 1300
Telephone (02) 8622 9400 Facsimile (02) 8622 9422
www.symphonyinternational.net
This is a PLAYBILL / SHOWBILL publication.
Playbill Proprietary Limited / Showbill Proprietary Limited
ACN 003 311 064 ABN 27 003 311 064
Head Office: Suite A, Level 1, Building 16,
Fox Studios Australia, Park Road North, Moore Park NSW 2021
PO Box 410, Paddington NSW 2021
Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053
E-mail: [email protected] Website: www.playbill.com.au
Chairman Brian Nebenzahl OAM, RFD
Managing Director Michael Nebenzahl
Editorial Director Jocelyn Nebenzahl
Manager—Production & Graphic Design Debbie Clarke
Manager—Production—Classical Music Alan Ziegler
Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide,
Perth, Hobart & Darwin
All enquiries for advertising space in this publication should be directed to the above company and address.
Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein
is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered
title of Showbill Proprietary Limited.
By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the
condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the
publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of
binding or cover than that in which it was published, or distributed at any other event than speciﬁed on the title
page of this publication
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