Sydney Symphony · Aaron Copland is often credited with having invented the American classical sound. His plucky rhythms, ... Sydney Symphony Marc-Antoine Charpentier (1643–1704)

2010 SEASON

KALEIDOSCOPEFriday 9 July | 8pmSaturday 10 July | 8pm

Sydney Opera House Concert Hall

A TRUMPET BLASTMarc Taddei conductorJames Morrison trumpetJames Muller guitarCameron Undy double bassGordon Rytmeister drumswith the Sydney Symphony trumpet section, Geoffrey Payne and 15 special guests from around the world

ACT I THE TRUMPET THROUGH THE AGES

Aaron Copland (1900–1990)Fanfare for the Common Manwith special guests

Marc-Antoine Charpentier (1643–1704)Prelude to the Te Deum, H146James Morrison with special guests

Georg Philipp Telemann (1681–1767)Concerto in D for three trumpetsDaniel Mendelow, John Foster, Anthony Heinrichs

David Stanhope (born 1952)Battle Concerto for jazz and classical trumpetsJames Morrison and Geoffrey Payne

Leoš Janácek (1854–1928)Finale to the Sinfoniettawith special guests

INTERVAL

ACT II A SALUTE TO THE GREAT TRUMPETERS OF JAZZ

Lillian Hardin Armstrong & Don Raye Struttin’ with some BBQ

Jerry Herman & Michael Stewart Hello, Dolly!

Hoagy Carmichael & Sydney ArodinUp a Lazy River

Dizzy GillespieNight in Tunisia

Miles Davis arr. Judy BaileyAll Blues

Freddie HubbardRed ClayJames Morrison and his trio

Herb Alpert arr. Dan Walker Tijuana Taxi Spanish Flea

Saturday night’s performance will be broadcast live across Australia on ABC Classic FM.

Saturday night’s performance will be webcast by BigPond. Visit bigpondmusic.com/sydneysymphony

In association with 35th Annual Conference of the International Trumpet Guild 2010.

Pre-concert talk by Robert Murray with guest Geoffrey Payne at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 3 minutes, 4 minutes, 10 minutes, 18 minutes, 7 minutes 20-minute interval, 50 minutesThe concert will conclude at approximately 10.05pm.

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INTRODUCTION

A Trumpet Blast

The trumpet can point to a long and noble history. Trumpets were found in the tomb of the Pharoah Tutankhamen; a trumpet competition formed part of the ancient Greek Olympics (as best we can tell, writes Stephen G Miller, winners were chosen by the audibility of their horn blast, with the judges arranged down the length of the track).

Trumpets turn up in the Bible and in Homer – in religious ceremony and in battle. Their clarion call carries outdoors, and they are perfect for conveying an atmosphere of pomp and power. Of the 42 musicians in Henry VIII’s household, it’s said, 14 were trumpet players. (Compare this to the four you’d fi nd on the payroll of a modern symphony orchestra.)

In classical music the trumpet has held onto its ceremonial and warlike associations – that’s one of the themes in the fi rst half of tonight’s concert. But as an honoured member of the orchestra the trumpet has become a virtuoso, capable of great expression and brilliance. You’ll hear that too.

In the past century that expression and brilliance has made the trumpet a central instrument in the world of jazz, as new virtuosos found astonishing and visceral new sounds in a whole new musical language. And this is the theme of the second half. With one of Australia’s most versatile musicians, James Morrison, and nearly 20 trumpeters from around the world, this concert off ers a thrilling journey through the history and musical landscape of the best of instruments.

Have a blast!

PLEASE SHARE YOUR PROGRAM

To conserve costs and reduce our environmental footprint, we ask that you share your program with your companions, one between two. You are welcome to take an additional copy at the end of the concert if there are programs left over, but please share during the performance so that no one is left without a program.

If you don’t wish to take your program home with you, please leave it in the foyer (not in the auditorium) at the end of the concert so it can be reused at the next performance.

All our free programs can be downloaded from: www.sydneysymphony.com/program_library

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ACT I The Trumpet Through the Ages

Aaron Copland (1900–1990)Fanfare for the Common Man

Aaron Copland is often credited with having invented the American classical sound. His plucky rhythms, bold, angular melodies, and spare, open-air harmonies have become emblematic of a frontier culture, though he himself was an urbane New Yorker. This Fanfare is his most popular work. It originated in a commission in August 1942 from Eugene Goossens, then conductor of the Cincinatti Symphony Orchestra, and from 1947 of the Sydney Symphony.

America was at war. Goossens invited a dozen composers to write short patriotic fanfares as ‘stirring and signifi cant contributions to the war eff ort’. Most of the other composers dedicated fanfares to branches of the armed services, like the signal corps. Copland decided on the Common Man: ‘It was the common man, after all, who was doing all the dirty work in the war and the army…’

During the 1930s Copland, sensing a danger that new music might end up alienating the public, felt it was ‘worth the eff ort to see if I couldn’t say what I had to say in the simplest possible terms’.

The fanfare is written in such a simple and universal language. Timpani and brass are juxtaposed ritualistically. The open harmonic texture stems from an emphasis on the melodic interval of a fourth. (Think of the opening pair of notes in ‘Advance Australia Fair’.) The initial solo call of the trumpet is gradually harmonised by the staggered entries of the brass which round out and strengthen the resolve of the original trumpet. Copland later incorporated some of the material from Fanfare for the Common Man in the fi nale of his Third Symphony.

ADAPTED FROM A NOTE BY GORDON K WILLIAMS © SYMPHONY AUSTRALIA

ABOUT THE MUSIC

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Marc-Antoine Charpentier (1643–1704)Prelude to the Te Deum, H146

The great French composer Jean-Baptiste Lully died in 1687 of gangrene in a wound caused by hitting himself on the foot with his cane while conducting his own Te Deum. Ironically, the fi rst piece of music from his time to become truly world-famous was this Prelude from a Te Deum by another composer, Marc-Antoine Charpentier, whom Lully tried to keep in the dark, using his dictatorial control over music in the age of King Louis XIV.

Charpentier’s Prelude has been used as Eurovision’s theme tune and to advertise champagne on TV. A march featuring trumpets and drums, it splendidly represents the grandeur and glory of the baroque age. A Te Deum (‘We praise Thee, O Lord’) was usually sung to celebrate a military victory, in this case probably the French victory at Steinkerque on 3 August 1692. The march is in the form of a rondeau, with a returning main theme, and contrasting episodes for the strings.

ADAPTED FROM A NOTE BY DAVID GARRETT ©1999

Georg Philipp Telemann (1681–1767)Concerto in D for three trumpets (TWV 54:D3)

Of Baroque composers, Telemann may not have been the most wonderful melodist, or the most ingenious contrapuntist, but he was one of the era’s most inventive orchestrators. Even more so than Vivaldi, he had an ear for unusual instrumental sonorities and combinations, which he deployed with maximum variety and eff ect in his huge output of orchestral suites and concertos. His taste for unusual instruments, like the chalumeau (an early form of the clarinet for which he composed concertos), and exotic combinations, has been likened to another of his passions, for exotic plants. Telemann’s English friend Handel kept him supplied with cases of ‘choice fl owers…of charming rarity’. When in 1754, Telemann had drawn up a list of plants for Handel to procure for him, Handel had great pleasure in announcing that he had obtained almost all of them, and that they would be shipped from London to Telemann in Hamburg ‘by the fi rst boat which leaves here’.

Few of Telemann’s orchestral works were published in his lifetime, and even today the catalogue of his published concertos is far from complete. The concerto for three trumpet soloists, with two oboes, timpani, and strings, is

…the grandeur and glory of the baroque age.

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one of the better known and frequently recorded, however, on account of its brilliant sonorities. The piece falls into fi ve short sections, alternating slow and fast tempos: Intrada (or ‘Entrance piece’) – Grave (solemn) – Allegro (fast) – Largo (slow, and in B minor) – Vivace (fast).

David Stanhope (born 1952)Battle Concerto for jazz and classical trumpets

David Stanhope is a Sydney-based freelance conductor and composer. In his early professional life he played French horn as a member of the Adelaide Symphony Orchestra, and also bass trombone, freelancing with many of the other Australian symphony orchestras. Also an accomplished pianist, he has toured as a concerto soloist and recorded solo piano repertoire, including the recent release Virtuoso Recital. He has written numerous compositions for all kinds of instrumental and vocal ensembles, but is especially known as a composer for woodwinds and brass. He composed several sequences for the opening and closing ceremonies of the Sydney 2000 Olympics, and Tall Poppies records has released a CD of his wind band music, entitled Little Ripper!, and another disc, Sydney Brass plays Stanhope.

George Philipp Telemann, engraving by Georg Lichtensteger, (c.1745)


Stanhope’s Battle Concerto was commissioned by Jeff rey Crellin, Artistic Director at Monash University, who wanted a piece that would showcase the virtuoso talents of two of the world’s great trumpeters from two diff erent genres – James Morrison representing jazz and Geoff rey Payne representing classical music.

The ‘Battle’ is evident in the competing styles and characters of the instruments, introduced in the fi rst movement, Capriccio. The initial clash leads to a cadenza duel, after which each player makes concessions to the other – the jazz player shows he can play ‘straight’, the classical player shows he can ‘swing’. The movement ends with the Battle partly resolved. In the second movement, Blues, the instruments play in a more complementary fashion – the music is lyrical and reminiscent of both Gershwin and Rachmaninoff . The fi nal movement, Tarantella, extends the technique of both players considerably – the battle has become a mutual struggle to overcome the diffi culties of the music!

ADAPTED IN PART FROM A NOTE BY DAVID STANHOPE

Leoš Janácek (1854–1928)Finale to the Sinfonietta

Janácek’s last and greatest instrumental work grew from unpromising origins – hearing a military band concert in a park, and an invitation to write some music for a gymnastics festival. But although the Sinfonietta calls for a massive battery of brass and timpani, it contains in fact no element of militarism or aggression. In Janácek’s own words, it represents ‘contemporary free man, his spiritual beauty and joy, his strength, courage and determination to fi ght for victory’.

The band concert took place in the park of the 13th-century town of Písek south of Prague, in 1925. The 70-year-old composer was deeply impressed by some of the fanfares the bandsmen played, their historical uniforms, and the way the players stood for solos. The invitation in the following year to compose music for a gymnastics festival of the patriotic Sokol movement (of which Janácek was an enthusiastic member) off ered him the opportunity to create his own fanfares and to express his joy at the promise of the newly independent state of Czechoslovakia, born out of the Peace of Versailles. The festival fanfares, solemnly jubilant, provided the frame within which his ideas expanded to form a fi ve-movement Sinfonietta, fi rst

…the jazz player shows he can play ‘straight’, the classical player shows he can ‘swing’.


performed in Prague on 26 June 1926 under the baton of Václav Talich.

The work is also a celebration of Janácek’s home city of Brno, the capital of Moravia, which the composer had watched undergo a transformation from a gloomy, Germanic town of the Austro-Hungarian Empire into a radiant, liberated city of the new Czechoslovakia. The titles of the Sinfonietta’s movements chart a processional route through Brno, coming to a close with the last movement at ‘The Town Hall’. As Janácek himself explained:

I saw the town change miraculously. I lost my dislike of the forbidding town hall…my loathing of the street and everything crawling in it. By some miracle the resurrection of 28 October 1918 spread a radiant light of freedom over the town. I saw myself there. I belonged. And the brazen, victorious trumpets…and a vision of the town’s future greatness – all these gave birth to my Sinfonietta.

The theme with which fl utes launch the fi nale is a nostalgic minor variant of the theme of the preceding movement: when clarinets take over, it becomes slightly grotesque; as the movement progresses, it becomes increasingly macabre until, following a squeal almost of anguish from the E fl at clarinet, the additional brass re-emerge and all 12 trumpets play together for the fi rst time in the exultant fanfares of the opening movement. The fanfares now are heard with the support of the full orchestra, embellished by penetrating trills in the strings and wind as they move irrepressibly forward to a short, impelling coda.

ADAPTED FROM A NOTE BY ANTHONY CANE ©1995

INTERVAL


ACT II A Salute to the Great Trumpeters of Jazz

Since ancient times the trumpet has been central to military and religious pageantry, its blast rousing patriotic zeal, exulting in ceremonial grandeur or signalling apocalypse.

However, in recent times it has been jazz’s capacity to evoke the trumpet’s associations of a more carnal kind that have captured the public imagination. This, and the exuberant posturing of jazz’s early protagonists, helped shape the self-aggrandising nature of the jazz solo and turn what was an unrefi ned expression of the blues into arguably the most creative musical art form of the 20th century. That this transformation took place over the course of a mere few decades is extraordinary; that it was precipitated in large part by one man is nothing short of astonishing.

Louis Armstrong was born and raised in a tough neighbourhood of New Orleans at a time when blues, spirituals, ragtime and European ‘light’ classical music all jostled for space on every street corner. He learnt to play the cornet during a stint in the New Orleans Colored Waif ’s Home for Boys and, a few years later, followed his mentor Joe ‘King’ Oliver north to Chicago. Armstrong’s provincial dress and mannerisms initially provoked ridicule from the city boys, but this quickly turned to admiration as he absorbed the more urban aspects of the vernacular styles performed there, and honed a looser, more rhythmically sophisticated style of playing that was entirely new. Louis could play faster, higher (his record was purportedly 280 high Cs in a row) and with more intensity than anybody

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Louis Armstrong (1965)Photo by Jan Persson


else, and he became a sensation. His economical, blues-drenched melodic lines were expertly crafted and launched a new solo idiom. As trumpeter Max Kaminsky put it: ‘He was the heir of all that had gone before and the father of all that was to come.’

In the 1920s Armstrong recorded a series of sides for OKeh Records in Chicago with his Hot Five and Hot Seven, a small studio band that featured his second wife, pianist Lil Hardin. Tracks such as ‘West End Blues’ and Hardin’s Struttin’ with some Barbecue are now considered cornerstones of early jazz repertoire. His unique vocal delivery infl uenced countless singers from Billie Holiday to Bing Crosby, and, as he became a cross-over star, his interpretations of popular songs topped the charts (Hello, Dolly!). Some accused him of selling out, but his singing and playing remained rooted in the blues, as his barrelhouse rendition of Hoagy Carmichael’s Up a Lazy River illustrated.

Jazz reached its commercial and popular peak during the 1930s, when every dance hall pulsated to the beat of swing. Bandleaders like Benny Goodman, Tommy Dorsey and Artie Shaw attained a level of celebrity hitherto only accorded to movie stars, and the music crossed racial divides. However the emergence of bebop a decade later took jazz to new levels of harmonic and melodic complexity, and its frenetic energy and pace would alienate dancers – and some listeners – along the way.

Dizzy Gillespie, Charlie Parker and Thelonius Monk began to fashion a new way of playing – a revolutionary style that demanded a virtuosic technique and comprehensive understanding of harmonic concepts. It was whilst a

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Dizzy Gillespie (1988)Photo by Jan Persson


member of Cab Calloway’s band that Dizzy met fellow trumpeter, Havana-born Mario Bauzá, who triggered Dizzy’s lifelong love aff air with Afro-Cuban music. The self-penned Night In Tunisia became one of Dizzy’s signature numbers. The tune is distinctive for its Latin-feel opening bars, which feature an insistent bass ostinato in straight quavers alternating between chords that are built upon notes a half-step apart. This gives way to a passage of straight-ahead swing based on a more conventional harmonic structure. One of jazz’s best-loved fi gures and a consummate showman as well as an expert musician, Dizzy died of pancreatic cancer in 1993.

Engaged in a quest for individual freedom of expression, the beboppers deemed their music worthy of the highest critical acclaim, and some disapproved of the onstage showmanship of the likes of Louis Armstrong. Miles Davis was unrepentant about his uncompromising image, and was occasionally criticised for his behaviour during concerts - sometimes turning his back on the audience, or leaving the stage during his bandsmen’s solos. He fi red back:

The average jazz musician today, if he’s making it, is just as trained as classical musicians. You ever see anybody go up bugging the classical musicians when they are on the job and trying to work? It’s just as if a Negro is involved there’s something wrong with him. My troubles started when I learned to play the trumpet and hadn’t learned to dance.

Davis explored modal jazz, a style that dispenses with conventional chord patterns, thereby freeing up the melodic line for the soloist. He developed a highly individual style

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Miles DavisPhoto by Don Hunstein


of playing that made eff ective use of space – and the Harmon mute – and was a complete contrast to the frenetic character of bop. His biographer Jack Chambers quotes Gil Evans, Davis’ arranger and collaborator on several albums:

A big part of Miles’ creative gift is the creation of sound. Miles had to start with almost no sound and then develop one as he went along… He can put his own substance, his own fl esh on a note and then put that note exactly where it belongs.

Tonight’s concert includes one track from Davis’ seminal 1959 album Kind of Blue, All Blues. Essentially a 12-bar blues in 6/8 time, the music is underpinned by pianist Bill Evans’ constant modal vamp, which gives rise to a kind of harmonic stasis.

A relentless experimenter, Davis later pioneered fusion, and until his death in 1991 he continued to seek out talented young musicians and break new ground.

During the 1960s the pop charts played host to a diverse range of artists; hardened jazz acts rubbed shoulders with rock bands, and those members of the record-buying public who as teens in the 1950s had jived to rock ‘n’ roll now constituted a new, more mature market – easy listening.

Born in Los Angeles to a Jewish family, Herb Alpert was a multi-talented ex-army trumpeter with a keen eye for spotting a lucrative commercial opportunity. He had co-written several of Sam Cooke’s biggest hits before founding A&M Records with Jerry Moss. It was during a visit to a bull fi ght in Tijuana that Alpert hit on the idea of trying to emulate the sound of a traditional Mexican mariachi band on vinyl by overdubbing his trumpet, slightly out of sync. He added some crowd sound eff ects, and the resulting recording, ‘The Lonely Bull’, made the Top Ten. Dubbed ‘Ameriachi’ in the popular press, his style quickly caught on and spawned a string of hits, including Tijuana Taxi and Spanish Flea. Herb Alpert & the Tijuana Brass provided an overdue injection of fun into the music scene at a time when counterculture gurus were taking themselves far too seriously, and a new generation of revellers danced to the sound of the trumpet once more.

Splendour, ceremony, one-upmanship, introspection, entertainment ... tonight’s program proves that there is room onstage for every kind of trumpet hero. Just the way James Morrison likes it.

LORRAINE NEILSONSYMPHONY AUSTRALIA ©2010


MORE MUSIC

Selected Discography

FANFARE FOR THE COMMAN MAN

Copland’s Fanfare is a popular American classic, fi nding ideal company on The American Album with Leonard Slatkin and the St Louis Symphony Orchestra.

RCA VICTOR RED SEAL 60778

JANÁCEK SINFONIETTA

Hear the Sydney Symphony play this thrilling work in full on the live recording made with Charles Mackerras on his 2007 visit to Australia.

SSO 200705

CHARPENTIER TE DEUM

This is another work worth hearing in full. The famous Prelude leads into celebratory music for voices and orchestra – baroque music at its most uplifting. Try William Christie’s recording with Les Arts Florissants.

HARMONIA MUNDI 501298

TELEMANN AND FRIENDS

Wynton Marsalis brings jazz spirit to baroque trumpet concertos in a tour de force of overdubbing: he’s the soloist in concertos for one, two, three and even eight trumpets.

SONY 92620

JAMES MORRISON

Feels Like SpringJames Morrison’s latest disc is a collaboration with the a cappella sensation The Idea of North – a mix of jazz standards, originals and even a pop adaptation.

2735660

Scream Machine

MORRISON RECORDS MR010

Three MindsThree-disc set: Hot, Swing, Cool (1998)

MORRISON RECORDS MR003

James Morrison: Live at the Sydney Opera House with his Big Band

EAST-WEST 0630151462

Most of James Morrison’s recordings are also available through iTunes.

Webcast Diary

Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: bigpondmusic.com/sydneysymphony

Broadcast Diary

JULY

Wednesday 14 July, 8pmFANTASTIQUE!Pinchas Steinberg conductorLouis Lortie pianoFranck, Ravel, Berlioz

Tuesday 20 July, 1.05pmFLOWER OF YOUTH (2009)Michael Dauth violin-directorAmir Farid pianoMendelssohn, Mozart

Saturday 24 July, 1pmMEET THE CONCERTO (2009)Richard Gill conductorGautier Capuçon celloRobert Johnson hornDvorák, Gordon

Saturday 24 July, 8pmBEETHOVEN 5David Robertson conductorGarrick Ohlsson pianoAdams, Chopin, Beethoven

Sydney Symphony Online

Visit the Sydney Symphony at sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

Become a fan on Facebook at http://tinyurl.com/facebook-SSO (or search for “Sydney Symphony” from inside your Facebook account).

Follow us on Twitter at twitter.com/sso_notes for program alerts and musical curiosities, straight from the editor’s desk.

2MBS-FM 102.5SYDNEY SYMPHONY 2010Tuesday 13 July, 6pm

What’s on in concerts, with interviews and music.

Have Your Say

Tell us what you thought of the concert at sydneysymphony.com/yoursay or email: [email protected]


ABOUT THE ARTISTS

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Marc Taddei conductor

Marc Taddei was born in the United States and studied at the Juilliard School in Manhattan, earning bachelor and master’s degrees 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 also 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.

As a guest conductor, he has worked with the Oregon Symphony Orchestra, Louisiana Philharmonic, Fort Worth Symphony Orchestra, Melbourne Symphony Orchestra, Adelaide Symphony Orchestra, the Queensland Orchestra, Eugene Symphony, New Haven Symphony Orchestra, Southwest Florida Symphony, Tasmanian Symphony Orchestra, Orchestra Victoria, Chamber Orchestra of Hong Kong and the Silesian State Opera in the Czech Republic.

He has collaborated with such diverse artists as Dame Kiri Te Kanawa, Angela Brown, Julian Lloyd Webber, Horacio Gutiérrez, Simon O Neill, Joanna MacGregor, Jonathan Lemalu, Antonio Pompa-Baldi, Sir Howard Morrison, Michael Houstoun, Gregg Baker, Dame Malvina Major, Helen Callus, Csaba Erdélyi, Joshua Redman, Pedro Carneiro, Diana Krall, Bobby Shew, Art Garfunkel and Kenny Rogers.

His impressive discography of more than 20 recordings, 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.

His appearances on television have included performances with Dame Kiri Te Kanawa, Young Musician of the Year, Last Night of the Proms, and a children’s television special, Baby Proms. In 2005 he conducted a special televised performance of Vaughan Williams Sinfonia antartica, featuring Sir Edmund Hillary as narrator, and most recently recorded the soundtracks for two major motion pictures, Dean Spanley and Under the Mountain.


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 fi rst instrument at the age of seven; at nine he formed his fi rst 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 – including Montreux, Pori, North Sea, Nice and Bern – 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.

James Morrison’s career has been diverse. He recorded Jazz Meets the Symphony with the London Symphony Orchestra, and performed concerts at the Royal Albert Hall with the London Philharmonic Orchestra and at Covent Garden for Princess Anne. 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 in recognition of his service to the arts.

Concert highlights have included Hollywood Bowl, the Israel National Orchestra and the LA Jazz Festival. In addition to touring the world for much of the year, he is head of Morrison Records, an independent label dedicated to the best of jazz. In 2007 he gave the premiere performance of Lalo Schifrin’s Concerto for Jazz Trumpet and Piano with the Sydney Symphony, and in recent years he has led tributes to Duke Ellington and Louis Armstrong in the Kaleidoscope series.

James Morrison is deeply involved in education, conducting masterclasses and workshops in many countries and presenting the James Morrison Jazz Scholarship at Generations in Jazz. He is an avid user of the latest technologies to furthering jazz and music education on the Internet, and is currently designing new instruments with Austrian company Schagerl.


James Muller jazz guitar

Born in Adelaide in 1974, James Muller began teaching himself guitar at the age of 12. At fi rst 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 fi rst 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 Scofi eld, 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.

Cameron Undy double bass

Cameron Undy studied electric and double bass at the Sydney Conservatorium, where he graduated from the jazz course in 1989. He has since performed and recorded with many leading Australian jazz artists, including Mike Nock, Bernie McGann, Paul Grabowsky, Chris Abrahams, James Morrison and Don Burrows.

He has also performed with many international touring artists including Sam Rivers, Don Pullen and Terumasa Hino, and he has appeared on stage and on record with popular artists such as Ian Moss and Delta Goodrem.

Groove, funk and dance music have played a big part in his career. He was an integral part of the early success of acid jazz group D.I.G. and has toured the world and recorded with European ‘Nu Jazz’ producers Mark de Clive-Lowe, Nathan Haines, Kaidi Tatham and Bugz in the Attik. He was the inaugural president (1997–2000) and one of the founders of the Jazzgroove Association and record label.

In 2005 he released two albums of his own music, Mad Stream with his quintet 20th Century Dog, and Telepathy with the trio Numerology, and in 2006 he launched his career as dance music producer Kidzen.

Most recently he has made his mark as an entrepreneur with wife Kerry by taking underground warehouse jazz venue 505 into the public arena at its new location in Surry Hills, establishing Sydney’s only six-night-a-week dedicated jazz club.


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 Schnieder, 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 fi ve 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.

Kathryn James Adduci (Australia/USA)

Lertkiat Chongjirajitra (Thailand)

John Coulton (Australia/UK)

Gabriel Dimartino (USA)

Luis Engelke (USA)

Langston J. Fitzgerald III (USA)

Lawrence Gargan (Singapore)

Ashley Hall (USA)

Cheryl Hollinger (New Zealand)

Jack Laumer (USA)

Peixiang Li (China/USA)

Fredeline Parin (The Philippines)

William Pfund (USA)

Judith Saxton (USA)

Nikos Xanthoulis (Greece)

GUEST TRUMPETERSThe Sydney Symphony is delighted to welcome to the stage the following special guests, currently in Sydney for the 35th Annual Conference of the International Trumpet Guild.

www.australiantrumpetguild.com/itg2010/

Geoffrey Payne(Principal Trumpet, Melbourne Symphony Orchestra)

Daniel Mendelow(Principal Trumpet, Sydney Symphony)

John Foster(Sydney Symphony)

Anthony Heinrichs(Sydney Symphony)

TRUMPET SOLOISTS

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MUSICIANS

Vladimir AshkenazyPrincipal Conductor andArtistic Advisor

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Michael DauthConcertmaster Chairsupported by the SydneySymphony Board and Council

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Dene OldingConcertmaster Chairsupported by the SydneySymphony Board and Council

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Performing in this concert…

FIRST VIOLINS

Michael Dauth Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Amber Gunther Alexandra MitchellLéone Ziegler Mariana Green†Claire Herrick†Katherine Lukey*Alexander Norton*Martin Silverton*

SECOND VIOLINS

Kirsty Hilton Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Shuti HuangEmma Hayes Stan W Kornel Benjamin Li Biyana Rozenblit Belinda Jezek*

VIOLAS

Roger Benedict Sandro CostantinoJane Hazelwood Stuart Johnson Justine Marsden Leonid Volovelsky Felicity TsaiArabella Bozic†

CELLOS

David Berlin*Leah Lynn Assistant Principal

Timothy NankervisElizabeth NevillePatrick Murphy#Janine Ryan*

DOUBLE BASSES

Steven Larson Neil Brawley Principal Emeritus David Campbell David Murray Benjamin Ward#

FLUTES

Janet Webb Emma Sholl Kate Lawson#

OBOES

Shefali Pryor David Papp Elizabeth Chee*

CLARINETS

Francesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONS

Matthew Wilkie Fiona McNamara

HORNS

Ben Jacks Geoffrey O’Reilly Principal 3rd

Lee BracegirdleEuan Harvey

TRUMPETS

Daniel Mendelow John FosterAnthony Heinrichs

TROMBONES

Ronald Prussing Scott Kinmont Nick Byrne Christopher Harris Principal Bass Trombone

Nigel Crocker*Matthew Harrison*Mitchell Staines*Matthew van Emmerik*

TUBA

Thomas Allely*

TIMPANI

Mark RobinsonAssistant Principal

PERCUSSION

Rebecca Lagos Colin Piper Brian Nixon*

HARP

Louise Johnson

KEYBOARD

Ray Harvey*

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

In response to audience requests, we’ve redesigned the orchestra list in our program books to make it clear which musicians are appearing on stage for the particular performance. (Please note that the lists for the string sections are not in seating order and changes of personnel can sometimes occur after we go to print.)

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


THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

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

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Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the 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 world-wide recognition for artistic excellence, and in 2009 it made its fi rst tour to mainland Asia.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of 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. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton label, and numerous recordings on the ABC Classics label.

This is the second year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.


SALUTE

BRONZE PARTNER MARKETING PARTNERS

Vittoria Coffee Lindsay Yates & Partners 2MBS 102.5 Sydney’s Fine Music Station

PRINCIPAL PARTNER GOVERNMENT PARTNERS

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

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

SILVER PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNERS

PLATINUM PARTNERS MAJOR PARTNERS


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.

$20,000+Geoff & Vicki AinsworthMr Robert O Albert AO

Roger Allen & Maggie GrayTom Breen & Rachael KohnSandra & Neil Burns Mr John C Conde AO Robert & Janet ConstableThe Hon Ashley Dawson-Damer Mr J O Fairfax AC

Fred P Archer Charitable TrustThe Berg Family Foundation in memory of Hetty GordonThe Hansen Family Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Mrs Roslyn Packer AO Greg & Kerry Paramor and Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra Salteri Mrs Penelope Seidler AM

Mrs Joyce Sproat & Mrs Janet Cooke Mrs W SteningMr Fred Street AM & Mrs Dorothy Street In memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupThe Estate of the late G S WronkerRay Wilson OAM in memory of James Agapitos OAM

Anonymous

$10,000–$19,999Brian Abel Alan & Christine Bishop Ian & Jennifer Burton Libby Christie & Peter James Penny Edwards Dr Bruno & Mrs Rhonda GiuffreStephen Johns & Michele BenderHelen Lynch AM & Helen BauerIsabel McKinnonMrs Joan MacKenzie Justice Jane Mathews AO

Tony & Fran MeagherMrs T Merewether OAM Mr B G O’Conor June & Alan Woods Family BequestAnonymous (2)

$5,000–$9,999Mrs Antoinette AlbertAndrew Andersons AO

Jan Bowen Mr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrEmily Chang Bob & Julie Clampett

Michael & Manuela DarlingJames & Leonie FurberMr Robert Gay Mr David Greatorex AO & Mrs Deirdre Greatorex Irwin Imhof in memory of Herta Imhof Judges of the Supreme Court of NSWGary Linnane Wiliam McIlrath Charitable FoundationRuth & Bob MagidDavid Maloney & Erin FlahertyDavid & Andree MilmanEva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum David Smithers AM & Family Mrs Hedy SwitzerIn memory of Dr William & Mrs Helen Webb Michael & Mary Whelan Trust Jill WranAnonymous

$2,500–$4,999David Barnes Marco Belgiorno-Zegna AM

Lenore P Buckle Paul & Susan HotzMark JohnsonAnna-Lisa KlettenbergMr Justin LamMora Maxwell Judith McKernanJames & Elsie Moore Mr & Mrs OrtisBruce & Joy Reid FoundationGeorges & Marliese TeitlerJ F & A van OgtropAnonymous (2)

$1,000–$2,499Adcorp Australia LimitedCharles & Renee AbramsMr Henri W Aram OAM Terrey & Anne ArcusClaire Armstrong & John SharpeRichard Banks OptometristsCharles Barran Doug & Alison Battersby Jo-Anne BeirneStephen J Bell Phil & Elesa BennettNicole Berger Gabrielle Blackstock Mr Alexander & Mrs Vera Boyarsky David S Brett Jane Brodribb & Colin DraperMr Maximo Buch M BulmerPat & Jenny BurnettThe Clitheroe FoundationDebby Cramer & Bill Caukill

Ewen & Catherine CrouchLisa & Miro DavisMr James Graham AM & Mrs Helen Graham Ian Dickson & Reg HollowayPaul EspieRussell & Sue FarrRosemary & Max Farr-JonesJohn FavaloroMr Ian Fenwicke & Prof Neville WillsFirehold Pty LtdAnnette FreemanRoss & Jill GavinWarren GreenAnthony Gregg & Deanne Whittleston Akiko Gregory In memory of Oscar GrynbergJanette Hamilton Ann Hoban The Hon David Hunt AO QC & Mrs Margaret HuntDr Michael Joel AM & Mrs Anna Joel Sam & Barbara LinzMallesons Stephen JaquesMr Robert & Mrs Renee MarkovicIan & Pam McGawMatthew McInnes Mrs Barbara McNulty OBE

Mr R A Oppen Mr Robert Orrell Jill Pain Mrs Almut PiattiAdrian & Dairneen PiltonRobin Potter Mr & Ms Stephen ProudErnest & Judith RapeePatricia H Reid Pamela Rogers Jerome & Pamela RowleyJuliana SchaefferVictoria SmythEzekiel SolomonCatherine Stephen Andrew & Isolde TornyaJohn E Tuckey Mrs Merle Turkington Andrew Turner & Vivian ChangMrs Kathleen TuttonA W Tyree FoundationEstate of B M WardenHenry & Ruth WeinbergAudrey & Michael Wilson Geoff Wood & Melissa WaitesAnonymous (11)

$500–$999Mr C R AdamsonDr Francis J AugustusMichael & Toni Baume AO

G D Bolton Dr & Mrs Hannes Boshoff Hon. Justice J C & Mrs Campbell

Joan Connery OAM Jen Cornish Bruce CutlerProf Christine DeerPeter English & Surry PartnersIn Memory of Mr Nick EnrightDr & Mrs C Goldschmidt In memory of Angelica Green Damien HackettThe HallwayMartin HanrahanDr Heng & Mrs Cilla Tey Rev H & Mrs M Herbert Dr & Mrs Michael Hunter Jannette King Iven & Sylvia KlinebergIan KortlangMr & Mrs Gilles T Kryger Dr and Mrs Leo LeaderMargaret LedermanErna & Gerry Levy AM Sydney & Airdrie LloydAlison Lockhart & Bruce WatsonLocumsgroup Holdings LPDr Carolyn A Lowry OAM & Mr Peter Lowry OAM

Wendy McCarthy AO Macquarie Group FoundationMelvyn MadiganMrs Silvana MantellatoKenneth N MitchellHelen MorganMr Graham NorthDr M C O’ConnorMrs Rachel O’ConorK B MeyboomA Willmers & R PalMr George A PalmerDr A J PalmerDr Kevin Pedemont L T & L M PriddleDr K D Reeve AM

Rowan & Annie RossRichard RoyleMr M D SalamonIn memory of H St P ScarlettCaroline SharpenRobyn Smiles E StuartMr John SullivanMr Ken Tribe AC & Mrs Joan Tribe Prof Gordon E Wall Ronald WalledgeThe Hon. Justice Anthony WhealyThe Hon. Edward G WhitlamMrs R YabsleyAnonymous (19)

To fi nd out more about becoming a Sydney Symphony patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


MAESTRO’S CIRCLE Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Michael Dauth and Dene OldingBoard and Council of the Sydney Symphony support the Concertmaster Chairs

04Nick ByrneTromboneRogenSi Chair with Gerald Tapper, Managing Director RogenSi

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

09Roger Benedict Principal ViolaRoger Allen and Maggie Gray Chair

04 05 06

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For information about the Directors’ Chairs program, please call (02) 8215 4619.

DIRECTORS’ CHAIRS

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE John Morschel, Chairman of ANZThe Macquarie Group Foundation


BEHIND THE SCENES

CHAIRMAN John C Conde AO

Ewen Crouch Stephen Johns David Smithers AM

Jennifer Hoy Andrew Kaldor Gabrielle TrainorRory Jeffes Goetz Richter

Sydney Symphony Board

Sydney Symphony Regional Touring Committee

Ian MacdonaldDr Richard Sheldrake Director-General, NSW Department of Industry and InvestmentMark Duffy Deputy Director-General, Energy and Minerals Division, NSW Department of Industry and InvestmentColin Bloomfi eld Illawarra Coal BHPBilliton Stephen David Caroona Project, BHPBilliton

Jim Davis Regional Express AirlinesPeter Freyberg XstrataTony McPaul Cadia Valley OperationsTerry Charlton Snowy HydroSivea Pascale St.George BankPaul Mitchell Telstra Grant Cochrane The Land

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinJohn Curtis AM

Greg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*

Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen PearseJerome RowleyPaul SalteriSandra Salteri

Jacqueline SamuelsJuliana SchaefferLeo Schofi eld AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

Sydney Symphony Staff MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC MANAGER

Raff WilsonARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING PRODUCTION MANAGER

Philip Powers

Education ProgramsEDUCATION MANAGER

Kim WaldockARTIST DEVELOPMENT MANAGER

Bernie HeardEDUCATION ASSISTANT

Rebecca Whittington

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENTHEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Stephen Attfi eldHEAD OF PHILANTHROPY & PUBLIC AFFAIRS

Caroline SharpenPHILANTHROPY & PUBLIC AFFAIRS EXECUTIVE

Kylie AnaniaDEVELOPMENT COORDINATOR

Georgia Wilton

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR MARKETING MANAGER,SINGLE SALES

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MANAGER

Kate Taylor

MARKETING & MEDIA SERVICES COORDINATOR

Alison Martin GRAPHIC DESIGNER

Christie BrewsterDATA ANALYST

Varsha Karnik

Box Offi ceMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Natasha PurkissMANAGER OF SALES & SERVICE

Mark BarnesCUSTOMER SERVICE REPRESENTATIVES

Steve ClarkeMichael DowlingErich GockelMatt LilleyRachel McLarinJohn Robertson

COMMUNICATIONSHEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine Stevenson

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Stephanie MirowOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoASSISTANT ACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Li LiPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

Anna Kearsley

SYMPHONY AUSTRALIA LIMITEDSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphony.net.au

SYMPHONYAUSTRALIA

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily refl ect 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.

Please address all correspondence to the Publications Editor: Email [email protected]

SYDNEY OPERA HOUSE TRUSTMr 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 Schofi eld AM, Mr Evan Williams AM

EXECUTIVE MANAGEMENTCHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard EvansDIRECTOR, BUILDING DEVELOPMENT & MAINTENANCE . . . . . . . . . Greg McTaggartDIRECTOR, TOURISM & VISITOR OPERATIONS. . . . . . . . . . . . . . . . . . Maria SykesDIRECTOR, FINANCE & INNOVATION . . . . . . . . . . . . . . . . . . . . . . . . . . . David AntawDIRECTOR, MARKETING & DEVELOPMENT. . . . . . . . . . . . . . . . . . . . . . Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rachel Healy

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Offi ce (02) 9250 7777Facsimile (02) 9250 7666 Website sydneyoperahouse.com

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