this evening, chick corea and vibraphone genius gary ... · pdf file5 | sydney symphony...

It is my great pleasure to welcome you tonight as we listen to one of the world’s most influential jazz musicians, Chick Corea, performwith the Sydney Symphony.

This evening, Chick Corea and vibraphone genius Gary Burtoncelebrate the 35th anniversary of their album Crystal Silence. We will be privileged to hear the collaboration of these twomusicians and the Sydney Symphony as together they translateCorea’s playful, lyrical and expansive style to the symphonic setting.

With one of the most recognised brands in the energy industry,EnergyAustralia is proud to be associated with the SydneySymphony. We are very excited to be linked to the Symphony’sflagship Master Series, and tonight for the first time as part of theKaleidoscope series, which celebrates amazing experiences andinnovative programs.

EnergyAustralia is one of Australia’s leading energy companies,with more than 1.8 million customers in NSW, Victoria, the ACT,South Australia, and Queensland.

I hope you enjoy tonight’s concert and have the opportunity toexperience future concerts within the EnergyAustralia Master Seriesprogram in 2007.

George MaltabarowManaging Director

SEASON 2007

KALEIDOSCOPE SERIES

CHICK COREA AND GARY BURTONJAZZ AND ORCHESTRA

Thursday 10 May | 8pm

Saturday 12 May | 8pm

Sydney Opera House Concert Hall

Jonathan Stockhammer conductorChick Corea piano and keyboardsGary Burton vibraphone and marimba

Part I

Gary Burton and Chick Corea play duets

Numbers to be announced from the stage

INTERVAL

Part II

The Sydney Symphony join Chick and Gary on stage for new arrangements of:

Love Castle

Duende

Brasilia

Crystal Silence –

La Fiesta

Orchestrations by Tim Garland

Pre-concert talk by Gordon KaltonWilliams at 7.15pm in the Northern Foyer.

Estimated timings:45 minutes, 20 minute interval, 70 minutes.The performance will conclude at approximately 10.15pm.

Cover images: see page 30 for captions

Program notes begin on page 5

Artist biographies begin on page 17

PRESENTING PARTNER

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INTRODUCTION

Chick Corea and Gary Burton – Jazz and

Orchestra

What’s the sound of crystal silence? A koan shouldn’t havean answer, but this one does. The sound of Crystal Silenceis the intertwined chimes of Chick Corea’s piano andGary Burton’s vibraphone.

What makes a great partnership? Three decades ofthinking each other’s thoughts and expressing them in sound. Gary Burton says that from the beginning oftheir collaboration in 1972 they discovered they could‘anticipate each other’s ideas’. Corea and Burton offereach other support and friendship, they dance togetherbut separately, two musicians on the same path.

What makes a musician? Burton and Corea arevirtuosos. Corea’s playful sometimes percussive,sometime caressing style and Burton’s pioneering multi-mallet technique are phenomenal. But that’s just part of it. Music, says Corea, springs from the joyof creation, of making it new every time he plays. You can hear that in his music. He’s speaking to you. He’s celebrating life. Technique is just a means to an end.

Why Jazz and Orchestra? Corea’s music is so rich, itjust makes sense to let the colours spread across a widercanvas to amplify the emotion. What about spontaneity?Improvised music doesn’t ‘just happen’. Music can only flow freely after careful preparation and reflection.Think of Corea’s and Burton’s music as being composedon the spot, in collaboration. A tightrope walk on parallelwires, two artists painting the same picture. They’ll create something in front of our eyes and ears.

What’s the secret of creativity? Listen to the crystalsilence.

Gary Burton and Chick Corea

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Instant Composition!

Tony Gould explores the artistry and originality of Chick Corea and Gary Burton.

For decades American pianist/composer Chick Corea hasbeen a major figure in the world of music, particularlyin jazz and other related genres. He is by any standards a virtuoso pianist and a master composer. While manymusicians have stayed in the comfort zone of a chosenstyle, Corea, like the great Miles Davis, has always movedwith the time, often ahead it.

This is in the true spirit of spontaneous improvisation,which always demands a fresh approach when makingmusic. It is reflected in the pianist’s vast and diversenumber of musical associations, and in his compositionaloutput. Many of his pieces, including La Fiesta and CrystalSilence, have become well loved jazz standards.

Via recordings, much of his music has had a notableimpact on the direction and broadening of improvisedmusic, well beyond the traditional notions of modernacoustic jazz. He has delved into rock, and is a master of so-called Jazz Fusion music, the latter especiallydemanding high skill levels on an array of electrickeyboards. Moving from one to the other presents nodifficulties for Corea. As well, he is a wonderful player ofthe classical repertoire from Mozart to Bartók, whichmeans he is as comfortable in orchestral settings as he isin any other. He understands well the rhythmic nature ofboth classical and improvised genres.

Listen to his distinctive voice on the recording NowHe Sings, Now He Sobs (1968). There is an uncommon,electrifying vitality in the playing, and new complex waysof composing vehicles for improvisation. In particular, therhythmic feel on this recording and the collective energyof the other players brought a whole new dimension toimprovisation.

His Return to Forever recordings of the early 1970s show still more new directions for Corea: brilliantcompositions, brilliant playing across genres – Jazz, Latin,Spanish, and classical music. There is nothing cosmeticabout his classical playing or compositions, which,incidentally, can be an unfortunate trait when classicalmusicians attempt to play jazz.

Then there are the spontaneous improvisations for solopiano, where, arguably, Corea’s great keyboard artistry and

ABOUT THE MUSIC

“A musical dialogue is forme one of the most excitingand fun ways to create andcommunicate and play.”

CHICK COREA

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originality is best displayed. Despite the question ofwhether anything is totally spontaneous (or original) whenimprovisers play, the intent to be spontaneous is always atthe heart of truly creative improvisation. Corea expressesthe view that:

There’s a myth that spontaneity has something to do with the musical phrase being different from anything that has comebefore. But ‘newness’ is just viewing something from now, fromthe present moment. It doesn’t matter if the tree you’re looking at today is the same tree you looked at yesterday. If you’relooking at the tree right now, it’s a new experience. That’s whatlife is about.

It is the stuff of innovation. This connects with whatPicasso meant creatively when he said that in order tocreate something new it is necessary to re-create the art. In other words it is not a question of rejecting the past,but using it.

Corea is a highly distinctive artist, always recognizablewithin moments of him beginning to play; the touch,the tone, the individual approach to ornament. Hiscompositions are also instantly identifiable, perhaps moreso than most other performer/composers. Which creates a dilemma for pianists who play his music, for jazzmusicians invariably emulate to some degree those whothey admire, especially in the early periods of theirperformance careers.

The ‘trouble’ with Corea’s music is that it is soidiosyncratic, playing his music can easily sound like acheap imitation of the real thing. Almost better to leave it entirely to him. To call a performer unique when hisartistry is considered to be of the highest order is theultimate compliment. Corea qualifies.

And yet great improvisers do not strive consciously tobe ‘different’. Rather, they achieve it by being true tothemselves, having the imagination, skill, depth ofmusical language, and daring to make it happen. Theymake music not because they can, but because they must.

Above all these remarkable musical skills there is a joyin Chick Corea’s music-making, and sometimes humour,which is infectious for those who play his music and forthose who listen. (Humour is a commodity sadly lackingin the world of art music.)

Compositions such as La Fiesta and Crystal Silence arewonderful vehicles for improvisation, the first because it ‘springs off the page’, as do other famous pieces likeSpain, and the second because, within its short formal

“Connections, influences,links, stimulatingperformances. Experiencebasically is all the stuff we come across and gothrough. We seem to holdclose the pleasurableexperiences – the ones thatstimulate us into creatingsomething ourselves.”

CHICK COREA

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structure, there is a wonderful mix of modality andtonality, all tightly and cleverly arranged, of course. (The theoretically minded, and/or those with ‘big ears’might be aware that something ‘unusual’ is happening in the middle bit; the reason is because the chordprogression is not traveling in the usual ‘right’direction.)

Amongst his performances with many and variedensembles, Corea has long enjoyed playing in a duosetting; one of the most memorable occasions being hislive concert with another extraordinary pianist/composerHerbie Hancock. (There is a recording.) A couple ofyears ago I heard him with singer Bobby McFerrin atthe Umbria Jazz Festival in Italy. It was a remarkabledisplay of musical inventiveness, enhanced by the musicalenjoyment and adventure of seeing what happens ‘in the moment’.

In both these performances no pre-conceived plan is obvious, which is one step further down the ‘dangerous path’ of spontaneity. Is this musical arrogance?Not preparing a program before presenting it to thepublic? With players of this calibre, not at all. Indeedwhen listeners are aware of such circumstances, theexperience is heightened, often breathtaking. It is as ifthe players are inviting their audience to trust them,and travel with them along the unplanned journey.

“I decided when I was ayoung man to make it as my primary policy to alwayskeep myself interested andchallenged with music. I’ve managed to avoid fallinginto the habit of doing thesame thing over and overagain, and it’s really provedto be a good thing for me. I don’t care about the otherthings, I care that I’m havinga lot of fun and creating. So I feel honoured or luckyto be able to continue to dothat and be able to make aliving doing it.”

CHICK COREA

Gary Burton performing at the Copenhagen Jazz Festival, 2005

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Knowing what the intent and approach to aperformance is, and appreciating the skill it takes tocreate/compose great music without the benefit (luxury) of being able to make any corrections before presenting it to the public, always heightens the experience. If thisremarkable ability to create art under these circumstanceswas understood, the art of improvisation would be morewidely appreciated. It puts in proper perspective the ideaof ( just) ‘making it up as you go.’

Corea and the like are keeping alive an art which wasonce a fundamental part of classical music. Wouldn’t itbe marvellous to hear a spontaneously invented cadenzain a Mozart or Beethoven concerto! Alas, hardly ever.Spontaneity is now largely in the domain of jazzmusicians, and thanks to them it is alive and well.

In the right hands – in Corea’s – such performancesreach the highest levels of artistry.

And then there were two.To hear Chick Corea playing with Gary Burton is not

only to witness great virtuosity, but also an uncommonempathy. It is a wonderful example of the matching of musical forces; dynamic, virtuosic, the blend of twopercussion instruments, and remarkable weaving of acommon, connected language. Contemplate too, the level of aural perception, focus, and quickness of mindrequired to make it work in such circumstances.

All things considered there has not been a greatervibraphonist in jazz than Gary Burton. (Milt Jackson ofthe Modern Jazz Quartet and Bobbie Hutchersonnotwithstanding.)

Like Corea, Burton has played in Australia before, andthe memory of hearing both of them play in person andtogether is always an unforgettable experience. Both havebeautiful inner senses of rhythm and pulse, as if there is an invisible rhythm section at work; which allows aworking out of material which flows seamlessly from one idea to the next as the music unfolds. Instantcomposition!

Recordings? Of course, but there is nothing matchesthe experience of being there, to see and hear it happen in the moment.

TONY GOULD ©2007

Dr Tony Gould AM is a pianist, composer in both classical andimprovised musical idioms, and a writer on music and culture. Hecurrently holds a Fellowship from the Australia Council for the Arts.

“My longest duo partnershiphas been with Gary Burton.We still get together withvery little preparation andplay the occasional concertwith as fresh a feel as it hadin 1971, when we first playedduo together.”

CHICK COREA

Gary Burton, Copenhagen, 2005

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Crystal Silence – 35th Anniversary Tour

Chick Corea and Gary Burton

One of the attractive features of jazz is the way greattalents collaborate with others to create musical delightsthat fans and, indeed, the artists themselves may notpreviously have dreamed of.

Keyboard legend Armando ‘Chick’ Corea has graced the Montreux stage on several occasions, at least three ofthese as half of a double act with Herbie Hancock (1979),John McLaughlin (1981) and, in 1997, Gary Burton. Theseduets have been rightly acclaimed as jewels in the JazzFestival’s star-studded crown.

Corea’s diverse four-decade-plus career is welldocumented, with the highlights including a spellsucceeding Herbie Hancock in Miles Davis’s bandbetween 1968 and 1970. This was followed by thefoundation in 1971 of groundbreaking jazz-rock fusionensemble, Return To Forever, which gave Stanley Clarkeand Al DiMeola their first step to fame.

Vibraphone player and fellow Bostonian Gary Burtonsimilarly provided a launch pad for guitarist Pat Methenyto shoot for solo stardom, but his career is equally notablein its own right.

The pair’s combined ventures started as long ago as1972 with the release of the Crystal Silence album on theECM label and continued with 1978’s Duet, In Zurich, 1979and 1982’s ambitious Lyric Suite For Sextet which saw theduo augmented by a string quartet.

‘It’s never been a reunion,’ Corea told Digital Interviewsin 1999. ‘Me and Gary continue to just play. It’s always

“An artist doesn’t namewhat he does until he viewsit and sees what it is first. If he stops to think aboutwhether it will be‘acceptable’ or not before hemakes it, he finishes himselfjust like that – boom!”

CHICK COREA ON STYLE

Chick Corea in concert, 1988

Gary Burton and Chick Corea

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Celebrate the Sydney Symphony’s75th birthday with alittle gift for yourself

Bimbadgen Estate are very proudto be the official wine partner

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To order your 75th celebration wine packs – visit

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A contribution fromevery sale goes to supportthe Sydney Symphony’s

outreach and community work.


been, “Oh, let’s do another gig.” There was never a pointwhere…we reformed. It’s always been a sideline with us,in the sense that we’ve always had main groups that we do, and then we’ve always gotten together with the duet.It’s kind of worked out very, very nicely. It’s a special littleplace that’s all its own.’

Burton, on his official website, says: ‘No oneunderstands the idiosyncrasies of my improvising the way Chick does. When we stumbled into an impromptuduet as an encore to a 1972 concert, we discovered animmediate connection, like two people who speak thesame obscure language. It could be because we both play keyboard instruments, or because we both came of age musically in Boston with many of the same localmusicians as mentors. Whatever the reason, we discoveredfrom the beginning that we could anticipate each other’sideas with surprising accuracy, and our duet repertoirehas been an essential pillar in our careers.’

The year 1997 saw them take their partnership into thestudio – Chick’s Mad Hatter Studios in Los Angeles, to beprecise – and emerge with the album Native Sense – TheNew Duets. Released in October, three months after theirMontreux appearance, it naturally supplied the bulk oftheir set, the closing La Fiesta being the exception. DownBeat magazine wrote: ‘Native Sense renews a longstanding,very durable friendship…throughout, vibes and pianodeftly support each other and smoothly exchange roles,carrying on a dance of their own…’

Burton and Corea had always resisted adding otherplayers to their duet projects ‘because,’ Gary explained,‘we were a little afraid they might get in our way and limitour rapport.’ They broke that rule in 1997 when guitaristPat Metheny, who had been at Chick and Gary’s firstAmerican concert at the University of Michigan 25 yearsearlier, was invited into the relationship for the excellentLike Minds album.

Another Burton/Corea collaboration has since appearedon Rendezvous In New York, the result of a 60th birthdayparty at the Blue Note in New York, which ended uplasting three weeks and produced a 10-DVD box set!

And the story continues… The 35th anniversary ofthe pair’s original collaboration, Crystal Silence, is beingmarked with concerts as far flung as Nashville, Moscow,Sydney, Singapore, and beyond.

ADAPTED FROM AN ARTICLE BY MICHAEL HEATLEY ©2006

“I always had a simple kindof ideal where all of lifecould be lived as a stream of dovetailing art forms.Everyday life would becombinations of dances,symphonies, dramatic andpoetic dialogues, inspiredsoliloquies, paintings,sculptures, rhythm grooves,fantasy stories – a constantcreate, create, create.

“But I don’t think I’m theonly one with that dream.”

CHICK COREA

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The ‘Tone Deaf’ ClinicEver been told to

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The Resonant VoiceFind it, tune it, train it and

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With Two HandsIf you’ve always wanted toplay piano or improve your

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First FiddleJump over the moon when

you hear yourself playPachelbel’s Canon.

The Convivial CellistFor the ultimate

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Clarinet a cappellaIt’s smooth, it’s velvety,it’s delicious and it’s not

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Seriously SaxophoneIndulge yourself – you know

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Jazz SaxophoneIt’s an incredible improvisation!

Jazz VoicePerfect for shower singers who want to come out of

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Blues GuitarFor profoundly talented

air guitarists … Relax and let it happen!

All That JazzExperiment,

improvise; how far (out) can you go?

Beginner GuitarLearn the frets

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Chamber MusicA very civilised way to

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The Magic FlutePan’s legacy – and still a romantic instrument.

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75 YEARS: HISTORICAL SNAPSHOT

Television usually required studio production rather than

simply putting microphones (and cameras) in front of a live

concert. This photo shows the SSO in a television concert

from the 1960s.

E.J. Roberts, with Isador Goodman assoloist. The broadcasting of the orchestraby the ABC continues. Sydney would nodoubt eventually have acquired a full-timeprofessional symphony orchestra, but –without a public broadcaster that became a major concert promoter – who can saywhen and how? The audience, then andnow, has been formed and shaped by thebroadcaster’s heavy bias towards the kind of music you have come to hear.

David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studyingthe history of the ABC as a musical organisation.

Listening In

As you look at the stage, you’ll probably seemicrophones. Most likely, too, you’ll be ableto hear this concert, again, in a broadcast.The ABC was broadcasting this kind ofmusic before there was a Sydney Symphony,and indeed brought the orchestra intoexistence for this very purpose. TheConcert Hall of the Sydney Opera Houseused to be referred to in ABC radio as‘Studio 227’. But it was a broadcast studioonly when there was an audience for publicconcerts. The ABC’s Sydney SymphonyOrchestra was, soon after its beginnings in 1932, much more a concert than abroadcasting orchestra. This came as asurprise, to some a nasty one. Before theformation of the ABC, commercialentrepreneurs had imported high-flyingsoloists, and even conductors, in the hopeof making money. Now these promotersfaced a formidable competitor, subsidisedby the public purse. The ABC held a trumpcard: its new orchestras. At first orchestralresources were traded for broadcast rightsto privately promoted concerts. But,frustrated at the limited broadcasts theywere obtaining, the ABC soon began topresent their own ‘Celebrity Concerts’, bysubscription. Their competitors – especiallythe Tait Brothers/J.C. Williamson combine– threatened legal action. In 1938 the ABC cleverly bluffed its way out of a courtcase, deflecting the complainants with theargument that the ABC’s concerts were alsobroadcasts, which enabled them to reach‘listeners in’ who would otherwise never be able to hear such concerts. And so itbecame an – unwritten – law that at leastpart of every ABC concert was also abroadcast. It would seem that the firstconcert broadcast by the new ABC involving their ‘Sydney’ orchestra was on 1 July 1932, when the ‘National BroadcastingSymphony Orchestra’ was conducted by


MORE MUSIC

CHICK COREA & GARY BURTON

Crystal Silence (1972)ECM 831-331-2

Duet (1979)ECM 1-1140

In Concert, Zurich, October 28, 1979 (1980)ECM 811-451-2

Native Sense – the New Duets (1997)STRETCH RECORDS SCD 9014-2

Like Minds (1998)Burton, Corea, Metheny, Haynes, HollandCONCORD CCD 4803-2

GARY BURTON

Next Generation (2005)CONCORD CCD 2277-2

Libertango: Music of Astor Piazzolla (2005)CONCORD CCD 4887-2

Virtuosi (2002)Music by Ravel, Scarlatti, Brahms and others; withMakoto Ozone, pianoCONCORD CCD 2105-2

NEW AND CLASSIC CHICK COREA

The Ultimate Adventure (2006)STRETCH RECORDS SCD 9045-2

Origin – Live at the Blue Note (1998)STRETCH RECORDS SCD 9018-2

An Evening with Chick Corea and Herbie

Hancock (1978)CBS PC 2-35663

My Spanish Heart (1976)POLYDOR 825 657-2

CHICK COREA – CLASSICAL FORAYS

Corea Concerto (1999)With London Philharmonic Orchestra and members ofOriginSONY CLASSICAL SK 61799

The Mozart Sessions (1996)Mozart piano concertos with Bobby McFerrin and theSt Paul Chamber OrchestraSONY RECORDS SK 62601

For complete discographies of tonight’s guest artistsvisit: www.chickcorea.comwww.garyburton.com

ABC CLASSIC FM 92.9

MAY–JUNE

Sat 12 May 12.05pmSIBELIUS’ MYTHIC ADVENTURES

Hannu Lintu conductorJing Zhao celloLedger, Shostakovich, Sibelius

Mon 14 May 8pmMOZART’S SERENADE

Sydney Symphony Wind Ensemble

R. Strauss, Mozart and Dvorák

Sat 19 May 8pmROSSINI’S STABAT MATER

Gianluigi Gelmetti conductorBarcellona, Taliento, Grigolo, Scandiuzzi

vocal soloistsMembers of Opera Australia Chorus

Sydney Philharmonia Choirs

Wed 23 May 1.05pmASHKENAZY CONDUCTS RACHMANINOV (2006)Quaife, Davislim, Summers vocal soloistsAlexey Yemtsov pianoCantillation

Wed 6 June 1.05pmBOHEMIA (2006)Arvo Volmer conductorDiana Doherty oboeMozart, Martin°u, JS Bach (encore), Dvorák

Beginning Wednesday 13 June ABC Classic FM willbroadcast concerts from the Beethoven Festival.

Broadcast Diary

In 2006 selected Sydney Symphony concerts were recorded for webcast by Telstra BigPond. These can be viewed at:http://sydneysymphony.bigpondmusic.com.

sydneysymphony.com

Webcast Diary

Visit the Sydney Symphony online for concertinformation, podcasts, and to read your program book inadvance of the concert.

Selected Discography


THE ARTISTS

Jonathan Stockhammer conductor

Los Angeles-born conductor Jonathan Stockhammercombines a broad experience of contemporary music withan impassioned approach to the symphonic and operaticrepertoire.

He made his professional debut in 1994, substituting atshort notice for a series of concerts with the Los AngelesPhilharmonic; he went on to assist Music Director Esa-Pekka Salonen on the orchestra’s European tour and insubsequent seasons in Los Angeles.

He has worked with orchestras and opera companiessuch as the Netherlands Radio Symphony Orchestra,National Opera of Lyon, Finnish Radio SymphonyOrchestra and the Dutch Touring Opera, and has appearedin a variety of international music festivals, includingCologne’s Triennale, Hamburg’s Musikfest, Berlin Festival,Young Euro Classic, UltraSchall, Norway’s Ultima Festival,Belgium’s Ars Musica, and the Holland Festival.

Since moving to Cologne in 1998 to take up a post atthe Music Academy, he has begun close collaborationswith a number of leading European ensembles such asEnsemble Modern in Frankfurt. In addition, he has beenprincipal conductor of the Dutch percussion ensembleSlagwerkgroep Den Haag since 2000.

Opera forms a central part of Jonathan Stockhammer’smusical activities. In Europe he has led productions ofCarmen, The Threepenny Opera and Die Fledermaus as well as Eötvös’ Three Sisters, Mark-Anthony Turnage’s TwiceThrough the Heart, and premieres of Karl-Heinz Dittrich’sZerbrochene Bilder, Enno Poppe’s Interzone, Dusapin’sFaustus, and Ophelias: Death by the Water Singing by HenrikHellstenius. He has also conducted Gianni Schicchi at theTanglewood Music Center.

Highlights of this season include debuts with the SWR Radio Symphony Orchestra Stuttgart, DeutschesSymphonie-Orchester Berlin, and OrchestrePhilharmonique de Radio France.

Jonathan Stockhammer studied Chinese and politicalscience, before studying composition and conducting.After his graduation, he participated in master classes with Jorma Panula, Myung-Whun Chung, Ilya Mussin andPeter Eötvös, and attended Tanglewood Music Center,where he worked with Robert Spano and Seiji Ozawa.

This is Jonathan Stockhammer’s Sydney Symphonydebut.

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Chick Corea keyboards

With a staggering volume of recordings created over the past 40 years, Chick Corea is one of the most prolificcomposers of our age. From avant-garde to bebop, fromchildren’s songs to straight ahead, from hard-hittingfusion to heady forays into classical, he has touched anastonishing number of musical bases in his illustriouscareer. A restlessly creative spirit, he continues to explore and generate new material for a number ofdifferent vehicles, including his dynamic Elektric Bandand his flamenco flavoured Touchstone band as well as his solo recordings. Other recent projects include The Ultimate Adventure and a new piano concerto thathe premiered in Austria in July 2006 (shortly after his65th birthday).

Born Armando Anthony Corea in Chelsea,Massachusetts, he began studying piano at the age offour. Horace Silver and Bud Powell were important pianoinfluences, while the music of Beethoven and Mozartinspired his compositional instincts. Chick Corea’s firstmajor professional gig was with Cab Calloway, followedby early stints in Latin bands led by Mongo Santamariaand Willie Bobo, and important tenures with trumpeterBlue Mitchell (1964–66), flautist Herbie Mann andsaxophonist Stan Getz. He made his recording debutas a leader in 1966 with Tones for Joan’s Bones. Duringthese formative years, he also recorded sessions with Cal Tjader, Donald Byrd, and Dizzy Gillespie. Heaccompanied Sarah Vaughan in 1967 and in 1968 replacedHerbie Hancock in Miles Davis’ band. The same year herecorded Now He Sings, Now He Sobs, a trio album nowconsidered a jazz classic.

In 1971 Chick Corea formed his first edition of ReturnTo Forever, recording a self-titled debut that included the popular La Fiesta, and Light As A Feather, a collectionof Brazilian-flavoured jazz tunes including his best-known composition, Spain. In 1972, he also recorded the sublime Crystal Silence, his first duet encounter withvibraphonist and kindred spirit Gary Burton.



Return To Forever soon transformed into a bona fidehigh-energy jazz-rock concert attraction. Rock fansembraced the group, discovering the world of jazzthrough such albums as the Grammy award-winningRomantic Warrior (1976). In 1978, shortly after disbandingReturn to Forever, Chick Corea teamed up with HerbieHancock for a tour of acoustic piano duets. During the1980s and into the early 1990s, he returned to the fusionarena with his Elektric Band. Balancing his forays intoelectric music, he formed Akoustic Band, and in 1993recorded a set of solo piano jazz standards, Expressions,dedicated to piano legend Art Tatum.

In 1997 he released a recording with the St PaulChamber Orchestra conducted by Bobby McFerrin. Their second collaboration, entitled The Mozart Sessionsfollowed their first duet Grammy award-winningrecording, Play (1991). That same year, he unveiled hisacoustic sextet Origin and again teamed up with GaryBurton, rekindling their chemistry from the 1970s onNative Sense – The New Duets, which earned him his ninthGrammy award.

In 2000 he recorded Corea Concerto, a grand encounterwith the London Philharmonic Orchestra, featuring a new symphonic arrangement of Spain as well as his Piano Concerto No.1. The following year he unveiled hisNew Trio on Past, Present & Futures and embarked on anambitious three-week career retrospective at the BlueNote.

In 2004 Chick reunited his Elektric Band for a tourand recording based on L. Ron Hubbard’s science fictionnovel To The Stars. And in 2005, he returned to Hubbardfor musical inspiration, this time interpreting TheUltimate Adventure, an exotic blend of passionate flamencomelodies, North African and Middle Eastern grooves andadventurous improvisation.


Gary Burton vibraphone and marimba

Born in 1943 and raised in Indiana, Gary Burton taughthimself to play the vibraphone and, at the age of 17,made his recording debut in Nashville, Tennessee, withguitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music,Boston, to join George Shearing and subsequently StanGetz, with whom he worked from 1964 to 1966.

As a member of Getz’s quartet, Gary Burton won Down Beat magazine’s Talent Deserving of WiderRecognition award in 1965. By the time he left Getz toform his own quartet in 1967, he had also recorded threealbums under his name for RCA. Borrowing rhythms and sonorities from rock music, while maintaining jazz’semphasis on improvisation and harmonic complexity,his first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Dusterand Lofty Fake Anagram established him and his band as progenitors of the jazz fusion phenomenon. Hisburgeoning popularity was quickly validated by DownBeat magazine, which awarded him its Jazzman of theYear award in 1968.

Between 1973 and 1988 the Burton Quartet expanded to include the young Pat Metheny on guitar, and the band began to explore a repertoire of moderncompositions. In the 1970s, Gary Burton also began to focus on more intimate contexts for his music. Hisalbum Alone at Last, a solo vibraphone concert recorded at the 1971 Montreux Jazz Festival, was honoured with aGrammy Award. Burton also turned to the rarely heardduo format, recording with bassist Steve Swallow,guitarist Ralph Towner, and most notably with pianistChick Corea, thus cementing a long personal andprofessional relationship that has garnered an additionaltwo Grammy Awards.

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Gary Burton’s activities as an educator also play amajor role in his career. In 1971 he returned to BerkleeCollege of Music as a teacher of percussion andimprovisation classes. In 1985 he was named Dean ofCurriculum; in 1989 he received an honorary doctorate of music from the college; and in 1996 he was appointedExecutive Vice President.

In 1990, he paired up again with his former protégéPat Metheny for Reunion, which landed him the top spot on Billboard magazine’s jazz chart. Departure (GaryBurton & Friends) was released in 1997, as well as NativeSense – The New Duets, a collaboration with Chick Corea,which garnered a Grammy Award in 1998. Also in 1997,Burton recorded his second collection of tango music,Astor Piazzolla Reunion, featuring the top tango musiciansof Argentina, followed in 2000 by Libertango, anothercollection of Piazzolla music. His 1998 release, Like Minds, an all-star hit featuring his frequent collaboratorsChick Corea, Pat Metheny, Roy Haynes, and DaveHolland, was honoured with a Grammy award, his fifth.His vibraphone tribute CD, For Hamp, Red, Bags and Cal,was released in 2001 and garnered Gary’s 12th Grammynomination.

In 2002 he released Virtuosi, a project with MakotoOzone, his pianist collaborator of the past 20 years. Thepair explore the improvisational possibilities of classicalthemes including works by Brahms, Scarlatti, Ravel,Barber and others, and in an unusual move, theRecording Academy nominated Virtuosi in the classicalcategory of the Grammy awards, a unique honour.

In recent years Gary Burton has been concentrating on performing with the Next Generations band,including a self-title album released in 2005, as well asspecial projects with Pat Metheny, Chich Corea, RichardGalliano and Polo Orti.


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Resident at theiconic Sydney Opera House where theSydney Symphony gives more than 100performances each year, the Orchestra alsoperforms concerts in a variety of venuesaround Sydney and regional New SouthWales. International tours to Europe, Asiaand the USA have earned the Orchestraworld-wide recognition for artisticexcellence.

Critical to the success of the SydneySymphony has been the leadership given by its former Chief Conductors including:Sir Eugene Goossens, Nikolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, Stuart

Challender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten yearrelationship with the Orchestra as GuestConductor, is now in his fourth year asChief Conductor and Artistic Director ofthe Sydney Symphony, a position he holdsin tandem with that of Music Director at the prestigious Rome Opera.

The Sydney Symphony is reaping therewards of Maestro Gelmetti’s directorshipthrough the quality of sound, intensityof playing and flexibility between styles. His particularly strong rapport withFrench and German repertoire iscomplemented by his innovativeprogramming in the Shock of the New concerts and performances ofcontemporary Australian music.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonymaintains an active commissioningprogram promoting the work of Australiancomposers and in 2005 Liza Lim wasappointed Composer-in-Residence forthree years.

In 2007, the Orchestra celebrates its 75th anniversary and the milestoneachievements during its distinguishedhistory.

JOH

N M

AR

MA

RA

S

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


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Kirsten WilliamsAssociate Concertmaster

02 Fiona ZieglerIan & Jennifer Burton Chair of Assistant Concertmaster

03 Julie Batty04 Gu Chen05 Amber Davis06 Rosalind Horton07 Jennifer Hoy08 Jennifer Johnson09 Georges Lentz10 Nicola Lewis11 Alexandra Mitchell

Moon Design Chair of Violin

12 Léone ZieglerSophie Cole

Second Violins

01 Marina MarsdenPrincipal

02 Susan DobbieAssociate Principal

03 Emma WestAssistant Principal

04 Pieter Bersée05 Maria Durek06 Emma Hayes07 Shuti Huang08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Emily QinFirst Violin#

Alexander NortonFirst Violin#

Thomas DethlefsFirst Violin†

Leigh MiddenwayFirst Violin

Alexandra D’EliaSecond Violin#

Emily LongSecond Violin#

Victoria JaconoSecond Violin†

Belinda JezekSecond Violin

Jennifer CurlViola#

Jacqueline CroninViola#

Rosemary Curtin Viola

Rowena Crouch Cello#

Martin Penicka Cello†

Jennifer Druery Double Bass#

Lamorna Nightingale Flute

Lisa Wynne-Allen Horn#

Frankie Lo Surdo Horn

Joshua Davis Trombone

Tim Constable Percussion

# Contract musician† Sydney Symphony

Fellow

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council


07Cellos

08 09 10 11 01 02

01Violas

02 03 04 05 06

03 04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

08Harp

01Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictPrincipal

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe

Cellos

01 Catherine Hewgill Principal

02 Nathan Waks Principal

03 Kristy Conrau04 Fenella Gill05 Leah Lynn06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Andrew RacitiAssociate Principal

04 Neil BrawleyPrincipal Emeritus

05 David Campbell06 Steven Larson07 Richard Lynn08 David Murray

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

01 Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild Associate Principal

03 John Foster04 Anthony Heinrichs

Trombone

01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipal

02 Brian NixonAssistant Principal Timpani (contract)

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02

01Oboes

02 01 02 03

03 04 05 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

02

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia PostBeyond Technology ConsultingBimbadgen Estate WinesGoldman Sachs JBWereJ. Boag & SonQ-Med (Sweden) Australia Pty Ltd.Vittoria Coffee

Avant CardBlue Arc GroupDigital EskimoLindsay Yates and Partners2MBS 102.5 –Sydney’s Fine Music Station

The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contactCorporate Relations on (02) 8215 4614.


01 02 03 04 05 06

07 08 09 10 11

DIRECTORS’ CHAIRS

01Alan Jones, Managing Director Mulpha Australia withMulpha Australia Chair ofPrincipal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul Salteri Chair ofArtistic Director Education,Richard Gill OAM

04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris

05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing

06Brian and Rosemary White Chair of Principal Double Bass,Kees Boersma

07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding

08Gerald Tapper, Managing Director Rogen International withRogen International Chair of Trombone, Nick Byrne

09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell

10Ian and Jennifer Burton Chair of Assistant Concertmaster,Fiona Ziegler

11Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

Rev H & Mrs M Herbert ° *Ms Michelle Hilton-VernonMr and Mrs Paul HoltMr Eric C Howie °Mr & Mrs P Huthnance °Ms Judy JoyeMrs Jeannette King ° *Mrs J Lam-Po-Tang °Dr Barry LandaMrs Joan Langley °Ms Jan Lee Martin & Mr PeterLazar §

Mr David & Mrs Skye LeckieMargaret Lederman °Mr & Mrs Ezzelino Leonardi §Mr Bernard & Mrs Barbara LeserErna & Gerry Levy AM *Mr and Mrs S C Lloyd °Mr Andrew & Mrs Amanda Love

Mr Matthew McInnes §Mr Tony & Mrs Fran MeagherMr Andrew NobbsMoon DesignMrs R H O’ConorMs Patricia Payn §Mr Adrian & Mrs Dairneen Pilton

Mr & Mrs Michael PottsMrs B Raghavan °Mrs Caroline RalphsmithDr K D Reeve AM *Mr & Mrs A Rogers °Dr Jane & Mr Neville Rowden §Mrs Margaret SammutIn memory of H. St.P Scarlett ° *Blue Mountain Concert Society Inc °

Mr Ezekiel SolomonMr Andrew & Mrs Isolde TornyaMiss Amelia TrottMrs Merle Turkington °The Hon M. Turnbull MP & Mrs L. Hughes Turnbull

Mr & Mrs Franc VaccherRonald Walledge °Louise Walsh & David JordonMr Geoff Wood and Ms Melissa Waites

Miss Jenny WuMr Michael Skinner & Ms Sandra Yates AO

Anonymous (12)

PLAYING YOUR PART


Maestri

Brian Abel & the late BenGannon AO °

Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop ° §Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °The Clitheroe Foundation *Patricia M. Dixson *Penny Edwards ° *Mr J O Fairfax AO *Dr Bruno & Mrs Rhonda Giuffre *

Mr Harcourt Gough §Mr David Greatorex AO & Mrs Deirdre Greatorex §

Mr Andrew Kaldor & Mrs Renata Kaldor AO §

H. Kallinikos Pty Ltd §Mr David Maloney §Mr B G O’Conor §The Paramor Family * Mr Paul & Mrs Sandra SalteriMr Brian & Mrs Rosemary WhiteAnonymous (1) *

Virtuosi

Mrs Antoinette Albert §Mr Robert & Mrs L Alison Carr §Mr John C Conde AO §Mr John Curtis §Irwin Imhof in Memory of Herta Imhof °‡

Mr Stephen Johns §Mr & Mrs Gilles T Kryger ° §Helen Lynch AM °Mr E J Merewether & Mrs T Merewether OAM *

Miss Rosemary Pryor *Bruce & Joy Reid Foundation *John Roarty in memory of June Roarty

Rodney Rosenblum AM & SylviaRosenblum §

Mrs Helen Selle §Dr James Smith §David Smithers AM & family §Michael & Mary Whelan Trust §Anonymous (2) §

Soli

Ms Jan Bowen *Mr Chum Darvall §Ian Dickson & Reg Holloway *Hilmer Family Trust §Mr Paul & Mrs Susan Hotz ° §Mr Rory JeffesPaul Lancaster & RaemaProwse ° §

Mrs Joan MacKenzie §Mr James & Mrs Elsie Moore °Ms Kathleen ParerMs Gabrielle TrainorMr R Wingate §Anonymous (2) §

Tutti

Mr C R Adamson ° §Mr Henry W Aram §Mr David Barnes °Mrs F M Buckle °Debby Cramer & Bill Caukill °Libby Christie & Peter JamesMr Bob & Mrs Julie Clampett §Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof Neville Wills §

Mrs Dorit & Mr WilliamFranken ° §

Mr & Mrs J R W Furber §Mr Arshak & Ms SophieGalstaun §

In Memory of Hetty Gordon §Mrs Akiko Gregory §Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski °Dr Paul Hutchins & Ms Margaret Moore °

Mrs Margaret JackMr John W Kaldor AM §Mr & Mrs E Katz §Mr Andrew Korda & Ms Susan Pearson §

Mr Justin Lam §Mr Gary Linnane §Ms Karen Loblay §Mr & Mrs R. Maple-Brown §Mrs Alexandra Martin & the late Mr Lloyd Martin AM §

Justice Jane Mathews §Mrs Mora Maxwell ° §Judith McKernan °Mrs Barbara McNulty OBE °Mr & Mrs John Morschel

Mr R A Oppen §Mr Robert Orrell §Dr Timothy Pascoe §Ms Robin Potter §Mr Nigel Price §Mr & Mrs Ernest Rapee §Mrs Patricia H Reid °Mr Brian Russell & Ms IrinaSingleman

Gordon & JacquelineSamuels ° §

Ms Juliana Schaeffer §Robyn Smiles §Derek & Patricia Smith §Catherine Stephen °Mr Fred & Mrs Dorothy Street §Mr Georges & Mrs MarlieseTeitler §

Mr Stephen ThatcherMr Ken Tribe AC & Mrs JoanTribe °

Mr John E Tuckey °Mrs Kathleen Tutton °Ms Mary Vallentine AO §Henry & Ruth Weinberg §Mr & Mrs Bruce WestJill Wran §Mrs R Yabsley °Anonymous (10) §

Supporters over $500

Mr Roger Allen & Ms MaggieGray

Mr Lachlan AstleJohn Augustus °Mr Warwick Bailey §Mr Marco Belgiorno-Zegna AM

Mr G D Bolton °Pat & Jenny Burnett °Hon. Justice J.C. & MrsCampbell *

Mr & Mrs Michel-Henri Carriol °Mrs B E Cary §Mr Leo Christie & Ms MarionBorgelt

Mr Peter CoatesMr B & Mrs M Coles §Mrs Catherine GaskinCornberg §

Stan & Mary Costigan *Mrs M A Coventry °Ms Rowena Danziger °Mr & Mrs Michael DarlingLisa & Miro Davis *Mrs Patricia Davis §Mrs Ashley Dawson-DamerMr Paul Espie °Mr Russell FarrMr & Mrs David FeethamMr Richard & Mrs Diana Fisher

Patron Annual

Donations Levels

Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999

To discuss givingopportunities, please callCaroline Mark on (02) 8215 4619.

° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace is limited we are unable to list donors who give between $100 and $499 –please visit sydneysymphony.com for a list of all our patrons.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

David Maloney

Libby Christie John Conde AO

John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

What’s on the cover?During the 2007 season Sydney Symphony program covers willfeature photos that celebrate the Orchestra’s history over thepast 75 years. The photographs on the covers will changeapproximately once a month, and if you subscribe to one ofour concert series you will be able to collect a set over thecourse of the year.

COVER PHOTOGRAPHS (clockwise from top left): Sydney Symphony cellist, Leah Lynn; Edo de Waart; Otto Klemperer inSydney’s Royal Botanic Gardens (1950); crowds wait outside the Sydney TownHall before a Sydney Symphony Orchestra Prom Concert (1970); CharlesMackerras (left) and pianist Roger Woodward shake hands after aperformance in the Sydney Opera House opening season (1973); SydneySymphony Orchestra violinists (1965)


Sydney Symphony Staff

MANAGING DIRECTOR

Libby Christie

EXECUTIVE ASSISTANT

Deborah Byers

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON

Ilmar Leetberg

PERSONAL ASSISTANT TO THE

CHIEF CONDUCTOR

Lisa Davies-Galli

Education Programs

EDUCATION MANAGER

Margaret Moore

EDUCATION CO-ORDINATOR

Bernie Heard

A/EDUCATION CO-ORDINATOR

Charlotte Binns-McDonald

Library

LIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Rory Jeffes

CORPORATE RELATIONS MANAGER

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Alan Watt

CORPORATE RELATIONS EXECUTIVE

Julia Owens

PHILANTHROPY MANAGER

Caroline Mark

PATRONS & EVENTS MANAGER

Georgina Andrews

MARKETING AND

CUSTOMER RELATIONS

DIRECTOR OF MARKETING AND

CUSTOMER RELATIONS

Julian Boram

Publicity

PUBLIC RELATIONS MANAGER

Imogen Corlette

PUBLICIST

Yvonne Zammit

Customer Relationship

Management

MARKETING MANAGER – CRM

Aaron Curran

ONLINE & PUBLICATIONS MANAGER

Robert Murray

DATABASE ANALYST

Martin Keen

Marketing Communications

MARKETING COMMUNICATIONS

MANAGER

Georgia Rivers

MULTICULTURAL MARKETING

MANAGER

Xing Jin

ASSISTANT MARKETING MANAGER

Simon Crossley-Meates

CONCERT PROGRAM EDITOR

Yvonne Frindle

Corporate & Tourism

CORPORATE & TOURISM SALES

MANAGER

Georgina Gonczi

Box Office

BOX OFFICE MANAGER

Lynn McLaughlin

BOX OFFICE COORDINATOR

Anna Fraser

CUSTOMER SERVICE

REPRESENTATIVES

Wendy AugustineMatthew D’SilvaMichael Dowling

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA

MANAGEMENT

Aernout Kerbert

ACTING DEPUTY ORCHESTRA

MANAGER

Greg Low

ORCHESTRAL ASSISTANT

Angela Chilcott

OPERATIONS MANAGER

John Glenn

TECHNICAL MANAGER

Derek Coutts

PRODUCTION CO-ORDINATOR

Tim Dayman

PRODUCTION ASSISTANT

Ian Spence

STAGE MANAGER

Marrianne Carter

COMMERCIAL PROGRAMS

DIRECTOR OF COMMERCIAL

PROGRAMMING

Baz Archer

RECORDING ENTERPRISES

RECORDING ENTERPRISES MANAGER

Aimee Paret

BUSINESS SERVICES

DIRECTOR OF FINANCE

Teresa Cahill

FINANCE MANAGER

Anthony Rosenthal

OFFICE ADMINISTRATOR

Shelley Salmon

INFORMATION TECHNOLOGY

MANAGER

Tim Graham

PAYROLL AND ACCOUNTS

PAYABLE OFFICER

Caroline Hall

HUMAN RESOURCES

Fran Cracknell

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AOMs Jacqueline Kott Mr Robert Leece AM RFDMs Sue Nattrass AOMr Leo Schofield AMMs Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Norman GillespieDIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . .David Antaw DIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . .Naomi GrabelDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . .Joe HoracekDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

Bennelong PointGPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com

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SYMPHONY SERVICES AUSTRALIA LIMITED

Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007GPO Box 9994, Sydney NSW 2001Telephone (02) 8333 1651Facsimile (02) 8333 1678

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Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Facsimile (02) 8215 4646

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All rights reserved, no part of this publication may be reproduced ortransmitted 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 thispublication 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 acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.

Please address all correspondence to the Concert Program Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]

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