2011 SEASON

FRI 18 FEBRUARY 8PM SAT 19 FEBRUARY 8PM

KALEIDOSCOPE

JAMES MORRISONAT THE MOVIES

Favourite fififfiilm soundtracks

WELCOME

It is my great pleasure to welcome you to the fi rst concert in the Kaleidoscope series for 2011, James Morrison at the Movies, proudly supported by Wilson Parking.

We are delighted to have jazzman extraordinaire, James Morrison, join us this evening, leading the orchestra in a tribute to the trumpet in the movies. This concert brings together some of the great musical moments from the silver screen for an evening full of the Kaleidoscope spirit that we’re so proud to support.

As manager of the Sydney Opera House Car Park, Wilson Parking is proud of its association as a Silver partner of the Sydney Symphony, and we trust you as our valued patrons will enjoy tonight’s performance.

Peter WittsState Manager – NSWWilson Parking Australia

2011 SEASON

KALEIDOSCOPEFriday 18 February | 8pmSaturday 19 February | 8pmSydney Opera House Concert Hall

JAMES MORRISON AT THE MOVIESJames Morrison trumpet | Marc Taddei conductor |Emma Pask vocals | The Idea of NorthJames Muller guitar | Phil Stack double bass | Gordon Rytmeister drums

Richard StraussThus Spake Zarathustra: opening music(as heard in 2001: A Space Odyssey)

Scott Joplin The Entertainer (from The Sting)

Norman, Conti, McCartney & Barry Themes from 007 – Medley for orchestraJames Bond Theme – For Your Eyes Only – Live and Let Die – Goldfi nger

John BarryThunderball

Charlie Chaplin Smile (from Modern Times)with The Idea of North

E.Y. ‘Yip’ Harburg & Harold ArlenOver the Rainbow (from The Wizard of Oz)Morrison and The Idea of North

Bernard Herrmann Taxi Driver – A Night PiecePrelude – Night Prowl – Bloodbath

John Williams Main Title Music from Star Wars

INTERVAL

Meredith Willson Seventy-Six Trombones (from The Music Man)

Johnny Mandel & Paul Francis WebsterThe Shadow of Your Smile (from The Sandpiper)with Emma Pask

Irving BerlinEaster ParadeBlue SkiesA Pretty Girl is Like a Melody (from Blue Skies)Alexander’s Ragtime Band

Stephen SondheimSend in the Clowns (from A Little Night Music)with The Idea of North

Thelonius Monk ’Round MidnightMorrison and the band

Traditional When the Saints Go Marching In

Alan Jay Lerner & Frederick Loewe Wouldn’t It Be Loverly (from My Fair Lady)with Emma Pask

Bob Thiele (as George Douglas) & George David WeissWhat a Wonderful World (as heard in Good Morning,Vietnam)

Jerry HermanHello, Dolly!

SUPPORTING PARTNER

Saturday night’s performance will be recorded for later broadcast on ABC Classic FM.

Pre-concert talk by John Foster at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Approximate durations: 45 minutes, 20-minute interval, 55 minutesThe concert will conclude at approximately 10.10pm.

For details of arrangements see page 17.

Robert Preston leads the gr eat parade in The Music Man

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INTRODUCTION

The Trumpet Goes to the Movies

When we invited James Morrison to take us to the movies tonight, we knew he’d be bringing his trumpet along. And that gave us a thematic thread for the program.

Think of movies and trumpets at the same time and there’s one fi gure who springs immediately to mind: ‘Satchmo’ – the great Louis Armstrong. He got his start in fi lm in the 1930s, played himself opposite Billie Holiday in the 1947 movie New Orleans, and with Danny Kaye he made a hit of ‘When the Saints Go Marching In’ in The Five Pennies (1959). But his most famous cameos saw him singing ‘Hello, Dolly!’ to Barbra Streisand in 1969 and performing in duo with Bing Crosby in High Society (1956).

Behind the scenes there’s another trumpeter who made an extraordinary contribution to the world of fi lm music: John Barry. Classically trained, he led his own band in the 1950s (The John Barry Seven), and then moved into the world of fi lm and television. He won Oscars for fi lms like Out of Africa and Dances with Wolves, but the scores for which he’s equally famous were never nominated for the big awards. By the time of his death last month, he’d composed for 11 James Bond movies – a record that’s likely to stand for a while yet – and in this concert we pay tribute with some of those memorable themes.

But pay attention to any orchestral soundtrack and you’ll soon notice how important the trumpet is. It’s the instrument of fanfares – as John Williams well knows. It gives the sheen to the kind of magical brass writing that begins Richard Strauss’s Thus Spake Zarathustra (and the movie 2001). The trumpet can be edgy, frightening, brazen, proud, rousing…or smooth and lyrical. It can play classical, it can play jazz, it can hold its own in a parade of 76 trombones (actually, that was 110 cornets, but let’s not quibble). And tonight we get to hear this most versatile of instruments in the hands of one of the most versatile of musicians.

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James Morrison at the Movies

Bookending tonight’s program are two of the most memorable musical moments in the history of cinema. We begin with the soaring trumpet of Richard Strauss’ paean to man’s potential, Also sprach Zarathustra, and end almost where it all began – with the music of Louis Armstrong, whose horn heralded the dawn of the Jazz Age in the 1920s and the fusion of two art forms that would subsequently portray the human experience with an unprecedented intensity.

It’s a testament to Stanley Kubrick’s unique cinematic vision that, even for those who have never seen his 1968 masterpiece 2001: A Space Odyssey, its theme music has come to symbolise humankind’s eternal quest for exploration and appetite for domination. To create the score, Kubrick engaged composer Alex North, with whom he had previously worked on Spartacus (1960). North recorded some 40 minutes’ worth of music which Kubrick ultimately rejected in favour of the classical guide track he’d used while editing the fi lm (North’s discarded score was re-recorded by Jerry Goldsmith in 1993 and the composer’s own original 1968 recordings were released in 2007). North was gutted, but given the non-narrative, highly visual style of the movie, the music chosen by Kubrick undoubtedly lends a sense of timelessness to the now-forty-year-old images of the future.

Underpinning the fi lm’s central idea of man’s evolution is Strauss’s Also sprach Zarathustra, which is heard at the beginning (alignment of the planets and Dawn of Man) and again at the end when Bowman is transformed into the Star Child. The Kyrie from Ligeti’s Requiem was an inspired choice: the unsettling sound of the voices adds an eerie note to the mysterious appearances of the monolith (the signifi cance of which is never explained). And few could forget the graceful revolving of the space station to the strains of The Blue Danube during the spaceship docking

ABOUT THE MUSIC

Richard Strauss, drawing by Leonhard Fanto (1919)

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sequence. It wouldn’t be the last time that Kubrick was to eschew a conventional score in favour of works from the classical repertoire: the soundtrack for A Clockwork Orange (1971) featured music by, among others, Beethoven, Elgar and Rossini.

Whereas Kubrick was compelled to go back to the future for several of his soundtracks, the makers of The Sting

(1973) revisited America’s original vernacular music, ragtime, for their tale of two con men getting even in Depression-era Chicago. The fi lm’s score secured an Academy Award for Marvin Hamlisch and brought Scott Joplin to the attention of a whole new generation, many of whom would come to link the movie indelibly with his greatest tune, ‘The Entertainer’.

Throughout the history of cinema, there have been fi lmmakers whose creative impulse has extended beyond the directorial. Decades before John Carpenter composed the music for his fi lms Halloween (1978) and The Fog (1980), Charlie Chaplin dictated his own tunes to studio musical directors. Chaplin’s sensibilities were fi rmly rooted in music hall and the melodramatic traditions of the 19th-century

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Charlie Chaplin and Paulette Goddard walk into the sunset to the strains of ‘Smile’.

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Robert Redford in The Sting.

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stage, and his preference was for romantic, graceful music that provided a counterpoint to his comedy. Although he played violin, he never learnt how to read music and hummed fragments of melodies that would be transcribed by his arrangers, including David Raksin, who worked on Modern Times (1936). Chaplin could be a demanding taskmaster and during a recording session for Modern Times he incurred the wrath of United Artists’ musical director Alfred Newman, who promptly walked out, vowing never to work with him again. However there is no trace of that confl ict in the movie’s famous closing scene, where Chaplin and Paulette Goddard walk into the sunset to the strains of Chaplin’s own composition ‘Smile’. The fi nal fade-out shot assumed a particularly poignant signifi cance: the silent era had come to a close and Chaplin would never again appear on screen as the Tramp.

As movie franchises go, the James Bond series is one of the most successful in screen history. Ian Fleming created Bond at a particular juncture in post-World War II history: Britain had begun to lose its status as an imperial power and the geo-political map was shifting, with Cold War tensions rising. The West was in the grip of an emerging consumer culture and revising its notions of class, race, sex and gender. The fi lms especially, exploited these factors, and added some legendary double entendres for good measure. The Bond fi lms came to be enjoyed on a number of levels, and it was therefore essential that the music refl ect this pluralism. John Barry’s diverse musical credentials

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John Barry scored 11 James Bond fi lms and was awarded fi ve Oscars for soundtracks such as Dances with Wolves and Out of Africa. He died last month of a heart attack at the age of 77.

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(classically trained, he played trumpet in the army and with his own John Barry Seven before arranging for television and Adam Faith) perfectly equipped him to mix all of the elements which would make up Bond’s sound-world. His insightful instrumentation blended traditional sweeping orchestral arrangements with synthesizers, cimbalom, exotic percussion, funky Hammond organ lines and jazzy combo setups featuring fl ute, vibes, and electric guitar. And of course there was the signature punchy brass, born of his admiration for Stan Kenton. Musically, he was of the moment and his scores helped defi ne 1960s cinema and television (The Ipcress File, The Knack...and How to Get It, The Persuaders). His reworking of Monty Norman’s Bond theme resulted in arguably the most instantly recognisable title sequence of all time, and his compositional style complemented Peter Hunt’s quick editing perfectly.

Goldfi nger (1964) was the fi rst Bond fi lm entirely scored by Barry and the hit theme song sung by Shirley Bassey created a trend for subsequent movies in the series. (Ironically, producer Harry Saltzman hated the song – he considered it vulgar – and only ceded to Cubby Broccoli and director Guy Hamilton because of the tight post-production schedule.)

Other composers have had a crack at Bond, including George Martin (Live And Let Die, with a contribution from Paul McCartney and Wings for the theme song) and Bill Conti (For Your Eyes Only). To date, however, Barry has been the most prolifi c, with twelve Bond scores to his credit. Tonight we also hear the theme from the 1965 Bond outing, Thunderball.

As pop and rock music increasingly dominated the airwaves during the 1960s it became common for fi lms to feature hit songs: ‘Moon River’ (Breakfast at Tiff any’s), ‘Born Free’, ‘The Windmills of Your Mind’ (The Thomas Crown Aff air) and, winner of the 1965 Academy Award for Best Original Song, ‘The Shadow of Your Smile’ from The Sandpiper, Vincente Minnelli’s story of a love aff air between

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Sean Connery was 007 in Thunderball

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Richard Burton and Elizabeth Taylor in The Sandpiper

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a free-spirited artist (Elizabeth Taylor) and a schoolmaster (Richard Burton). A wistful trumpet rendition of the Johnny Mandel song accompanied the movie’s dramatic shots of Big Sur and it has since been recorded by scores of artists.

The desire of producers in the 1960s for movies to have an associated hit song was a catalyst in the break-up of one of the most celebrated collaborations in cinema history: that of Bernard Herrmann and Alfred Hitchcock.

Herrmann provided the music for eight of Hitchcock’s fi lms but, during the making of Torn Curtain (1966), studio bosses pressured the director into replacing him with a younger composer who could provide a more contemporary soundtrack and possibly a hit song. Having had a commercial failure with Marnie (1964), Hitchcock was suff ering a crisis of confi dence and complied. Herrmann subsequently relocated to Britain, where he was later discovered by a new generation of fi lmmakers, including Brian De Palma, François Truff aut and Martin Scorsese, who invited Herrmann to score his 1976 picture Taxi Driver.

Taxi Driver is a portrait of Travis Bickle, an ex-marine and introverted loner who drives a cab around New York City at night to cope with his insomnia. The violence and

Bernard Herrmann (left) on the set of Vertigo with Alfred Hitchcock (1958)

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crime that Bickle witnesses from his cab feed his growing contempt for the world around him (‘all the animals come out at night…someday a real rain’ll come and wash all the scum off the streets’).

Herrmann’s music is often described as dark and brooding, and the noir-style theme that accompanies the night driving scenes (Prelude) has a menacing undercurrent with a hint of latent violence. In stark contrast is Betsy’s love theme (Blues), a languorous, jazzy number (performed tonight by James Morrison on alto sax). Travis’ tenuous hold on reality fi nally snaps after he is spurned by Betsy and encounters child prostitute Iris, and the music takes on a martial feel, with snare drum and low discordant winds and muted brass (Night Prowl). When he kills Iris’ pimp and associates, the love theme returns (Bloodbath), but is brutally transformed with blaring brass and thundering timpani. The fi nal movement of the suite (Finale) is a reprise of the love theme; Iris has returned home and Travis is hailed as a hero. But has he fully recovered? As he is driving away from a chance encounter with Betsy, we see his eyes dart up to the rear-view mirror.

Perhaps the most celebrated composer/director collaboration is that of John Williams and Steven Spielberg. Willams’ relationship with George Lucas has been almost as fruitful, however, and it’s been said that Williams’ score for Star Wars in 1977 transformed the landscape of

fi lm music. This is rich imaginative writing that brought the symphony orchestra as a major component back into fi lms, where Williams has kept it at a time when many fi lm composers have resorted to sequencers. We end the fi rst half of tonight’s concert with the only cinematic fanfare to rival Alfred Newman’s Twentieth Century Fox signature theme – the main title music to Star Wars.

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the science fi ction adventure genre and its score transformed the landscape of fi lm music.

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Carol Channing once said, ‘American musical comedy is an outgrowth of every immigrant.’ When Al Jolson astonished cinema audiences with his rendition of Irving Berlin’s ‘Blue Skies’ in The Jazz Singer in 1927, the shtetl-to-showbiz storyline refl ected the prevailing infl uences on American popular music during the fi rst decades of the 20th century. Cantor’s son Berlin was born Israel Baline in 1888 in Russia, his family settling in New York’s Lower East Side a few years later. Entirely self-taught as a musician – oddly, he played only on the black keys of the piano and most of his early songs were therefore written in the key of F sharp – he composed almost two dozen Broadway shows between 1914 and 1962. Jerome Kern, when asked to place Berlin in the history of American song, famously said: ‘Irving Berlin has no place in American music; Irving Berlin is American music.’

Berlin’s fi rst big hit ‘Alexander’s Ragtime Band’ eased the entry of black musical idioms into American popular song and set the course for the cross-fertilisation that ultimately led to the Great American Songbook. He had a disdain for ‘political’ music but the 1933 revue As Thousands Cheer, for which he provided the songs, included satirical sketches and ‘Suppertime’, a song performed by Ethel Waters about a woman whose husband has been lynched – provocative in its day. Also in the revue was ‘Easter Parade’, which was later sung by Judy Garland in the fi lm of the same name. The fourth Berlin number featured in our concert is ‘A Pretty Girl Is Like a Melody’, the anthem to which countless celluloid Ziegfeld Follies have paraded.

When one listens to the fi rst three notes of ‘Over the Rainbow’ it’s hard to believe that MGM chief Louis B. Mayer wanted to cut the song from The Wizard of Oz

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Irving Berlin

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(1939) because he felt that the placement of a ballad at the beginning of the movie would slow it down. The song’s opening octave leap, followed by a sighing minor chord, so perfectly encapsulates Dorothy’s yearning for a place beyond Kansas that it sets up the entire narrative of the fi lm. The movie’s songs were penned by E.Y. ‘Yip’ Harburg and Harold Arlen, who, like Irving Berlin, was born the son of a rabbi before heading for Tin Pan Alley, Broadway and Hollywood (via a stint at the Cotton Club in Harlem). Regarded by many as a songwriter’s songwriter, Arlen composed a further two songs that, along with ‘Over the Rainbow’, would come to be regarded as Judy Garland’s signature tunes: ‘Get Happy’ and ‘The Man That Got Away’.

The success of Rodgers and Hammerstein’s book musical Oklahoma! during the Second World War triggered an appetite for nostalgia on Broadway and Meredith Willson’s musical The Music Man satisfi ed this thoroughly with its scenes of small-town Americana. Warner Bros. wanted Frank Sinatra for the 1962 big screen version but Willson and director Morton DaCosta insisted that Robert Preston

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reprise his Tony Award-winning role of con man Harold Hill, who plans to cheat the good folks of River City, Io-way with his ‘think’ system of learning music. A classically trained fl autist who had played in John Philip Sousa’s band before working in radio and fi lm, Willson based the show on reminiscences of his home town of Mason City, Iowa. The big fi nale number, ‘Seventy-Six Trombones’, is a Sousa-style march which in the movie was performed by 41 principal actors, 40 dancers, a 150-member boy’s band and 500 extras.

Tonight James Morrison and his Quartet perform Thelonius Monk’s standard ‘’Round Midnight’, however in Bertrand Tavernier’s 1986 movie of the same name it was ‘played’ by Bobby McFerrin, whose muted trumpet-style vocal stylings appeared over the title sequence. The fi lm features saxophonist Dexter Gordon in the central role of Dale Turner and is based on events in the life of pianist Bud Powell, specifi cally his later years in Paris and his befriending by French commercial artist Francis Paudras.

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in the 1961 fi lm of The Music Man, Robert Preston inspired a whole town to make music.

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In addition to a cameo appearance by Martin Scorsese, the movie includes performances by a who’s who of the jazz world, including Wayne Shorter, Ron Carter, Tony Williams, Freddie Hubbard and Herbie Hancock, who won an Academy Award for the score.

In a program celebrating a medium in which the moving image and music are so inextricably intertwined, it is fi tting to end with an entertainer who was almost as compelling to watch as to listen to. Louis Armstrong’s birth coincided with the dawn of both jazz and cinema and he went on to appear in dozens of fi lms, mostly as himself. He had a knack for breathing new life into show tunes and making them his own, most memorably with his recordings of Kurt Weill’s ‘Mack the Knife’ and ‘Hello, Dolly!’, which knocked The Beatles off the Number 1 spot and landed Armstrong a cameo appearance opposite Barbra Streisand in the 1969 fi lm version of the Jerry Herman musical. James Morrison relives some of Satchmo’s most unforgettable stage and screen moments, including his rousing duet with Danny Kaye (‘When the Saints Go Marching In’) from the 1959 fi lm The Five Pennies (based on the life of jazz trumpeter Red Nichols) and the song that resulted in a posthumous hit for Armstrong following the release of Good Morning, Vietnam, ‘What a Wonderful World’.

LORRAINE NEILSONSYM PHONY SERVICES INTERNATIONAL ©2011

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Louis Armstrong and Barbra Streisand on the set of Hello, Dolly!

Musical ArrangementsRichard Strauss (1864–1949) Thus Spake Zarathustra: opening music | Scott Joplin (c.1867/68–1917) arranged Bill Holcombe & Carson Rothrock The Entertainer | Monty Norman, Bill Conti, Paul McCartney & John Barry, arranged Calvin Custer Themes from 007 – Medley for orchestra | John Barry (1933–2011) arranged Nic Raine Thunderball | Charlie Chaplin (1889–1977) arranged James Morrison Smile | E.Y. ‘Yip’ Harburg (1896–1981) & Harold Arlen (1905–1986) arranged James Morrison Over the Rainbow | Bernard Herrmann (1911–1975) arranged Christopher Palmer Taxi Driver – A Night Piece | John Williams (born 1932) Main Title Music from Star Wars | Meredith Willson (1902–1984) arranged Leroy Anderson Seventy-Six Trombones | Johnny Mandel (born 1925) & Paul Francis Webster (1907–1984) arranged James Morrison, orchestrated Sean O’Boyle The Shadow of Your Smile | Irving Berlin (1888–1989) orchestrated Robert Russell Bennett Easter Parade | Berlin arranged Tommy Tycho Blue Skies | Berlin arranged Judy Bailey A Pretty Girl is Like a Melody | Berlin arranged Judy Bailey Alexander’s Ragtime Band | Stephen Sondheim (born 1930) arranged Naomi Crellin, orchestrated Graeme Lyall Send in the Clowns | Thelonius Monk (1917–1982) arranged James Morrison ’Round Midnight | Traditional, arranged Dan Walker When the Saints Go Marching In | Alan Jay Lerner (1918–1986) & Frederick Loewe (1901–1988) arranged James Morrison, orchestrated Sean O’Boyle Wouldn’t It Be Loverly | Bob Thiele, as George Douglas (1922–1996) & George David Weiss (1921–2010) What a Wonderful World | Jerry Herman (born 1931) Hello, Dolly!

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MORE MUSIC

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THUS SPAKE ZARATHUSTRAHear Richard Strauss’s complete creation in a performance by the Sydney Symphony with conductor Charles Mackerras.SSO 200705

JOHN BARRYThe Ultimate John Barry Experience collects some of his great movie themes and pop songs. EMI RECORDS 5359342

BERNARD HERRMANNEsa-Pekka Salonen conducts the Los Angeles Philharmonic in a recording that includes music from North By Northwest, Vertigo, Psycho, Fahrenheit 451 and Taxi Driver.SONY 92767

LOUIS ARMSTRONGThe Essential Louis Armstrong includes hits such as Ain’t Misbehavin’, On the Sunny Side of the Street, Basin Street Blues, I Got Rhythm, Tea for Two, St Louis Blues and When the Saints Go Marching In as well as Hello, Dolly! and Mack the Knife.NEWSOUND 158992

JAMES MORRISONThree’s CompanyThe latest disc from the James Morrison Trio, with tracks ranging from Bach and Chopin to some of the great standards.ORiGiN MUSIC (2010)

Feels Like SpringA collaboration with the a cappella sensation The Idea of North – a mix of jazz standards, originals and even a pop adaptation.2735660

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

EMMA PASK Some Other Spring (2010)www.emmapask.com

This Madness Called Love (2002)with James Morrison, Phil Stack (bass), Craig Simon (drums), David Blenkhorn (guitar), Blaine Whittaker (saxophone)MR 012

Emma (1999) – debut album

Selected Discography Broadcast Diary

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

Webcasts

2MBS-FM 102.5

SYDNEY SYMPHONY 2010

Tuesday 8 March, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

FEBRUARY–MARCH

Friday 25 February, 8pm

GRIEG’S PEER GYNT

Vladimir Ashkenazy conductorJohn de Lancie narrator

With choir and vocal soloists

Friday 4 March, 8pm

MAHLER 6

Vladimir Ashkenazy conductorJean-Effl am Bavouzet piano

Liszt, Mahler

Monday 21 March, 8pm

LOVERS & ENIGMAS (2010)

Vladimir Ashkenazy conductor

Richard Strauss, Sibelius, Elgar

Thursday 24 March, 1.05pm

VIVA ESPAÑA (2010)

Miguel Harth-Bedoya conductorSlava Grigoryan guitar

Turina, Rodrigo, Lovelady, Benzecry, Falla

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ABOUT THE ARTISTS

Marc Taddei conductor

Marc Taddei was born in the United States and studied at the Juilliard School before moving to New Zealand. In 2007, following six years as the music director of the Christchurch Symphony Orchestra, he was appointed music director of the Wellington Orchestra. Previous posts have included Principal Guest Conductor for the Christchurch Symphony Orchestra, and Associate Conductor of the Auckland Philharmonia. He has also conducted the New Zealand Symphony Orchestra and productions for Opera New Zealand and the Royal New Zealand Ballet, and has been a frequent guest at the New Zealand International Festival of the Arts. In 2005 he conducted a special televised performance of Vaughan Williams’ Sinfonia antartica, featuring Sir Edmund Hillary as narrator.

He has worked with the Oregon Symphony Orchestra, Louisiana Philharmonic, Fort Worth Symphony Orchestra, Eugene Symphony, New Haven Symphony Orchestra, Southwest Florida Symphony, Orchestra Victoria, Chamber Orchestra of Hong Kong, the Silesian State Opera, and the Melbourne, Adelaide, Queensland and Tasmanian symphony orchestras. He has collaborated with artists such as Dame Kiri Te Kanawa, Julian Lloyd Webber, Simon O’Neill, Joanna MacGregor, Joshua Redman, Pedro Carneiro, Diana Krall, Bobby Shew, Art Garfunkel and Kenny Rogers.

Marc Taddei’s extensive discography includes British viola concertos with Helen Callus and the NZSO, a Berlioz Harold in Italy/Bartók Viola Concerto release, and View from Olympus, which was named Classical Album of the Year at the 2007 New Zealand Music Awards. He also conducted the soundtracks for Dean Spanley and Under the Mountain.

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The Idea of North

The Idea of North has been mesmerising audiences around the world for more than 16 years with a dextrous and distinctive style. One of Australia’s most acclaimed vocal ensembles, the multi-award-winning group continues to reinvent their often-misrepresented genre, creating a very real freshness and relevance for a cappella singing.

These four singers – Sally Cameron, Naomi Crellin, Nick Begbie and Andrew Piper – have studied and worked with some of the truly great singers and arrangers including The New York Voices, Tuck and Patti, Gene Puerling (The Hi-Lo’s, Singers Unlimited), Mark Murphy and Cheryl Bentine (Manhattan Transfer).

Their seventh album, Feels Like Spring, is a collaboration with James Morrison and won the 2010 ARIA Award for Best Jazz Album.

www.idea.com.au

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, playing with Dizzy Gillespie, Cab Calloway, Woody Shaw, Red Rodney, George Benson, Ray Charles, B.B. King, Ray Brown, Wynton Marsalis and other jazz legends. There were also gigs in the world’s famous jazz clubs – the Blue Note and Village Vanguard in New York, the New Morning in Paris and Ronnie Scott’s in London.

He has recorded Jazz Meets the Symphony with the London Symphony Orchestra, and performed concerts at the Royal Albert Hall with the London Philharmonic Orchestra. He has given royal command performances on two occasions for Her Majesty Queen Elizabeth II and played for US Presidents Bush and Clinton at Parliament House in Australia. In 1997, he was awarded the Order of Australia Medal.

Concert highlights have included Hollywood Bowl, the Israel National Orchestra and the LA Jazz Festival, and in 2007 he gave the premiere of Lalo Schifrin’s Concerto for Jazz Trumpet and Piano with the Sydney Symphony. His work in the Kaleidoscope series has included tributes to Duke Ellington and Louis Armstrong.

James Morrison is deeply involved in education, and is currently designing new instruments with Austrian company Schagerl.

www.jamesmorrison.com.au

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Emma Pask vocals

Emma Pask’s talent was spotted by James Morrison when she was just 16, and she has been touring with Morrison ever since. While her voice and style are distinctively her own, her performances are reminiscent of the classic era of jazz, when swing was top of the charts.

In 2006, she was invited to perform for Nicole Kidman and Keith Urban’s wedding. Earlier that year, she was awarded the Mo Award for Jazz Vocalist of the Year. She has been a regular guest on national television, and she has sung for VIP audiences including the late Diana, Princess of Wales, Princess Mary of Denmark and the Prime Minister of Australia.

She has sung with the Shanghai and West Australian symphony orchestras, Auckland Philharmonic and the BBC Concert Orchestra. She has also performed with Barbara Morrison, Don Burrows and Ed Wilson, and appeared at the Philips International Jazz Festival (Kuala Lumpur), Melbourne’s Myer Music Bowl, in Cape Town with the Darius Brubeck Trio, and in Laos and Singapore with the Emma Pask Quintet. She has recorded with the BBC Big Band and recently released her third album, Some Other Spring.

Emma Pask made her Sydney Symphony debut in 2009.

www.emmapask.com

James Muller guitar

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

www.jamesmuller.com

Gordon Rytmeister drums

Born in Sydney in 1968, Gordon Rytmeister began playing drums at age 13. His initial inspiration came from the raw rock of bands such as Led Zeppelin and Deep Purple, but he quickly developed an interest in jazz.

He studied at the Sydney Conservatorium, during which time he began playing in Mike Nock’s band and later joined The Don Burrows Quartet. Since then, he has worked with the cream of Australia’s jazz, pop, rock and country artists, and many international acts. These include Lalo Schifrin, James Morrison, Bob Mintzer, Leo Sayer, Bob James, Tom Jones, Bob Florence, The Commodores, Bob Geldof, Barry Harris, Nat Adderley, Maria Schneider, Lee Konitz, Glenn Shorrock (from Little River Band), Tina Arena, The Sydney All Star Big Band, Roger Frampton, Bobby Shew, Anthony Warlow, Russell Watson, Rob McConnell, Don Rader, Dale Barlow, Eartha Kitt and Jimmy Barnes.

Gordon Rytmeister is the resident drummer on Australian Idol and in the 1990s he played 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.

www.gordonrytmeister.com

Phil Stack double bass

Born in 1977, Phil Stack moved from Dubbo to Sydney in 1996 to study double bass with Craig Scott, Mike Nock and Judy Bailey at the Conservatorium of Music, graduating with an Associate Diploma in Jazz Studies. Already active on the local scene, he won the James Morrison Scholarship in 1997 and began making tours with James Morrison that same year. These include fi ve tours of Europe, performing at some of the top festivals such as the Espoo international jazz festival in Finland and the Ardrià Festival in Italy. With Morrison he was a guest of the Munich Symphony Orchestra in 2002, and they have also toured with the Salzburg classical brass ensemble, performing both duo and with the ensemble in concert halls across Slovenia, Switzerland, Italy and Austria, including the Salzburg Mozarteum.

Phil Stack is a founding member of multi-platinum rock/pop group Thirsty Merc, which has recorded three albums and tours extensively. He has also performed with the Adelaide, Melbourne and Sydney symphony orchestras, as a soloist in Lalo Shifrin’s Jazz Meets the Symphony, and with Dale Barlow, Tommy Emmanuel, the James Muller Trio, Lior, Katie Noonan, You Am I, Mark Murphy and Branford Marsalis.

In 2008 he took fi rst place in the National Jazz Awards.

24 | Sydney Symphony

MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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Performing in this concert…

FIRST VIOLINS Dene Olding Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Jennifer Booth Marianne BroadfootBrielle ClapsonSophie Cole Amber Davis Nicole Masters Alexandra MitchellLéone Ziegler Freya Franzen†Claire Herrick*Martin Silverton*

SECOND VIOLINS Jennifer Hoy A/Assistant Principal

Susan Dobbie Principal Emeritus

Maria Durek Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Katherine Lukey#

VIOLASRoger Benedict Anne-Louise Comerford Robyn Brookfi eld Jane HazelwoodStuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Jacqueline Cronin#Tara Houghton†David Wicks#

CELLOSCatherine Hewgill Fenella Gill Timothy NankervisAdrian Wallis David Wickham Adam Szabo†

Rachael Tobin#Paul Stender*

DOUBLE BASSESKees Boersma Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOESShefali Pryor Alexandre Oguey Principal Cor Anglais

CLARINETSFrancesco Celata Christopher Tingay Craig Wernicke Principal Bass Clarinet

BASSOONSMatthew Wilkie Roger Brooke Melissa Woodroffe†

SAXOPHONESMartin Kay*Dan Waples*Tim Clarkson*James Ryan*

HORNSBen JacksGeoffrey O’Reilly Principal 3rd

Lee BracegirdleMarnie Sebire Katy Grisdale†

TRUMPETSDaniel Mendelow John FosterAnthony Heinrichs

TROMBONESRonald Prussing Scott Kinmont Christopher Harris Principal Bass Trombone

TUBASteve Rossé

TIMPANIMark Robinson Assistant Principal

PERCUSSIONRebecca Lagos Colin Piper Brian Nixon*Philip South*

HARP Louise Johnson

KEYBOARD Josephine Allan#

ORGAN David Drury*

* = Guest Musician # = Contract Musician† = Sydney Symphony Fellow

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.

25 | Sydney Symphony

THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

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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 worldwide recognition for artistic excellence, most recently in a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s 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. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

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

26 | Sydney Symphony

SALUTE 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

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

REGIONAL TOUR PARTNERS

SILVER PARTNERS

GOLD PARTNERS

BRONZE PARTNER MARKETING PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station

27 | Sydney Symphony

PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Greg & Kerry Paramor & Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopBob & Julie ClampettThe Estate of Ruth M DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreMr David Greatorex AO & Mrs Deirdre GreatorexMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether oamMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrMrs Gretchen M Dechert

Ian Dickson & Reg HollowayJames & Leonie FurberMr James Graham AM & Mrs Helen GrahamStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationEva & Timothy PascoeDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Stephen J BellMr David & Mrs Halina BrettLenore P BuckleKylie GreenJanette HamiltonAnn HobanPaul & Susan HotzIrwin Imhof in memory of Herta ImhofMr Justin LamR & S Maple-BrownMora MaxwellJudith McKernanJustice Geoffrey PalmerJames & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsMr Henri W Aram OAM

Terrey Arcus am & Anne ArcusClaire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesPhil & Elese BennettColin Draper & Mary Jane BrodribbM BulmerPat & Jenny BurnettDebby Cramer & Bill CaukillEwen & Catherine CrouchMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisJohn FavaloroMr Ian Fenwicke & Prof Neville Wills

Firehold Pty LtdAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergMrs E HerrmanMrs Jennifer HershonBarbara & John HirstBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterThe Hon. Paul KeatingAnna-Lisa KlettenbergIn Memory of Bernard M H KhawJeannette KingWendy LapointeMacquarie Group FoundationMelvyn MadiganMr Robert & Mrs Renee MarkovicKevin & Deidre McCannMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeePatricia H ReidMr M D SalamonJohn SaundersJuliana SchaefferCaroline SharpenMr & Mrs Jean-Marie SimartCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonThe Hon. Justice A G WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMs Baiba B. Berzins & Dr Peter LovedayMrs Jan BiberDr & Mrs Hannes Boshoff Dr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellMrs Catherine J Clark

Joan Connery OAM & Maxwell Connery OAM

Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie CameronRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n amJules & Tanya HallMr Hugh HallardDr Heng & Mrs Cilla TeyRoger HenningRev Harry & Mrs Meg HerbertMichelle Hilton-VernonMr Joerg HofmannDominique Hogan-DoranMr Brian Horsfi eldGreta JamesIven & Sylvia KlinebergDr & Mrs Leo LeaderMargaret LedermanMartine LettsErna & Gerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mrs Silvana MantellatoGeoff & Jane McClellanIan & Pam McGrawMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

Mrs Rachel O’ConorA Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersDr Mark & Mrs Gillian SelikowitzMrs Diane Shteinman AM

Robyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMr D M SwanMs Wendy ThompsonProf Gordon E WallRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsMr & Mrs Glenn WyssAnonymous (11)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email philanthropy@sydneysymphony.com

28 | Sydney Symphony

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

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO Credit Suisse, AustraliaAlan Fang, Chairman, Tianda Group

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

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

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg & Neil LawrenceChair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

04 05 01

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DIRECTORS’ CHAIRS

BEHIND THE SCENES

Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Gabrielle Trainor

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

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

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

EVERYONE HAS A STORY

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Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

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