SEASON 2008

KALEIDOSCOPE

A TRIBUTE TO DUKE ELLINGTON

Thursday 23 October | 8pm
Saturday 25 October | 8pm
Sydney Opera House Concert Hall

Hamish McKeich conductor

James Morrison trumpet
Joe Chindamo piano
Jonathan Zwartz bass
John Morrison drums

The music of
EDWARD KENNEDY ‘DUKE’ ELLINGTON (1899–1974)
Most of Duke Ellington’s music was composed for jazz orchestra. Saturday night’s performance
The symphonic orchestral arrangements in this concert are by will be broadcast live across
Graeme Lyall unless otherwise indicated. Australia on ABC Classics FM 92.9.

Black, Brown and Beige – Giggling Rapids Pre-concert talk by Robert Murray
Suite (from The River, a ballet) at 7.15pm in the Northern Foyer.
Arranged by Ron Collier Visit www.sydneysymphony.com/
Symphonic orchestration
talk-bios for biographies of
by Maurice Peress Ellington Medley pre-concert speakers.
Black (A Work Song) Come Sunday – Do Nothing
Brown (Come Sunday) Till You Hear From Me – The performance will conclude
Beige (Light) Sophisticated Lady (with at approximately 10.15pm
It Don’t Mean a Thing Otto Hardwick) – Cotton Tail
(if it ain’t got that swing) Solitude Artist biographies begin on
Arranged by Morton Gould page 17.
Take the A Train
by Billy Strayhorn Don’t Get Around Much
Mood Indigo Anymore
(composed with C-Jam Blues
Barney Bigard)
Satin Doll
El Gato
Caravan
(composed with Juan Tizol)
INTERVAL

Program order may change on the night.

PRESENTING PARTNER
WELCOME MESSAGE FROM PAUL FEGAN

It is with great pleasure that we welcome you to this evening’s

performance of A Tribute to Duke Ellington with James Morrison
and the Sydney Symphony.

St.George is excited to bring the celebrated James Morrison to the

Concert Hall at the magnificent Sydney Opera House and to be a
part of this special event.

We already have a great association with the Sydney Symphony

and recently announced that we will be the Presenting Partner
of the innovative Kaleidoscope series in 2009. With a focus on
developing new audiences and its orchestral blend of jazz, film
and world music, Kaleidoscope offers the perfect platform for
St.George to build on our four-year association with the Sydney
Symphony, and to support the Orchestra in building its audience.

But for now, relax and enjoy what is certain to be an enchanting

concert by the one-and-only James Morrison, as he performs all
your favourite songs with Australia’s flagship orchestra – together
celebrating the works of jazz legend Duke Ellington.

All of us at St.George hope you enjoy this wonderful evening.

Chief Executive Officer

St.George Bank Ltd.
INTRODUCTION

Duke Ellington
He was christened Edward Kennedy Ellington in 1899.
By the time he was 12 years old his innate elegance and
aplomb had already given rise to a new name, ‘Duke’.
He was destined to be musical royalty, a household name,
a musician with a lasting influence and an enduring
appeal. Not that he and his band thought much about
that. ‘We’re not interested in writing for posterity,’ he
said, ‘We just want it to sound good right now!’
Ellington’s band was his instrument. ‘I might think
of a wonderful thing for an oboe, but I ain’t got no
oboe and it doesn’t interest me,’ he once told a German
refugee, a classical musician who knew his Stravinsky and
was curious about jazz. ‘My band is my instrument even
more than the piano.’
But Ellington found a voice in the concert hall too,
with music conceived for orchestra. One of his mentors
was Will Marion Cook, who’d studied with Dvořák at the
pioneering National Conservatory of Music in the 1890s,
and who by the time Ellington met him was the ‘grand
old man of African-American music’. Cook distilled
the conservatory education this way: ‘First you find the
logical way, and when you find it, avoid it, and let your
inner self break through and guide you. Don’t try to be
anybody else but yourself.’
Ellington took the advice to heart. Even when
European critics began calling him ‘the American
Bach’, he was himself. And the music always came first,
a mistress who ‘plays second fiddle to none’. Which is
why it sounds good right now!

5 | Sydney Symphony
 ABOUT THE MUSIC

A Tribute to Duke Ellington

‘All musicians should get down on their knees

one day to thank Duke Ellington.’
– Miles Davis
©FIA RA / LEBRECHT MUSIC & ARTS

‘beyond category’
DUKE ELLINGTON

Duke Ellington had a favourite phrase to describe

musicians whose work he admired – he would say
that they were ‘beyond category’. This remark perhaps
offers an insight into the holistic manner in which he
approached his music-making and why he continues
to exert such a potent influence in music today.
The man whom many have described as jazz’s – or
indeed America’s – greatest ever composer lived an
extraordinary life and amassed thousands of compositions.
His career began in the relatively modest dance band
scene in Washington DC and would eventually encompass
the Harlem Renaissance, the rise and ebb of swing, the

6 | Sydney Symphony
 challenge of bebop, and the subsequent fragmentation of
jazz styles. Through it all Ellington continued to follow
his own idiosyncratic course, and by the time of his death
in 1974 jazz had truly established itself as arguably the
foremost art form of the 20th century.
It would seem that music was Duke’s destiny. As a
youngster he studied to be a commercial artist and
established a small business after leaving college, running
dance bands on the side. He got his very first gig filling
in for a pianist and, as he only knew two tunes and had
to play for five hours, he played them again and again,
attempting to vary the melody and tempo, and gaining
an insight into the variation and arranging techniques
for which he would become famous. He was not a great
performer at this stage, but he continued to hone his
pianistic skills after moving to New York and ‘cutting’ with
the great masters of Harlem stride piano, such as James
P. Johnson and Willie ‘The Lion’ Smith (whom he would
later immortalise in Portrait of the Lion). Harlem was a riot
of creative energy at that time, and jazz could be heard
©FIA RA / LEBRECHT MUSIC & ARTS

Entrance to the Cotton Club in

Harlem, New York (1931)

7 | Sydney Symphony
LEBRECHT MUSIC & ARTS

Johnny Hodges performing with Duke

Ellington at the Small Band Session
for Danish Television, Copenhagen
(1967)

Graeme Lyall
Many of the orchestral
arrangements you hear
tonight have been written
by Graeme Lyall. A fixture
on the Australian music
on every corner. There was a living to be made in rent scene for many years,
parties, parlour socials and the cabarets and speakeasies Graeme started out at 17
that began to spring up as a result of prohibition. By the as a saxophonist at the
time of his residency at the Cotton Club, Ellington had Palais Ballroom and
The Embers nightclub in
begun to assemble some of the musicians who would
Melbourne. Since then
form his Famous Orchestra and whose names have since
he’s worked extensively
passed into legend: Sonny Greer, Bubber Miley, Joe as a performer, composer,
‘Tricky Sam’ Nanton, Barney Bigard, Harry Carney, arranger and producer
Cootie Williams and Johnny Hodges, to name a few. in television. He’s
Many of the men stayed with Ellington for the duration collaborated with an
of their careers, carving out a personal identity for the impressive roster of
band’s very distinctive sound. Australian and
Duke’s time at the Cotton Club played a crucial role international talent,
in forming his unique compositional style. The club was including Olivia Newton-
owned and run by the mob and had one aim – to make John, Debra Byrne, Tom
Jones and Sammy David
money. ‘Slumming’ in Harlem was the fashion and the
Jr., and his credits include
club played to the prejudicial notions of the affluent
musical director for The
white clientele by mounting exotic-themed shows. As the Don Lane Show, Hey Hey
house band, Duke and his men were required to perform It’s Saturday, the AFL and
the music for these revues, back the specialty acts and NRL Grand Finals, and the
chorus line, and provide dance music for the club’s Logie Awards. He’s also
patrons in between. Sonny Greer’s flamboyant drums taught at the Sydney
and the growl and gutbucket techniques of Miley and Conservatorium, Victorian
Nanton were perfect for the jungle style the band College of the Arts and
perfected, incorporating a kind of vocalised instrumental the WA Academy of
element into numbers such as ‘Echoes of the Jungle’, Performing Arts. In 2003
he was made a Member
‘Jungle Jamboree’ and ‘Jungle Nights in Harlem’. Duke
of the Order of Australia
began to craft music with the particular capabilities of his
and received the
musicians in mind and tended to exploit the talents of Centenary Medal.
soloists who had their own unique voice, primarily altoist

8 | Sydney Symphony
LEBRECHT MUSIC & ARTS

Cat Anderson in Copenhagen (1967)

Johnny Hodges, whose silky portamento graced many

ballads. Among the other instrumentalists exploited by
Ellington for their distinctive style and technique was
high note trumpeter Cat Anderson who, along with the
other members of the trumpet section, contributed an
outstanding solo in El Gato (The Cat).

LEBRECHT MUSIC & ARTS

Ellington expanded the orchestra, which enabled him
to experiment more freely with tone colour and texture,
creating those marvellous dissonances for which his
music is so famous (and which Billy Strayhorn would
term ‘the Ellington effect’). Somewhat unusually for
jazz bands at the time, he voiced chords across sections,
mixing reeds with brass to startling effect, such as in
his 1930 recording of Mood Indigo with muted trumpet
and Barney Bigard’s low-register clarinet. Duke would
experiment with his musicians during rehearsals, asking
them to play different permutations of notes; as a result
many arrangements were learned aurally and not written
out. His arranging became increasingly sophisticated
and incorporated a diversity of themes and development.
Listening to some of the early 78 rpm recordings, it
is striking how dense the structure is – a lot is packed
into three minutes. As the club’s reputation grew, many
big names made the trip uptown to hear him, including
classical music luminaries such as Leopold Stokowski.
Australian-born composer Percy Grainger invited
the band to play at one of his lectures at New York
University and declared Ellington one of the three
greatest composers who ever lived, alongside Bach and
Delius.

9 | Sydney Symphony
©RA / LEBRECHT MUSIC & ARTS

Duke Ellington and the Cotton Club

The Cotton Club’s radio broadcasts brought Ellington Orchestra in New York (1931)

wider exposure and his association with manager Irving

Mills resulted in commercial success, with the band
conducting highly successful European tours and criss-
crossing the US in their own Pullman train carriage
(Mills’ solution to protecting the men from the
humiliation of segregated accommodation and travel).
©JEFF LOWENTHAL / LEBRECHT MUSIC & ARTS

Many regard the 1930s and early 40s as the peak of the
band’s career, and the Victor label recordings of this
period as the essence of the Ellington sound. By this
time Billy Strayhorn was on board as Duke’s writing
partner (although the full extent of Strayhorn’s
contribution remains unclear), and the band’s stellar
line-up included tenor saxophonist Ben Webster and
bassist Jimmy Blanton. (Blanton’s fine melodic pizzicato
was showcased on Jack the Bear, but his tenure was cut
short by his untimely death from tuberculosis in 1942
at the tragically young age of 23.) Webster featured on
the up-tempo Cotton Tail, his solo vying for supremacy
with the block harmonised sax section chorus. This
Duke Ellington sitting at the piano
and other numbers such as Strayhorn’s Take the ‘A’ Train with Billy Strayhorn, composer of
(which became the band’s signature tune), Caravan Take the A Train

(co-composed by Juan Tizol), It Don’t Mean a Thing and

11 | Sydney Symphony
I Got It Bad (And That Ain’t Good) are for many classic
Ellington. Some compositions which were written as
instrumentals later had lyrics added and became popular
songs, including Sophisticated Lady, Never No Lament
(which became Don’t Get Around Much Anymore) and
Concerto for Cootie (Do Nothing Till You Hear From Me).
The introduction of the long-playing record in the
1940s gave Ellington the opportunity to expand the three-
minute form (an ambition he had harboured since writing
Creole Rhapsody in 1931). From 1943 for a period of several
years he performed annual concerts at Carnegie Hall,
showcasing works including The Deep South Suite, The
Liberian Suite, The Perfume Suite and The Tattooed Bride.

©HORST TAPPE / LEBRECHT MUSIC & ARTS

The first of his concert works was Black, Brown and Beige
and, despite the concert being eagerly awaited and having
sold out well in advance – Eleanor Roosevelt was among
the well-known faces in the audience, and Frank Sinatra
went backstage to offer his best wishes – the work was not
well received by critics on its premiere. Ellington called
it a ‘tone parallel to the history of the American Negro’,
and the different sections provide a musical portrait of
the story of the black experience in America, from
enslavement and religious redemption (the spiritual
‘Come Sunday’) to emancipation and migration to
Harlem. Despite Ellington’s diplomacy in the face of the
Duke Ellington (1969)
institutionalised racism that was a part of everyday life
for him at that time (his restraint during the civil rights
upheavals of the 1960s and 70s prompted anger in
certain sections of the black community) his desire to
tell the story of his people and help shape their cultural
landscape underpinned much of his work. He was
stung by the work’s negative reception in New York and
was reluctant to perform it in full again. However he
continued to pioneer the extended jazz format and The
River, a collaboration with Alvin Ailey, was commissioned
by the American Ballet Theatre in 1970. From the 1960s
he performed a series of ‘sacred’ concerts for which he
composed faith-inspired works.
Much has been made of Duke’s suave demeanour and
aristocratic bearing, but it went far deeper than sartorial
elegance; he felt strongly that he represented a great and
proud race and the best that it had to offer. Perhaps it was
for this reason that he continually strove to craft ‘Negro
music’ – as he called it – that portrayed every nuance of
the African American experience in defiance of narrow

12 | Sydney Symphony
racial stereotypes. In addition to his large and impressive
output of songs, jazz originals and works for dance and
the theatre, Ellington also composed music for the films
The Asphalt Jungle (1950) and Anatomy of a Murder (1959) –
and all the while carrying out a punishing schedule of ‘I don’t know where jazz
twice-nightly shows. We can only imagine what magic he itself starts or where it
could have conjured if he had been able to experiment stops, where Tin Pan
further with larger orchestral forces. As he said, ‘I don’t Alley starts or where
know where jazz itself starts or where it stops, where jazz ends, or even where
Tin Pan Alley starts or where jazz ends, or even where more serious music and
more serious music and jazz divide. There is no specific jazz divide. There is no
boundary line. You know what it is about music? When it specific boundary line.
sounds good, it is good.’ You know what it is
Miles was right – we don’t have to get down on our about music? When it
knees, but we should all thank the Duke for a body of sounds good, it is good.’
timeless music that is, quite simply, beyond category. DUKE ELLINGTON

LORRAINE NEILSON
SYMPHONY AUSTRALIA ©2008

The Sydney Symphony is seeking a Manager of Group Sales

Could this person be you?

If you love music, love the Sydney Symphony, and love working with
people, then we invite you to apply. Our marketing team is seeking a
dynamic and outgoing individual who knows how things are organised
and who is ready for the challenge of creatively engaging non-traditional
audiences for Sydney Symphony concerts. They could be groups; they
might be students; sometimes from local corporations, sometimes
travellers. Regardless, if you have a knack for verbal presentation, a love
of people and great music, organisational skill and enthusiasm, then we
would like to hear from you. Now.

For more information visit sydneysymphony.com/employment

Or call Ian Arnold, Human Resources Manager on (02) 8215 4628
MUSICIAN SNAPSHOT

Fenella Gill – going her own way

KEITH SAUNDERS
Fenella Gill, cellist with the Sydney
Symphony, is joined by her six-year-old
daughter Audrey on the day of this
‘snapshot’ interview. Audrey is home from
school, her left hand firmly swathed in
bandages following a close encounter
with a glass door. No permanent damage
fortunately, but it does raise an interesting
question: what if it were Fenella’s own
hand sporting a similar fresh dressing?
‘I think it would be extremely challenging,
and probably a bit miserable and
frustrating if I couldn’t play.’
Fenella grew up in a musical household.
‘My mother would often wake us up on the
weekend by playing a record of a Mozart
violin concerto, or the Elgar cello concerto,
perhaps to drop the hint that we [Fenella
and her three sisters] should get up and
practise?’ Repetitive Strain Injury (RSI) in
her late teens threatened to put a stop to
Jacqueline du Pré, the cellist
Fenella’s aspirations of becoming a
synonymous with the Elgar cello concerto,
professional musician. ‘I was practising
was diagnosed with Multiple Sclerosis at
incredible hours every day, and it wasn’t
the age of 26, prematurely ending her
healthy, obviously. I overcame it with a lot
performing career. ‘Du Pré’s recording of
of physical exercise; a lot of bike-riding
the Elgar was the first one I ever owned and
and swimming backstroke; doing the
I had lessons on the same concerto with
opposite movements to sitting playing the
her teacher, William Pleeth. And though
cello all day.’
du Pré was English, and the piece is
Thankfully, Fenella recovered to full
English, it’s not the stereotype that you
health. ‘It’s very hard psychologically to
might think. She was incredibly expressive.’
not be able to do something that you really
Du Pré’s association with other artists
want to do. But I think it’s made me a lot
like Pinchas Zuckerman, Itzhak Perlman
stronger. I really believe you will always
and Daniel Barenboim put her in a class
end up finding your own way to play. So
of ‘untouchables’ in Fenella’s mind. ‘These
much of what we do is positive thinking.
are names I grew up with. They were
Maturity comes when you learn to trust
performers who achieved legendary status.
yourself, to let go of how you think you
I think it’s really exciting to have
should play and to experiment; to be able
Ashkenazy, who was also a part of that
to play with conviction and believe that’s
group, as our Principal Conductor. It’s like
what you’re doing. I’m also very aware
a direct link to the good old days.’
now in the orchestra of how my body
is feeling.’ GENEVIEVE LANG ©2008

15 | Sydney Symphony
MORE MUSIC

Selected Discography Broadcast Diary

DUKE ELLINGTON
In 1999 RCA Victor released Duke Ellington’s
complete recordings in a 24-disc boxed set, The Duke
Ellington Centennial Edition. Individual discs and
smaller sets were subsequently released for those OCTOBER–NOVEMBER
seeking particular periods in the Duke’s output or a
selective compilation. 31 October, 1pm
RCA VICTOR 63386-2 (COMPLETE) MIDORI GALA (2006)
The Naxos Jazz Legends series includes 14 volumes Miguel Harth-Bedoya conductor
of Ellington’s music, organised in chronological Midori violin
periods. Many of the songs from tonight’s concert Britten
can be heard in: Vol.1 Cotton Club Stomp (1927–1931);
Vol.2 It Don’t Mean a Thing (1930–1934); Vol. 3
Reminiscing in Tempo (1932–1935); Vol.4 Echoes of ELGAR FESTIVAL BROADCASTS
Harlem (1936–1938); Vol.6 Tootin’ Through the Roof Vladimir Ashkenazy conductor
(1939–1940); and Vol.7 Cotton Tail (1940)
NAXOS 8.120509; 8.120526; 8.120589; 8.120682; 8.120729; 8.120738 3 November, 7pm
Jian Wang cello

ELLINGTON IN THE CONCERT HALL Cello Concerto, Symphony No.1

Duke Ellington: Four Symphonic Works 8 November, 8pm

Maurice Peress conducts the American Composers Lilli Paasikivi mezzo-soprano
Orchestra in Black, Brown and Beige, Harlem and
Sea Pictures, Serenade, Symphony No.2
other music for orchestra.
NIMBUS 2511 12 November, 8pm
Ellington: Suite from The River James Ehnes violin
Neeme Järvi conducts the Detroit Symphony Violin Concerto, Enigma Variations, Pomp and
Orchestra. This recording also includes Solitude in Circumstance Marches
Morton Gould’s arrangement.
CHANDOS RECORDS 9909 20 November, 8pm
Lilli Paasikivi, Mark Tucker,
Classic Ellington
David Wilson-Johnson vocal soloists
Simon Rattle and the City of Birmingham Symphony
Sydney Philharmonia Choirs
Orchestra join with distinguished jazz artists in Luther
Henderson’s arrangements of Ellington classics, The Dream of Gerontius
including Take the A Train and Sophisticated Lady.
(Available as a digital download from the iTunes Store 2MBS-FM 102.5
and as an ArkivCD from arkivmusic.com) SYDNEY SYMPHONY 2008
EMI CLASSICS 57014 Tue 11 November, 6pm
What’s on in concerts, with interviews and music.
JAMES MORRISON
2x2: James Morrison and Joe Chindamo Webcast Diary
Quartets (with John Morrison and Phil Stack)
and duos.
MORRISON RECORDS MR18
Selected Sydney Symphony concerts are recorded for
On the Edge
webcast by BigPond and are available On Demand.
with Simon Stockhausen
Visit: sydneysymphony.bigpondmusic.com
MORRISON RECORDS MR15
(ALSO AVAILABLE ON DVD) Current webcast:
Scream Machine GELMETTI’S FAREWELL
MORRISON RECORDS MR010 Available On Demand
The Other Woman
sydneysymphony.com
With Deni Hines
MORRISON RECORDS MR60762 Visit the Sydney Symphony online for concert
information, podcasts, and to read the program book in
advance of the concert.

16 | Sydney Symphony
ABOUT THE ARTISTS

Hamish McKeich conductor

Hamish McKeich works regularly in Australia and

Europe and conducts all the major orchestras in New
Zealand. From 2002 to 2006 he was Associate Conductor
of the New Zealand Symphony Orchestra, and he is
Chief Conductor of New Zealand’s two leading
contemporary ensembles, Stroma and 175East.
He was born in Christchurch, New Zealand and began
bassoon studies with his father, Rosslyn McKeich, later
studying with Gordon Skinner and Colin Hemmingsen.
At 19 he was appointed Associate Principal Bassoon
with the Sydney Symphony Orchestra and the Australian
Chamber Orchestra. The following year he won the
New Zealand National Concerto Competition and was
an instrumental finalist in the ABC Young Performers
Award.
Hamish McKeich studied conducting with the
renowned teacher and pedagogue Ilya Musin as well
as Valery Gergiev, Sian Edwards and Peter Eötvös. He
was a participant in the Kirill Kondrashin International
Conducting Masterclass in Hilversum, Holland, and
was also a finalist of the Gergiev Festival Conductors
Masterclass, under the guidance of Professor Musin and
Valery Gergiev.
He has worked with the New Zealand Symphony
Orchestra, Metropole Orkest of the Netherlands Radio,
Asko Ensemble of Holland, Melbourne Symphony
Orchestra, Adelaide Symphony Orchestra, Auckland
Philharmonia and Christchurch Symphony amongst
others. He has recently toured China as Music
Director of the National Philharmonic Orchestra of
New Zealand.
This season’s engagement highlights include regular
concerts and recordings with the New Zealand
Symphony Orchestra, return visits to the Metropole
Orkest, and further engagements with Auckland
Philharmonia.

17 | Sydney Symphony
James Morrison trumpet

James Morrison is a virtuoso in the true sense of the

word and plays trumpet and many other instruments.
He was given his first instrument at the age of seven; at
nine he formed his first band; and at 13 he was playing
professionally in nightclubs. When he was just 16, he
made his US debut at the Monterey Jazz Festival.
Following this were performances at the big festivals
in Europe – including Montreux, Pori, North Sea, Nice
and Bern – playing with Dizzy Gillespie, Cab Calloway,
Woody Shaw, Red Rodney, George Benson, Ray Charles,
B.B. King, Ray Brown, Wynton Marsalis and other jazz
legends. There were also gigs in the world’s most famous
jazz clubs – the Blue Note and Village Vanguard in New
York, the New Morning in Paris and Ronnie Scott’s in
London.
James Morrison’s career has been diverse. He recorded
Jazz Meets the Symphony with the London Symphony
Orchestra, and performed concerts at the Royal Albert
Hall with the London Philharmonic Orchestra and at the
Royal Opera House, Covent Garden for Princess Anne.
He has given royal command performances on two
occasions for Her Majesty Queen Elizabeth II and played
for US Presidents Bush and Clinton at Parliament
House in Australia. In 1997, he was awarded the Order
of Australia Medal in recognition of his service to the
arts.
Recent concerts include Hollywood Bowl, the Auckland
Philharmonic Orchestra, the Israel National Orchestra
and the LA Jazz Festival. In addition to touring the world
for much of the year, he is head of Morrison Records,
an independent label dedicated to the best of jazz.
Recent releases include 2x2 with Joe Chindamo, and last
year he gave the premiere performance of Lalo Schifrin’s
Concerto for Jazz Trumpet and Piano with the Sydney
Symphony.
James Morrison also spends much time in education,
conducting masterclasses and workshops in many
countries. He is the patron of six youth bands throughout
Australia, offers an annual scholarship to further the
music education of young Australians, and is an avid user
of the latest technologies to furthering jazz and music
education on the Internet.

18 | Sydney Symphony
Joe Chindamo piano

Pianist and composer Joe Chindamo was born in

Melbourne in 1961. At six he took up the accordion; at 15,
inspired by Oscar Peterson, he switched to piano. Soon
he was working with band leader Denis Farrington and
teaching himself jazz piano.
At 18 he received his first formal piano lesson. (Since
then he has travelled to Italy regularly to further his
classical piano studies.) He soon became the preferred
pianist of the leading Australian film composers and his
playing has featured in more than 60 films, including
Evil Angels and Babe. He has accompanied Shirley Bassey,
recorded with Vince Jones, Olivia Newton-John, Christine
Sullivan and Yvonne Kenny, and played with Dame Kiri
Te Kanawa, Caroline O’Connor, Don Burrows, and Dianne
Reeves on her 2006 Australian tour.
He has toured to Europe, the US, Argentina, India,
Israel and Japan (where his recordings are especially
successful). This year both pianist Michele Campanella
and piano maker Paolo Fazioli invited him to perform
in Italy, presenting him in distinguished classical series.
In Australia he has appeared in the major festivals,
including the Melbourne International Jazz Festival, for
which he gave four concerts last year.
His collaborations include the late Ray Brown, Lee
Konitz, Mike and Randy Brecker, Ernie Watts, Graeme
Lyall and Ravi Coltrane. With Billy Cobham he made 20
international tours as well as two recordings. He works
frequently with James Morrison, including recording the
CD James Morrison and Joe Chindamo 2x2.
More recently he has released Answer Me My Love,
Duende – The Romantic Project and the DVD Joe Chindamo
in Japan. His many recordings have won him ARIA
nominations and Anyone Who Had a Heart won the ABC
Listeners’ Choice award for Best Australian CD of 1997.
His album Live at Umbria Jazz 05 won the Bell Award for
Best Classic Jazz Album of 2006. In 2002 and 2004 he
received the MO Award for Instrumental Jazz Performer
of the Year. In 2003, he was awarded a two-year Australia
Council Fellowship, enabling him to compose an
accordion concerto.

19 | Sydney Symphony
Jonathan Zwartz bass

Jonathan Zwartz is one of Australia’s leading jazz

HAMISH TA-MÉ
musicians. He has played and recorded with many of
the most outstanding Australian artists including James
Morrison, Katie Noonan, Renee Geyer, Vince Jones ,
Bernie McGann, Mike Nock, Dale Barlow, Tina Harrod,
and Steve Kilby.
He is in demand to back international stars on their
Australian tours and has played with American jazz
artists Pharoah Sanders, Branford Marsalis, Chico
Freeman, Andy Bey, Mark Murphy, Kurt Elling, Johnny
Griffin, Barbara Morrison, Larry Goldings, Ben Monder,
Tim Ries and Billy Drummond, and UK superstars such
as Nigel Kennedy, Cleo Laine and John Dankworth.
In 2001 Jonathan co-produced the Pulse, a ten-part
documentary series on jazz in Australia, involving over
100 musicians and ten venues, which has been screened
and re-screened on ABC television since its first airing.
He has organised many noteworthy events in the
Australian music scene, including the Starfish Club
(broadcast live to air on ABC Radio National) and live
music programs for Sydney venues Winebanq and the
Astral Bar. Winebanq particularly boasted some notable
‘unadvertised’ performances by stars such as Wynton
Marsalis, Branford Marsalis, Christian McBride, Joshua
Redman, Carlos Santana Band, Alicia Keyes Band, and the
Rolling Stones Touring band with Keith Richards and
Ron Woods in the audience.
He has recently completed a Masters degree in Music
Performance at the Australian National University and
also holds an Associate Diploma in Jazz Studies from
the NSW Conservatorium of Music, where he studied
with Don Burrows. He has also studied in the USA
with Rodney Whitaker (Lincoln Centre Orchestra) at the
Michigan State University, and with bass luminaries
Rufus Reid and Milt Hinton in New York.
In January Jonathan recorded his debut CD, with
Barney McAll, Hamish Stuart, Doug deVries, Phil Slater
and Fabian Hevia. The recording, entitled The Sea, is due
for release later this year.

20 | Sydney Symphony
John Morrison drums

John Morrison has delighted audiences for more than

25 years with his humour and love of jazz that entertains.
Equally at home in a small group or big band setting, his
musical facility runs the entire spectrum from traditional
jazz, swing, Bebop, R&B, Soul and commercial jazz rock.
In addition to being one of Australia’s most sought-after
jazz drummers and band leaders, he is recognised for his
many achievements as a record producer and jazz
educator.
At age eight, John began playing cornet in the school
brass band and by the age of ten had built his first
drum set from pots and pans. In these early few years
he played many different instruments and styles but jazz
drumming was to be his calling. Voted Australia’s best
big band drummer in 1997, John led his celebrated band,
Swing City, through a career highlight – performing
at the Sydney Olympic Games Opening Ceremony
in 2000.
Often called ‘the Cat in the Hat’, he has performed
and recorded with some of the world’s most respected
international jazz legends (including his younger brother,
James Morrison). In the late 1980s, they formed Australia’s
premier jazz big band, The Morrison Bros Big Bad Band,
and together they have toured the world, performing
at the North Sea Jazz Festival, Montreux Jazz Festival,
Royal Albert Hall, Ronnie Scott’s Jazz Club in London,
and many more.
John has also played with well-known artists such
as James Moody, Scott Hamilton, Richie Cole, John and
Jeff Clayton, Garry Dial, Jimmy Whitherspoon, Eartha
Kitt, Don Burrows, George Golla, and Bob Barnard.
Recently he married Australian jazz singer and
educator Jacki Cooper, and in 2007 they toured
throughout Australia, New Zealand and China, where
they performed with the Shanghai Symphony Big Band.
Although he admits to being happiest either driving
a big band with his swinging drumming or flying upside
down in a biplane, John remains passionate about giving
his time and energy to the many young and emerging
players he has mentored into successful music careers.

21 | Sydney Symphony
 THE SYDNEY SYMPHONY
PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
JOHN MARMARAS

Critical to the success of the Sydney

Symphony has been the leadership given
by its former Chief Conductors including:
Sir Eugene Goossens, Nicolai Malko,
Dean Dixon,Willem van Otterloo, Louis
Frémaux, Sir Charles Mackerras, Stuart
Challender and Edo de Waart. Also
contributing to the outstanding success
of the Orchestra have been collaborations
with legendary figures such as George
Szell, Sir Thomas Beecham, Otto
Klemperer and Igor Stravinsky.
Maestro Gianluigi Gelmetti, whose
appointment followed a ten-year
relationship with the Orchestra as Guest
Conductor, is now in his fifth and final
year as Chief Conductor and Artistic
Director of the Sydney Symphony, a
position he holds in tandem with that of
Music Director at Rome Opera. Maestro
Gelmetti’s particularly strong rapport
with French and German repertoire is
complemented by his innovative
programming in the Shock of the New
concerts.
The Sydney Symphony’s award-winning
Founded in 1932, the Sydney Symphony Education Program is central to the
has evolved into one of the world’s finest Orchestra’s commitment to the future
orchestras as Sydney has become one of the of live symphonic music, developing
world’s great cities. Last year the Orchestra audiences and engaging the participation
celebrated its 75th anniversary and the of young people. The Sydney Symphony
milestone achievements during its also maintains an active commissioning
distinguished history. program promoting the work of Australian
Resident at the iconic Sydney Opera composers, and recent premieres have
House, where it gives more than 100 included major works by Ross Edwards
performances each year, the Sydney and Brett Dean, as well as Liza Lim, who
Symphony also performs concerts in a was composer-in-residence from 2004 to
variety of venues around Sydney and 2006.
regional New South Wales. International In 2009 Maestro Vladimir Ashkenazy
tours to Europe, Asia and the USA have will begin his three-year tenure as
earned the Orchestra world-wide Principal Conductor and Artistic Advisor.
recognition for artistic excellence.

22 | Sydney Symphony
MUSICIANS

Michael Dauth Dene Olding

Gianluigi Gelmetti Chair of Concertmaster Chair of Concertmaster
Chief Conductor and supported by the Sydney supported by the Sydney
Artistic Director Symphony Board and Council Symphony Board and Council

First Violins
01 02 03 04 05 06 07

08 09 10 11 12 13 14

Second Violins
01 02 03 04 05 06 07

08 09 10 11 12 13

First Violins Second Violins Guest Musicians

01 Sun Yi 01 Marina Marsden Thomas Dethlefs Nicole Forsyth Brian Nixon
Associate Concertmaster Principal First Violin Viola Timpani#
02 Kirsten Williams 02 Emma West Victoria Jacono Vera Marcu Miriam Lawson
Associate Concertmaster A/Associate Principal First Violin Viola Harp
03 Kirsty Hilton 03 Shuti Huang Emily Long Yilin Zhu Christina Leonard
Assistant Concertmaster A/Assistant Principal First Violin# Viola† Saxophone
04 Fiona Ziegler 04 Susan Dobbie Michele O’Young Minah Choe Jarrod Whitbourn
Assistant Concertmaster Principal Emeritus First Violin Cello Saxophone
05 Julie Batty 05 Pieter Bersée Martin Silverton Rowena Crouch
06 Sophie Cole 06 Maria Durek First Violin Cello# # = Contract Musician
Patrick Suthers † = Sydney Symphony
07 Amber Gunther 07 Emma Hayes Robin Wilson
Cello† Fellow
08 Rosalind Horton 08 Stan W Kornel First Violin
09 Jennifer Hoy 09 Benjamin Li Manu Berkeljon Elizabeth Hawryluk
Second Violin† Double Bass
10 Jennifer Johnson 10 Nicole Masters
11 Georges Lentz 11 Philippa Paige Xu Han Gordon Hill
Second Violin Double Bass#
12 Nicola Lewis 12 Biyana Rozenblit
13 Alexandra Mitchell 13 Maja Verunica Monique Irik Ann Peck
Second Violin Oboe
Moon Design Chair of Violin
14 Léone Ziegler Belinda Jezek Saul Lewis
Second Violin Horn
Marriane Broadfoot
Jennifer Curl
Viola#

23 | Sydney Symphony
MUSICIANS

Violas
01 02 03 04 05 06 07

Cellos
08 09 10 11 01 02 03

04 05 06 07 08 09

Double Basses
01 02 03 04 05 06 07

Harp Flutes Piccolo

01 02 03

Violas Cellos Double Basses Harp Piccolo

01 Roger Benedict 01 Catherine Hewgill 01 Kees Boersma Louise Johnson Rosamund Plummer
Andrew Turner and Tony and Fran Meagher Brian and Rosemary Mulpha Australia Chair Principal
Vivian Chang Chair of Chair of Principal Cello White Chair of Principal of Principal Harp
Principal Viola 02 Nathan Waks Double Bass
02 Anne Louise Comerford Principal 02 Alex Henery Flutes
Associate Principal 03 Leah Lynn Principal 01 Janet Webb
03 Yvette Goodchild Assistant Principal 03 Neil Brawley Principal
Assistant Principal 04 Kristy Conrau Principal Emeritus 02 Emma Sholl
04 Robyn Brookfield 05 Fenella Gill 04 David Campbell Mr Harcourt Gough
05 Sandro Costantino 06 Timothy Nankervis 05 Steven Larson Chair of Associate
06 Jane Hazelwood 07 Elizabeth Neville 06 Richard Lynn Principal Flute
07 Graham Hennings 08 Adrian Wallis 07 David Murray 03 Carolyn Harris
08 Mary McVarish 09 David Wickham Gordon Hill
09 Justine Marsden (contract, courtesy
10 Leonid Volovelsky Auckland Philharmonia)
11 Felicity Wyithe

24 | Sydney Symphony
MUSICIANS

Oboes Cor Anglais Clarinets Bass Clarinet

01 02 01 02 03

Bassoons Contrabassoon Horns

01 02 03 01 02 03

Trumpets
04 05 06 01 02 03 04

Trombones Bass Trombone Tuba Timpani

01 02 03

Percussion Piano
01 02

Oboes Bassoons Trumpets Bass Trombone Percussion

01 Diana Doherty 01 Matthew Wilkie 01 Daniel Mendelow Christopher Harris 01 Rebecca Lagos
Andrew Kaldor and Principal Principal Trust Foundation Chair Principal
Renata Kaldor AO Chair 02 Roger Brooke 02 Paul Goodchild of Principal Bass 02 Colin Piper
of Principal Oboe Associate Principal The Hansen Family Chair Trombone
02 Shefali Pryor 03 Fiona McNamara of Associate Principal Piano
Associate Principal Trumpet Tuba Josephine Allan
Contrabassoon 03 John Foster Steve Rossé Principal (contract)
Cor Anglais Noriko Shimada 04 Anthony Heinrichs Principal
Alexandre Oguey Principal
Principal Trombone Timpani
Horns 01 Ronald Prussing Richard Miller
Clarinets NSW Department of Principal
01 Robert Johnson
01 Lawrence Dobell Principal State and Regional
Principal Development Chair of
02 Ben Jacks
02 Francesco Celata Principal Trombone
Principal
Associate Principal 02 Scott Kinmont
03 Geoff O’Reilly
03 Christopher Tingay Associate Principal
Principal 3rd
03 Nick Byrne
04 Lee Bracegirdle
Bass Clarinet Rogen International
05 Euan Harvey Chair of Trombone
Craig Wernicke 06 Marnie Sebire
Principal

25 | Sydney Symphony
SALUTE

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

The Company is assisted by the

NSW Government through Arts NSW

PLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

26 | Sydney Symphony
SILVER PARTNERS

REGIONAL TOUR PARTNERS

ITALIAN TOUR 2008 PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post Avant Card The Sydney Symphony gratefully

Austrian National Tourist Office Blue Arc Group acknowledges the many music
lovers who contribute to the
Beyond Technology Consulting Lindsay Yates and Partners
Orchestra by becoming Symphony
Bimbadgen Estate Wines 2MBS 102.5 – Patrons. Every donation plays an
Sydney’s Fine Music Station
J. Boag & Son important part in the success of the
Vittoria Coffee Sydney Symphony’s wide ranging
programs.

The Sydney Symphony applauds the leadership role

our Partners play and their commitment to excellence,
innovation and creativity.

27 | Sydney Symphony
DIRECTORS’ CHAIRS

A leadership program which links

Australia’s top performers in the
executive and musical worlds.
For information about the Directors’
Chairs program, please call
(02) 8215 4619.
01 02 03 04 05

06 07 08 09 10

11 12 13
GREG BARRETT

KEITH SAUNDERS

KEITH SAUNDERS

01 05 08 11
Mulpha Australia Chair NSW Department of State Gerald Tapper, Managing Andrew Turner and Vivian
of Principal Harp, and Regional Development Director RogenSi with Chang Chair of Principal
Louise Johnson Chair of Principal Trombone, RogenSi Chair of Trombone, Viola and Artistic Director,
Ronald Prussing Nick Byrne Fellowship Program,
02 Roger Benedict
Mr Harcourt Gough Chair of 06 09
Associate Principal Flute, Brian and Rosemary White Stuart O’Brien, Managing 12
Emma Sholl Chair of Principal Double Director Moon Design with The Hansen Family Chair of
Bass, Kees Boersma Moon Design Chair of Violin, Associate Principal Trumpet,
03 Alexandra Mitchell Paul Goodchild
Sandra and Paul Salteri 07
Chair of Artistic Director Board and Council of the 10 13
Education, Richard Gill OAM Sydney Symphony supports Andrew Kaldor and Renata Tony and Fran Meagher
Chairs of Concertmaster Kaldor AO Chair of Principal Chair of Principal Cello,
04 Michael Dauth and Oboe, Diana Doherty Catherine Hewgill
Jonathan Sweeney, Dene Olding
Managing Director Trust with
Trust Foundation Chair of
Principal Bass Trombone,
Christopher Harris

28 | Sydney Symphony
PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate
to the Orchestra each year. Every gift plays an important part in ensuring our
continued artistic excellence and helping to sustain important education and
regional touring programs. Because we are now offering free programs and
space 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.
Patron Annual Mr Ross Grant † Dr & Mrs Michael Hunter § Mrs Catherine Gaskin Cornberg§
Donations Levels Mr & Mrs Paul Hoult Ms Judy Joye Jen Cornish °
Irwin Imhof in memory of Mr & Mrs E Katz § Mr Stan Costigan AO &
Maestri $10,000 and above Herta Imhof °‡ Mrs Margaret Keogh °* Mrs Mary Costigan °*
Mr & Mrs Gilles T Kryger °§ Miss Anna-Lisa Klettenberg § Mr Michael Crouch AO *
Virtuosi $5000 to $9999 Ms Ann Lewis AM Mr Andrew Korda & M Danos °
Soli $2500 to $4999 Helen Lynch AM & Helen Bauer ° Ms Susan Pearson Lisa & Miro Davis *
Mr & Mrs David Milman § Mr Justin Lam § Joan De Hamel °
Tutti $1000 to $2499 Mr Peter & Mrs Mary Doyle °*
The Perini Family Foundation Dr Garth Leslie °*
Supporters $500 to $999 Mrs Helen Selle § Erna & Gerry Levy AM § Mr Colin Draper
Ms Ann Sherry AO ° Mrs Belinda Lim & Mr Arti Ortis § Mrs Francine J Epstein °
To discuss giving Ms Gabrielle Trainor ° Mr Gary Linnane °§ Mr and Mrs David Feetham
opportunities, please call In memory of Dr William & Mr & Mrs S C Lloyd ° Mr Steve Gillett
(02) 8215 4619. Mrs Helen Webb ‡ Mr Andrew & Mrs Amanda Love In memory of Angelica Green §
Michael & Mary Whelan Trust § Mrs Carolyn A Lowry OAM ° Dr & Mrs C Goldschmidt §
Anonymous (1) Mr & Mrs R Maple-Brown § Beth Harpley *
Maestri Mr Robert & Mrs Renee Markovic °§ Mr Ken Hawkings °*
Brian Abel & the late Soli Wendy McCarthy AO ° Intertravel Lindfield °
Ben Gannon AO ° Mr David Barnes ° Mr Ian & Mrs Pam McGaw * Mrs Greta James *
Geoff & Vicki Ainsworth * Mr Anthony Berg AM Mrs Barbara McNulty OBE § Mr Stephen Jenkins *
Mrs Antoinette Albert § Mr Alexander & Kate & Peter Mason °† Dr Michael Joel AM &
Mr Robert O Albert AO *‡ Mrs Vera Boyarsky § Justice Jane Matthews § Mrs Anna Joel °
Mr Terrey & Mrs Anne Arcus §† Mr Peter Coates Ms Margaret Moore & Doctor Faith M Jones §
Alan & Christine Bishop °§ Ms Elise Fairbairn-Smith Dr Paul Hutchins * Mr Noel Keen *
Sandra & Neil Burns * Mr Robert Gay § Mr Robert Orrell ° Mrs Jannette King *
Mr Ian & Mrs Jennifer Burton ° Hilmer Family Trust § Mrs Jill Pain ‡ Iven & Sylvia Klineberg *
Libby Christie & Peter James °§ Ms Ann Hoban ° Timothy & Eva Pascoe § Dr Barry Landa
The Clitheroe Foundation * Mr Paul Hotz § Ms Patricia Payn °§ Dr & Mrs Leo Leader °
Mr John C Conde AO °§† Mr Philip Isaacs OAM °§ Mrs Almitt Piatti Margaret Lederman §
Mr John Curtis § Mr Bob Longwell Mr Adrian & Mrs Dairneen Pilton Ms A Le Marchant *
Mrs Judith McKernan °§ Mr L T & Mrs L M Priddle * Mr Joseph Lipski °*
Eric Dodd†
Miss Margaret N MacLaren °*‡§ Mrs B Raghavan ° Mrs A Lohan *
Penny Edwards °*
Mr David Maloney § Mr Ernest & Mrs Judith Rapee § Mr James McCarthy *
Mr J O Fairfax AO *
Mrs Alexandra Martin & the Dr K D Reeve AM ° Mr Matthew McInnes §
Fred P Archer Charitable Trust §
late Mr Lloyd Martin AM § Mrs Patricia H Reid § Ms Julie Manfredi-Hughes
Dr Bruno & Mrs Rhonda Giuffre*
Mrs Mora Maxwell °§ Pamela Rogers °‡ Ms J Millard *‡
In memory of Hetty Gordon §
Mr and Mrs John van Ogtrop Mr Brian Russell & Helen Morgan *
Mr Harcourt Gough §
Ms Robin Potter °§ Mrs Irina Singleman Mr Walter B Norris °
Mr James Gragam AM &
Ms Julie Taylor ‡ Ms Juliana Schaeffer § Miss C O’Connor *
Mrs Helen Graham †
Mr Geoff Wood & Robyn Smiles § Mrs Rachel O’Conor °
Mr David Greatorex AO &
Ms Melissa Waites † The Hon. Warwick Smith Mr R A Oppen §
Mrs Deirdre Greatorex §
Ray Wilson OAM & the late Derek & Patricia Smith § Mrs S D O’Toole
The Hansen Family §
James Agapitos OAM* Catherine Stephen § Mrs Roslyn Packer AO °
Mr Stephen Johns §†
Anonymous (6) Mr Fred & Mrs Dorothy Street ठMr Tom Pascarella
Mr Andrew Kaldor & Dr Kevin Pedemont *
Mrs Renata Kaldor AO § Mr Michael &
Tutti Mrs Georgina Suttor Mr & Mrs Michael Potts
H Kallinikos Pty Ltd § Mr John Reid AO
Mrs Joan MacKenzie § Richard Ackland ° Mr Georges &
Mrs MarlieseTeitler § Catherine Remond °
Mrs T Merewether OAM & the Mr C R Adamson § Mr John &
late Mr E J Merewether Mr Henri W Aram OAM § Dr Heng & Mrs Cilla Tey §
Mr Ken Tribe AC & Mrs Lynn Carol Reid §
Mr James & Mrs Elsie Moore ° Mrs Joan Barnes ° Mr M D Salamon §
Mr B G O’Conor °§ Doug & Alison Battersby ° Mrs Joan Tribe §
Mr John E Tuckey ° In memory of H St P Scarlett §
The Paramor Family * Mr Stephen J Bell *‡ Mr John Scott °
The Ian Potter Foundation ° Mr Phil Bennett Mrs Merle Turkington °
Mrs Kathleen Tutton § William Sewell *‡
Miss Rosemary Pryor * Nicole Berger * Dr John Sivewright &
Bruce & Joy Reid Foundation* Mr Mark Bethwaite Ms Mary Vallentine AO §
Henry & Ruth Weinberg Ms Kerrie Kemp ‡
Dr John Roarty in memory of Gabrielle Blackstock °‡ Margaret Suthers °
Mrs June Roarty Mr David S Brett *§ Audrey & Michael Wilson °
Anonymous (14) Mrs Elizabeth F Tocque °*
Rodney Rosenblum AM & Mr Maximo Buch * Mr & Mrs Richard Toltz °
Sylvia Rosenblum * Mrs Lenore P Buckle § Mr Andrew & Mrs Isolde Tornya
Mr Paul & Mrs Sandra Salteri °† A I Butchart °* Supporters over $500
Ronald Walledge °
David Smithers AM & Family °§ Debby Cramer & Bill Caukill § Ms Madeleine Adams Louise Walsh & David Jordan °
Mrs Joyce Sproat & Joan Connery OAM °§ PTW Architects § Mrs Lucille Warth ‡
Mrs Janet Cooke § Mr & Mrs R Constable °‡ Mr John Azarias Mrs Christine Wenkart
Andrew Turner & Vivian Chang Mr John Cunningham SCM & Mr Chris & Mrs Mary Barrett ° A Willmers & R Pal °‡
Mr Brian & Mrs Rosemary White§ Mrs Margaret Cunningham °§ Ms Wendy Black Dr Richard Wing §
Anonymous (2) * Mrs Ashley Dawson-Damer ° Black Communications Mr Robert Woods *
Mr & Mrs J B Fairfax AM § Mr G D Bolton ° Jill Wran
Virtuosi Mr Russell Farr Dr & Mrs Hannes Boshoff § Miss Jenny Wu
Mr Roger Allen & Mr Ian Fenwicke & M Bulmer Mrs R Yabsley °§
Mrs Maggie Gray Prof Neville Wills § Hugh & Hilary Cairns * Anonymous (31)
Mr Charles Barran § Anthony Gregg & Deanne Ms C Cathels °
Ms Jan Bowen °§ Whittleston ‡ Marty Cameron §
Mr Robert & Mrs L Alison Carr § Mrs Akiko Gregory ° Hon. Justice J C & ° Allegro Program supporter
Mrs Emily Chang § Miss Janette Hamilton °‡ Mrs Campbell °* * Emerging Artist Fund supporter
Mr Bob & Mrs Julie Clampett °§ Mr Charles Hanna † Mr Brian Casey ‡ Stuart Challender Fund supporter
Mr Greg Daniel Rev H & Mrs M Herbert °* Mr B & Mrs M Coles ° § Orchestra Fund supporter
Ian Dickson & Reg Holloway° Mr A & Mrs L Heyko-Porebski° Dr Malcolm Colley ° † Italian Tour supporter

29 | Sydney Symphony
BEHIND THE SCENES

Sydney Symphony Board

CHAIRMAN
John Conde AO

Libby Christie
John Curtis
Stephen Johns
Andrew Kaldor
Goetz Richter
David Smithers AM
Gabrielle Trainor

Sydney Symphony Council

Geoff Ainsworth Gary Linnane Jerome Rowley

Andrew Andersons AO Amanda Love Paul Salteri
Michael Baume AO* The Hon. Ian Macdonald MLC* Sandra Salteri
Christine Bishop Joan MacKenzie Jacqueline Samuels
Deeta Colvin Sir Charles Mackerras CH AC CBE Julianna Schaeffer
Greg Daniel AM David Maloney Leo Schofield AM
John Della Bosca MLC David Malouf Ivan Ungar
Alan Fang Julie Manfredi-Hughes John van Ogtrop*
Erin Flaherty Deborah Marr Justus Veeneklaas*
Dr Stephen Freiberg The Hon. Justice Jane Mathews AO* Peter Weiss AM
Richard Gill OAM Danny May Anthony Whelan MBE
Donald Hazelwood AO OBE* Wendy McCarthy AO Rosemary White
Dr Michael Joel AM John Morschel Kim Williams AM
Simon Johnson Greg Paramor
Judy Joye Dr Timothy Pascoe AM
* Regional Touring Committee member
Yvonne Kenny AM Stephen Pearse

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC Tony McPaul Cadia Valley Operations
Minister for Primary Industries, Energy, Mineral Terry Charlton Snowy Hydro
Resources and State Development
Sivea Pascale St.George Bank
Dr Richard Sheldrake
Paul Mitchell Telstra
Director-General, Department of Primary Industries
John Azarias Deloitte Foundation
Mark Duffy
Director-General, Department of Water and Energy Greg Jones

Colin Bloomfield Illawarra Coal BHPBilliton Peter King Royal Agricultural Society

Stephen David Caroona Project, BHPBilliton Gerard Lawson Sunrice

Romy Meerkin Regional Express Airlines Grant Cochrane The Land

Peter Freyberg Xstrata

30 | Sydney Symphony
Sydney Symphony Staff

MANAGING DIRECTOR Publications ORCHESTRA MANAGEMENT

Libby Christie PUBLICATIONS EDITOR AND DIRECTOR OF ORCHESTRA
EXECUTIVE ASSISTANT MUSIC PRESENTATION MANAGER MANAGEMENT
Eva-Marie Alis Yvonne Frindle Aernout Kerbert
Public Relations ACTING DEPUTY ORCHESTRA
ARTISTIC OPERATIONS MANAGER
PUBLIC RELATIONS MANAGER
DIRECTOR OF ARTISTIC PLANNING Yvonne Zammit Greg Low
Peter Czornyj PUBLICIST
ACTING ORCHESTRAL
COORDINATOR
Artistic Administration Stuart Fyfe
Stephanie Mirow
ARTISTIC ADMINISTRATION MANAGER
TECHNICAL MANAGER
Raff Wilson SALES AND MARKETING
Derek Coutts
ARTIST LIAISON MANAGER DIRECTOR OF SALES &
PRODUCTION COORDINATOR
Ilmar Leetberg MARKETING
Tim Dayman
PERSONAL ASSISTANT TO THE Mark J Elliott
PRODUCTION COORDINATOR
CHIEF CONDUCTOR MANAGER OF SUBSCRIPTIONS
Ian Spence
Lisa Davies-Galli Rebecca Macfarling
ADMINISTRATION ASSISTANT MANAGER OF CLASSICAL SALES
BUSINESS SERVICES
Catherine Wyburn Simon Crossley-Meates
DIRECTOR OF FINANCE
Education Programs MANAGER OF COMMERCIAL SALES
Penny Evans John Horn
EDUCATION MANAGER FINANCE MANAGER
Margaret Moore ONLINE MANAGER
Kate Taylor Ruth Tolentino
ARTIST DEVELOPMENT MANAGER ACCOUNTS ASSISTANT
Bernie Heard MEDIA SERVICES COORDINATOR
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Library DATA ANALYST
OFFICE ADMINISTRATOR
LIBRARIAN Varsha Karnik Rebecca Whittington
Anna Cernik PAYROLL OFFICER
Box Office Usef Hoosney
LIBRARY ASSISTANT
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CUSTOMER SERVICE
LIBRARY ASSISTANT HUMAN RESOURCES
Lynn McLaughlin
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ACTING MANAGER OF TICKETING &
CUSTOMER SERVICE
Ian Arnold
EXTERNAL RELATIONS Paul Hanson
BOX OFFICE COORDINATOR
COMMERCIAL ENTERPRISES
DIRECTOR OF EXTERNAL RELATIONS
Rory Jeffes Peter Gahan COMMERCIAL ENTERPRISES
CUSTOMER SERVICE MANAGER
Development David Pratt
REPRESENTATIVES
HEAD OF CORPORATE RELATIONS Michael Dowling RECORDING ENTERPRISES
Leann Meiers Erich Gockel EXECUTIVE
CORPORATE RELATIONS EXECUTIVE Natasha Purkiss Philip Powers
Julia Owens
CORPORATE RELATIONS EXECUTIVE
Seleena Semos
DEVELOPMENT EXECUTIVE
Kylie Anania

31 | Sydney Symphony
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