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1 It is my great pleasure to welcome you tonight as we listen to one of the world s most influential jazz musicians, Chick Corea, perform with the Sydney Symphony. This evening, Chick Corea and vibraphone genius Gary Burton celebrate the 35th anniversary of their album Crystal Silence. We will be privileged to hear the collaboration of these two musicians and the Sydney Symphony as together they translate Corea s playful, lyrical and expansive style to the symphonic setting. With one of the most recognised brands in the energy industry, EnergyAustralia is proud to be associated with the Sydney Symphony. We are very excited to be linked to the Symphony s flagship Master Series, and tonight for the first time as part of the Kaleidoscope series, which celebrates amazing experiences and innovative programs. EnergyAustralia is one of Australia s leading energy companies, with more than 1.8 million customers in NSW, Victoria, the ACT, South Australia, and Queensland. I hope you enjoy tonight s concert and have the opportunity to experience future concerts within the EnergyAustralia Master Series program in George Maltabarow Managing Director

2 SEASON 2007 KALEIDOSCOPE SERIES CHICK COREA AND GARY BURTON JAZZ AND ORCHESTRA Thursday 10 May 8pm Saturday 12 May 8pm Sydney Opera House Concert Hall Jonathan Stockhammer conductor Chick Corea piano and keyboards Gary Burton vibraphone and marimba Part I Gary Burton and Chick Corea play duets Numbers to be announced from the stage INTERVAL Part II The Sydney Symphony join Chick and Gary on stage for new arrangements of: Love Castle Duende Brasilia Crystal Silence La Fiesta Pre-concert talk by Gordon Kalton Williams at 7.15pm in the Northern Foyer. Estimated timings: 45 minutes, 20 minute interval, 70 minutes. The performance will conclude at approximately 10.15pm. Cover images: see page 30 for captions Program notes begin on page 5 Artist biographies begin on page 17 Orchestrations by Tim Garland PRESENTING PARTNER

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4 INTRODUCTION Chick Corea and Gary Burton Jazz and Orchestra What s the sound of crystal silence? A koan shouldn t have an answer, but this one does. The sound of Crystal Silence is the intertwined chimes of Chick Corea s piano and Gary Burton s vibraphone. What makes a great partnership? Three decades of thinking each other s thoughts and expressing them in sound. Gary Burton says that from the beginning of their collaboration in 1972 they discovered they could anticipate each other s ideas. Corea and Burton offer each other support and friendship, they dance together but separately, two musicians on the same path. What makes a musician? Burton and Corea are virtuosos. Corea s playful sometimes percussive, sometime caressing style and Burton s pioneering multi-mallet technique are phenomenal. But that s just part of it. Music, says Corea, springs from the joy of creation, of making it new every time he plays. You can hear that in his music. He s speaking to you. He s celebrating life. Technique is just a means to an end. Why Jazz and Orchestra? Corea s music is so rich, it just makes sense to let the colours spread across a wider canvas to amplify the emotion. What about spontaneity? Improvised music doesn t just happen. Music can only flow freely after careful preparation and reflection. Think of Corea s and Burton s music as being composed on the spot, in collaboration. A tightrope walk on parallel wires, two artists painting the same picture. They ll create something in front of our eyes and ears. What s the secret of creativity? Listen to the crystal silence. Gary Burton and Chick Corea DARRYL PITT 5 Sydney Symphony

5 ABOUT THE MUSIC Instant Composition! Tony Gould explores the artistry and originality of Chick Corea and Gary Burton. For decades American pianist/composer Chick Corea has been a major figure in the world of music, particularly in jazz and other related genres. He is by any standards a virtuoso pianist and a master composer. While many musicians have stayed in the comfort zone of a chosen style, Corea, like the great Miles Davis, has always moved with the time, often ahead it. This is in the true spirit of spontaneous improvisation, which always demands a fresh approach when making music. It is reflected in the pianist s vast and diverse number of musical associations, and in his compositional output. Many of his pieces, including La Fiesta and Crystal Silence, have become well loved jazz standards. Via recordings, much of his music has had a notable impact on the direction and broadening of improvised music, well beyond the traditional notions of modern acoustic jazz. He has delved into rock, and is a master of so-called Jazz Fusion music, the latter especially demanding high skill levels on an array of electric keyboards. Moving from one to the other presents no difficulties for Corea. As well, he is a wonderful player of the classical repertoire from Mozart to Bartók, which means he is as comfortable in orchestral settings as he is in any other. He understands well the rhythmic nature of both classical and improvised genres. Listen to his distinctive voice on the recording Now He Sings, Now He Sobs (1968). There is an uncommon, electrifying vitality in the playing, and new complex ways of composing vehicles for improvisation. In particular, the rhythmic feel on this recording and the collective energy of the other players brought a whole new dimension to improvisation. His Return to Forever recordings of the early 1970s show still more new directions for Corea: brilliant compositions, brilliant playing across genres Jazz, Latin, Spanish, and classical music. There is nothing cosmetic about his classical playing or compositions, which, incidentally, can be an unfortunate trait when classical musicians attempt to play jazz. Then there are the spontaneous improvisations for solo piano, where, arguably, Corea s great keyboard artistry and A musical dialogue is for me one of the most exciting and fun ways to create and communicate and play. CHICK COREA 6 Sydney Symphony

6 originality is best displayed. Despite the question of whether anything is totally spontaneous (or original) when improvisers play, the intent to be spontaneous is always at the heart of truly creative improvisation. Corea expresses the view that: There s a myth that spontaneity has something to do with the musical phrase being different from anything that has come before. But newness is just viewing something from now, from the present moment. It doesn t matter if the tree you re looking at today is the same tree you looked at yesterday. If you re looking at the tree right now, it s a new experience. That s what life is about. It is the stuff of innovation. This connects with what Picasso meant creatively when he said that in order to create something new it is necessary to re-create the art. In other words it is not a question of rejecting the past, but using it. Corea is a highly distinctive artist, always recognizable within moments of him beginning to play; the touch, the tone, the individual approach to ornament. His compositions are also instantly identifiable, perhaps more so than most other performer/composers. Which creates a dilemma for pianists who play his music, for jazz musicians invariably emulate to some degree those who they admire, especially in the early periods of their performance careers. The trouble with Corea s music is that it is so idiosyncratic, playing his music can easily sound like a cheap imitation of the real thing. Almost better to leave it entirely to him. To call a performer unique when his artistry is considered to be of the highest order is the ultimate compliment. Corea qualifies. And yet great improvisers do not strive consciously to be different. Rather, they achieve it by being true to themselves, having the imagination, skill, depth of musical language, and daring to make it happen. They make music not because they can, but because they must. Above all these remarkable musical skills there is a joy in Chick Corea s music-making, and sometimes humour, which is infectious for those who play his music and for those who listen. (Humour is a commodity sadly lacking in the world of art music.) Compositions such as La Fiesta and Crystal Silence are wonderful vehicles for improvisation, the first because it springs off the page, as do other famous pieces like Spain, and the second because, within its short formal Connections, influences, links, stimulating performances. Experience basically is all the stuff we come across and go through. We seem to hold close the pleasurable experiences the ones that stimulate us into creating something ourselves. CHICK COREA 7 Sydney Symphony

7 structure, there is a wonderful mix of modality and tonality, all tightly and cleverly arranged, of course. (The theoretically minded, and/or those with big ears might be aware that something unusual is happening in the middle bit; the reason is because the chord progression is not traveling in the usual right direction.) Amongst his performances with many and varied ensembles, Corea has long enjoyed playing in a duo setting; one of the most memorable occasions being his live concert with another extraordinary pianist/composer Herbie Hancock. (There is a recording.) A couple of years ago I heard him with singer Bobby McFerrin at the Umbria Jazz Festival in Italy. It was a remarkable display of musical inventiveness, enhanced by the musical enjoyment and adventure of seeing what happens in the moment. In both these performances no pre-conceived plan is obvious, which is one step further down the dangerous path of spontaneity. Is this musical arrogance? Not preparing a program before presenting it to the public? With players of this calibre, not at all. Indeed when listeners are aware of such circumstances, the experience is heightened, often breathtaking. It is as if the players are inviting their audience to trust them, and travel with them along the unplanned journey. I decided when I was a young man to make it as my primary policy to always keep myself interested and challenged with music. I ve managed to avoid falling into the habit of doing the same thing over and over again, and it s really proved to be a good thing for me. I don t care about the other things, I care that I m having a lot of fun and creating. So I feel honoured or lucky to be able to continue to do that and be able to make a living doing it. CHICK COREA JAZZSIGN/LEBRECHT MUSIC & ARTS Gary Burton performing at the Copenhagen Jazz Festival, Sydney Symphony

8 Knowing what the intent and approach to a performance is, and appreciating the skill it takes to create/compose great music without the benefit (luxury) of being able to make any corrections before presenting it to the public, always heightens the experience. If this remarkable ability to create art under these circumstances was understood, the art of improvisation would be more widely appreciated. It puts in proper perspective the idea of ( just) making it up as you go. Corea and the like are keeping alive an art which was once a fundamental part of classical music. Wouldn t it be marvellous to hear a spontaneously invented cadenza in a Mozart or Beethoven concerto! Alas, hardly ever. Spontaneity is now largely in the domain of jazz musicians, and thanks to them it is alive and well. In the right hands in Corea s such performances reach the highest levels of artistry. And then there were two. To hear Chick Corea playing with Gary Burton is not only to witness great virtuosity, but also an uncommon empathy. It is a wonderful example of the matching of musical forces; dynamic, virtuosic, the blend of two percussion instruments, and remarkable weaving of a common, connected language. Contemplate too, the level of aural perception, focus, and quickness of mind required to make it work in such circumstances. All things considered there has not been a greater vibraphonist in jazz than Gary Burton. (Milt Jackson of the Modern Jazz Quartet and Bobbie Hutcherson notwithstanding.) Like Corea, Burton has played in Australia before, and the memory of hearing both of them play in person and together is always an unforgettable experience. Both have beautiful inner senses of rhythm and pulse, as if there is an invisible rhythm section at work; which allows a working out of material which flows seamlessly from one idea to the next as the music unfolds. Instant composition! Recordings? Of course, but there is nothing matches the experience of being there, to see and hear it happen in the moment. TONY GOULD 2007 Dr Tony Gould AM is a pianist, composer in both classical and improvised musical idioms, and a writer on music and culture. He currently holds a Fellowship from the Australia Council for the Arts. Gary Burton, Copenhagen, 2005 My longest duo partnership has been with Gary Burton. We still get together with very little preparation and play the occasional concert with as fresh a feel as it had in 1971, when we first played duo together. CHICK COREA JAZZSIGN/LEBRECHT 9 Sydney Symphony

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10 Crystal Silence 35th Anniversary Tour Chick Corea and Gary Burton One of the attractive features of jazz is the way great talents collaborate with others to create musical delights that fans and, indeed, the artists themselves may not previously have dreamed of. Keyboard legend Armando Chick Corea has graced the Montreux stage on several occasions, at least three of these as half of a double act with Herbie Hancock (1979), John McLaughlin (1981) and, in 1997, Gary Burton. These duets have been rightly acclaimed as jewels in the Jazz Festival s star-studded crown. Corea s diverse four-decade-plus career is well documented, with the highlights including a spell succeeding Herbie Hancock in Miles Davis s band between 1968 and This was followed by the foundation in 1971 of groundbreaking jazz-rock fusion ensemble, Return To Forever, which gave Stanley Clarke and Al DiMeola their first step to fame. Vibraphone player and fellow Bostonian Gary Burton similarly provided a launch pad for guitarist Pat Metheny to shoot for solo stardom, but his career is equally notable in its own right. The pair s combined ventures started as long ago as 1972 with the release of the Crystal Silence album on the ECM label and continued with 1978 s Duet, In Zurich, 1979 and 1982 s ambitious Lyric Suite For Sextet which saw the duo augmented by a string quartet. It s never been a reunion, Corea told Digital Interviews in Me and Gary continue to just play. It s always Chick Corea in concert, 1988 An artist doesn t name what he does until he views it and sees what it is first. If he stops to think about whether it will be acceptable or not before he makes it, he finishes himself just like that boom! CHICK COREA ON STYLE JAZZSIGN/LEBRECHT MUSIC & ARTS Gary Burton and Chick Corea 11 Sydney Symphony

11 Celebrate the Sydney Symphony s 75th birthday with a little gift for yourself Bimbadgen Estate are very proud to be the official wine partner of the Sydney Symphony, and to celebrate have released two commemorative 75th birthday wine packs. Available in the Signature or Ridge range, these Bimbadgen wine packs feature limited edition labelling to congratulate the Sydney Symphony on 75 years of inspiring music. For just $75 you can choose from 3 premium Bimbadgen Signature wines to keep as part of your cellar, or 6 Bimbadgen Ridge wines to kick off your celebrations now. To order your 75th celebration wine packs visit or call A contribution from every sale goes to support the Sydney Symphony s outreach and community work.

12 been, Oh, let s do another gig. There was never a point where we reformed. It s always been a sideline with us, in the sense that we ve always had main groups that we do, and then we ve always gotten together with the duet. It s kind of worked out very, very nicely. It s a special little place that s all its own. Burton, on his official website, says: No one understands the idiosyncrasies of my improvising the way Chick does. When we stumbled into an impromptu duet as an encore to a 1972 concert, we discovered an immediate connection, like two people who speak the same obscure language. It could be because we both play keyboard instruments, or because we both came of age musically in Boston with many of the same local musicians as mentors. Whatever the reason, we discovered from the beginning that we could anticipate each other s ideas with surprising accuracy, and our duet repertoire has been an essential pillar in our careers. The year 1997 saw them take their partnership into the studio Chick s Mad Hatter Studios in Los Angeles, to be precise and emerge with the album Native Sense The New Duets. Released in October, three months after their Montreux appearance, it naturally supplied the bulk of their set, the closing La Fiesta being the exception. Down Beat magazine wrote: Native Sense renews a longstanding, very durable friendship throughout, vibes and piano deftly support each other and smoothly exchange roles, carrying on a dance of their own Burton and Corea had always resisted adding other players to their duet projects because, Gary explained, we were a little afraid they might get in our way and limit our rapport. They broke that rule in 1997 when guitarist Pat Metheny, who had been at Chick and Gary s first American concert at the University of Michigan 25 years earlier, was invited into the relationship for the excellent Like Minds album. Another Burton/Corea collaboration has since appeared on Rendezvous In New York, the result of a 60th birthday party at the Blue Note in New York, which ended up lasting three weeks and produced a 10-DVD box set! And the story continues The 35th anniversary of the pair s original collaboration, Crystal Silence, is being marked with concerts as far flung as Nashville, Moscow, Sydney, Singapore, and beyond. I always had a simple kind of ideal where all of life could be lived as a stream of dovetailing art forms. Everyday life would be combinations of dances, symphonies, dramatic and poetic dialogues, inspired soliloquies, paintings, sculptures, rhythm grooves, fantasy stories a constant create, create, create. But I don t think I m the only one with that dream. CHICK COREA ADAPTED FROM AN ARTICLE BY MICHAEL HEATLEY Sydney Symphony

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14 75 YEARS: HISTORICAL SNAPSHOT Listening In As you look at the stage, you ll probably see microphones. Most likely, too, you ll be able to hear this concert, again, in a broadcast. The ABC was broadcasting this kind of music before there was a Sydney Symphony, and indeed brought the orchestra into existence for this very purpose. The Concert Hall of the Sydney Opera House used to be referred to in ABC radio as Studio 227. But it was a broadcast studio only when there was an audience for public concerts. The ABC s Sydney Symphony Orchestra was, soon after its beginnings in 1932, much more a concert than a broadcasting orchestra. This came as a surprise, to some a nasty one. Before the formation of the ABC, commercial entrepreneurs had imported high-flying soloists, and even conductors, in the hope of making money. Now these promoters faced a formidable competitor, subsidised by the public purse. The ABC held a trump card: its new orchestras. At first orchestral resources were traded for broadcast rights to privately promoted concerts. But, frustrated at the limited broadcasts they were obtaining, the ABC soon began to present their own Celebrity Concerts, by subscription. Their competitors especially the Tait Brothers/J.C. Williamson combine threatened legal action. In 1938 the ABC cleverly bluffed its way out of a court case, deflecting the complainants with the argument that the ABC s concerts were also broadcasts, which enabled them to reach listeners in who would otherwise never be able to hear such concerts. And so it became an unwritten law that at least part of every ABC concert was also a broadcast. It would seem that the first concert broadcast by the new ABC involving their Sydney orchestra was on 1 July 1932, when the National Broadcasting Symphony Orchestra was conducted by E.J. Roberts, with Isador Goodman as soloist. The broadcasting of the orchestra by the ABC continues. Sydney would no doubt eventually have acquired a full-time professional symphony orchestra, but without a public broadcaster that became a major concert promoter who can say when and how? The audience, then and now, has been formed and shaped by the broadcaster s heavy bias towards the kind of music you have come to hear. David Garrett, a historian and former programmer for Australia s symphony orchestras, is studying the history of the ABC as a musical organisation. Television usually required studio production rather than simply putting microphones (and cameras) in front of a live concert. This photo shows the SSO in a television concert from the 1960s. 15 Sydney Symphony

15 MORE MUSIC Selected Discography Broadcast Diary CHICK COREA & GARY BURTON Crystal Silence (1972) ECM Duet (1979) ECM In Concert, Zurich, October 28, 1979 (1980) ECM Native Sense the New Duets (1997) STRETCH RECORDS SCD Like Minds (1998) Burton, Corea, Metheny, Haynes, Holland CONCORD CCD GARY BURTON Next Generation (2005) CONCORD CCD Libertango: Music of Astor Piazzolla (2005) CONCORD CCD Virtuosi (2002) Music by Ravel, Scarlatti, Brahms and others; with Makoto Ozone, piano CONCORD CCD NEW AND CLASSIC CHICK COREA The Ultimate Adventure (2006) STRETCH RECORDS SCD Origin Live at the Blue Note (1998) STRETCH RECORDS SCD An Evening with Chick Corea and Herbie Hancock (1978) CBS PC My Spanish Heart (1976) POLYDOR CHICK COREA CLASSICAL FORAYS Corea Concerto (1999) With London Philharmonic Orchestra and members of Origin SONY CLASSICAL SK The Mozart Sessions (1996) Mozart piano concertos with Bobby McFerrin and the St Paul Chamber Orchestra SONY RECORDS SK For complete discographies of tonight s guest artists visit: ABC CLASSIC FM 92.9 MAY JUNE Sat 12 May 12.05pm SIBELIUS MYTHIC ADVENTURES Hannu Lintu conductor Jing Zhao cello Ledger, Shostakovich, Sibelius Mon 14 May 8pm MOZART S SERENADE Sydney Symphony Wind Ensemble R. Strauss, Mozart and Dvořák Sat 19 May 8pm ROSSINI S STABAT MATER Gianluigi Gelmetti conductor Barcellona, Taliento, Grigolo, Scandiuzzi vocal soloists Members of Opera Australia Chorus Sydney Philharmonia Choirs Wed 23 May 1.05pm ASHKENAZY CONDUCTS RACHMANINOV (2006) Quaife, Davislim, Summers vocal soloists Alexey Yemtsov piano Cantillation Wed 6 June 1.05pm BOHEMIA (2006) Arvo Volmer conductor Diana Doherty oboe Mozart, Martin u, JS Bach (encore), Dvořák Beginning Wednesday 13 June ABC Classic FM will broadcast concerts from the Beethoven Festival. Webcast Diary In 2006 selected Sydney Symphony concerts were recorded for webcast by Telstra BigPond. These can be viewed at: sydneysymphony.com Visit the Sydney Symphony online for concert information, podcasts, and to read your program book in advance of the concert. 16 Sydney Symphony

16 THE ARTISTS Jonathan Stockhammer conductor Los Angeles-born conductor Jonathan Stockhammer combines a broad experience of contemporary music with an impassioned approach to the symphonic and operatic repertoire. He made his professional debut in 1994, substituting at short notice for a series of concerts with the Los Angeles Philharmonic; he went on to assist Music Director Esa- Pekka Salonen on the orchestra s European tour and in subsequent seasons in Los Angeles. He has worked with orchestras and opera companies such as the Netherlands Radio Symphony Orchestra, National Opera of Lyon, Finnish Radio Symphony Orchestra and the Dutch Touring Opera, and has appeared in a variety of international music festivals, including Cologne s Triennale, Hamburg s Musikfest, Berlin Festival, Young Euro Classic, UltraSchall, Norway s Ultima Festival, Belgium s Ars Musica, and the Holland Festival. Since moving to Cologne in 1998 to take up a post at the Music Academy, he has begun close collaborations with a number of leading European ensembles such as Ensemble Modern in Frankfurt. In addition, he has been principal conductor of the Dutch percussion ensemble Slagwerkgroep Den Haag since Opera forms a central part of Jonathan Stockhammer s musical activities. In Europe he has led productions of Carmen, The Threepenny Opera and Die Fledermaus as well as Eötvös Three Sisters, Mark-Anthony Turnage s Twice Through the Heart, and premieres of Karl-Heinz Dittrich s Zerbrochene Bilder, Enno Poppe s Interzone, Dusapin s Faustus, and Ophelias: Death by the Water Singing by Henrik Hellstenius. He has also conducted Gianni Schicchi at the Tanglewood Music Center. Highlights of this season include debuts with the SWR Radio Symphony Orchestra Stuttgart, Deutsches Symphonie-Orchester Berlin, and Orchestre Philharmonique de Radio France. Jonathan Stockhammer studied Chinese and political science, before studying composition and conducting. After his graduation, he participated in master classes with Jorma Panula, Myung-Whun Chung, Ilya Mussin and Peter Eötvös, and attended Tanglewood Music Center, where he worked with Robert Spano and Seiji Ozawa. This is Jonathan Stockhammer s Sydney Symphony debut. MARCO B ORGGREVE 17 Sydney Symphony

17 Chick Corea keyboards With a staggering volume of recordings created over the past 40 years, Chick Corea is one of the most prolific composers of our age. From avant-garde to bebop, from children s songs to straight ahead, from hard-hitting fusion to heady forays into classical, he has touched an astonishing number of musical bases in his illustrious career. A restlessly creative spirit, he continues to explore and generate new material for a number of different vehicles, including his dynamic Elektric Band and his flamenco flavoured Touchstone band as well as his solo recordings. Other recent projects include The Ultimate Adventure and a new piano concerto that he premiered in Austria in July 2006 (shortly after his 65th birthday). Born Armando Anthony Corea in Chelsea, Massachusetts, he began studying piano at the age of four. Horace Silver and Bud Powell were important piano influences, while the music of Beethoven and Mozart inspired his compositional instincts. Chick Corea s first major professional gig was with Cab Calloway, followed by early stints in Latin bands led by Mongo Santamaria and Willie Bobo, and important tenures with trumpeter Blue Mitchell ( ), flautist Herbie Mann and saxophonist Stan Getz. He made his recording debut as a leader in 1966 with Tones for Joan s Bones. During these formative years, he also recorded sessions with Cal Tjader, Donald Byrd, and Dizzy Gillespie. He accompanied Sarah Vaughan in 1967 and in 1968 replaced Herbie Hancock in Miles Davis band. The same year he recorded Now He Sings, Now He Sobs, a trio album now considered a jazz classic. In 1971 Chick Corea formed his first edition of Return To Forever, recording a self-titled debut that included the popular La Fiesta, and Light As A Feather, a collection of Brazilian-flavoured jazz tunes including his bestknown composition, Spain. In 1972, he also recorded the sublime Crystal Silence, his first duet encounter with vibraphonist and kindred spirit Gary Burton. 18 Sydney Symphony

18 Return To Forever soon transformed into a bona fide high-energy jazz-rock concert attraction. Rock fans embraced the group, discovering the world of jazz through such albums as the Grammy award-winning Romantic Warrior (1976). In 1978, shortly after disbanding Return to Forever, Chick Corea teamed up with Herbie Hancock for a tour of acoustic piano duets. During the 1980s and into the early 1990s, he returned to the fusion arena with his Elektric Band. Balancing his forays into electric music, he formed Akoustic Band, and in 1993 recorded a set of solo piano jazz standards, Expressions, dedicated to piano legend Art Tatum. In 1997 he released a recording with the St Paul Chamber Orchestra conducted by Bobby McFerrin. Their second collaboration, entitled The Mozart Sessions followed their first duet Grammy award-winning recording, Play (1991). That same year, he unveiled his acoustic sextet Origin and again teamed up with Gary Burton, rekindling their chemistry from the 1970s on Native Sense The New Duets, which earned him his ninth Grammy award. In 2000 he recorded Corea Concerto, a grand encounter with the London Philharmonic Orchestra, featuring a new symphonic arrangement of Spain as well as his Piano Concerto No.1. The following year he unveiled his New Trio on Past, Present & Futures and embarked on an ambitious three-week career retrospective at the Blue Note. In 2004 Chick reunited his Elektric Band for a tour and recording based on L. Ron Hubbard s science fiction novel To The Stars. And in 2005, he returned to Hubbard for musical inspiration, this time interpreting The Ultimate Adventure, an exotic blend of passionate flamenco melodies, North African and Middle Eastern grooves and adventurous improvisation. 19 Sydney Symphony

19 Gary Burton vibraphone and marimba Born in 1943 and raised in Indiana, Gary Burton taught himself to play the vibraphone and, at the age of 17, made his recording debut in Nashville, Tennessee, with guitarists Hank Garland and Chet Atkins. Two years later, Burton left his studies at Berklee College of Music, Boston, to join George Shearing and subsequently Stan Getz, with whom he worked from 1964 to As a member of Getz s quartet, Gary Burton won Down Beat magazine s Talent Deserving of Wider Recognition award in By the time he left Getz to form his own quartet in 1967, he had also recorded three albums under his name for RCA. Borrowing rhythms and sonorities from rock music, while maintaining jazz s emphasis on improvisation and harmonic complexity, his first quartet attracted large audiences from both sides of the jazz-rock spectrum. Such albums as Duster and Lofty Fake Anagram established him and his band as progenitors of the jazz fusion phenomenon. His burgeoning popularity was quickly validated by Down Beat magazine, which awarded him its Jazzman of the Year award in Between 1973 and 1988 the Burton Quartet expanded to include the young Pat Metheny on guitar, and the band began to explore a repertoire of modern compositions. In the 1970s, Gary Burton also began to focus on more intimate contexts for his music. His album Alone at Last, a solo vibraphone concert recorded at the 1971 Montreux Jazz Festival, was honoured with a Grammy Award. Burton also turned to the rarely heard duo format, recording with bassist Steve Swallow, guitarist Ralph Towner, and most notably with pianist Chick Corea, thus cementing a long personal and professional relationship that has garnered an additional two Grammy Awards. JAZZSIGN/LEBRECHT MUSIC & ARTS 20 Sydney Symphony

20 Gary Burton s activities as an educator also play a major role in his career. In 1971 he returned to Berklee College of Music as a teacher of percussion and improvisation classes. In 1985 he was named Dean of Curriculum; in 1989 he received an honorary doctorate of music from the college; and in 1996 he was appointed Executive Vice President. In 1990, he paired up again with his former protégé Pat Metheny for Reunion, which landed him the top spot on Billboard magazine s jazz chart. Departure (Gary Burton & Friends) was released in 1997, as well as Native Sense The New Duets, a collaboration with Chick Corea, which garnered a Grammy Award in Also in 1997, Burton recorded his second collection of tango music, Astor Piazzolla Reunion, featuring the top tango musicians of Argentina, followed in 2000 by Libertango, another collection of Piazzolla music. His 1998 release, Like Minds, an all-star hit featuring his frequent collaborators Chick Corea, Pat Metheny, Roy Haynes, and Dave Holland, was honoured with a Grammy award, his fifth. His vibraphone tribute CD, For Hamp, Red, Bags and Cal, was released in 2001 and garnered Gary s 12th Grammy nomination. In 2002 he released Virtuosi, a project with Makoto Ozone, his pianist collaborator of the past 20 years. The pair explore the improvisational possibilities of classical themes including works by Brahms, Scarlatti, Ravel, Barber and others, and in an unusual move, the Recording Academy nominated Virtuosi in the classical category of the Grammy awards, a unique honour. In recent years Gary Burton has been concentrating on performing with the Next Generations band, including a self-title album released in 2005, as well as special projects with Pat Metheny, Chich Corea, Richard Galliano and Polo Orti. 21 Sydney Symphony

21 THE SYDNEY SYMPHONY PATRON Her Excellency Professor Marie Bashir AC CBO, Governor of New South Wales JOHN MARMARAS Founded in 1932, the Sydney Symphony has evolved into one of the world s finest orchestras as Sydney has become one of the world s great cities. Resident at the iconic Sydney Opera House where the Sydney Symphony gives more than 100 performances each year, the Orchestra also performs concerts in a variety of venues around Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the Orchestra world-wide recognition for artistic excellence. Critical to the success of the Sydney Symphony has been the leadership given by its former Chief Conductors including: Sir Eugene Goossens, Nikolai 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 fourth year as Chief Conductor and Artistic Director of the Sydney Symphony, a position he holds in tandem with that of Music Director at the prestigious Rome Opera. The Sydney Symphony is reaping the rewards of Maestro Gelmetti s directorship through the quality of sound, intensity of playing and flexibility between styles. His particularly strong rapport with French and German repertoire is complemented by his innovative programming in the Shock of the New concerts and performances of contemporary Australian music. The Sydney Symphony s award-winning Education Program is central to the Orchestra s commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony maintains an active commissioning program promoting the work of Australian composers and in 2005 Liza Lim was appointed Composer-in-Residence for three years. In 2007, the Orchestra celebrates its 75th anniversary and the milestone achievements during its distinguished history. 22 Sydney Symphony

22 MUSICIANS Gianluigi Gelmetti Chief Conductor and Artistic Director Michael Dauth Chair of Concertmaster supported by the Sydney Symphony Board and Council Dene Olding Chair of Concertmaster supported by the Sydney Symphony Board and Council First Violins Second Violins First Violins 01 Kirsten Williams Associate Concertmaster 02 Fiona Ziegler Ian & Jennifer Burton Chair of Assistant Concertmaster 03 Julie Batty 04 Gu Chen 05 Amber Davis 06 Rosalind Horton 07 Jennifer Hoy 08 Jennifer Johnson 09 Georges Lentz 10 Nicola Lewis 11 Alexandra Mitchell Moon Design Chair of Violin 12 Léone Ziegler Sophie Cole Second Violins 01 Marina Marsden 02 Susan Dobbie Associate 03 Emma West Assistant 04 Pieter Bersée 05 Maria Durek 06 Emma Hayes 07 Shuti Huang 08 Stan Kornel 09 Benjamin Li 10 Nicole Masters 11 Philippa Paige 12 Biyana Rozenblit 13 Maja Verunica Guest Musicians Emily Qin First Violin# Alexander Norton First Violin# Thomas Dethlefs First Violin Leigh Middenway First Violin Alexandra D Elia Second Violin# Emily Long Second Violin# Victoria Jacono Second Violin Belinda Jezek Second Violin Jennifer Curl Viola# Jacqueline Cronin Viola# Rosemary Curtin Viola Rowena Crouch Cello# Martin Penicka Cello Jennifer Druery Double Bass# Lamorna Nightingale Flute Lisa Wynne-Allen Horn# Frankie Lo Surdo Horn Joshua Davis Trombone Tim Constable Percussion # Contract musician Sydney Symphony Fellow 23 Sydney Symphony

23 MUSICIANS Violas Cellos Double Basses Harp Flutes Piccolo Violas 01 Roger Benedict 02 Anne Louise Comerford Associate 03 Yvette Goodchild Assistant 04 Robyn Brookfield 05 Sandro Costantino 06 Jane Hazelwood 07 Graham Hennings 08 Mary McVarish 09 Justine Marsden 10 Leonid Volovelsky 11 Felicity Wyithe Cellos 01 Catherine Hewgill 02 Nathan Waks 03 Kristy Conrau 04 Fenella Gill 05 Leah Lynn 06 Timothy Nankervis 07 Elizabeth Neville 08 Adrian Wallis 09 David Wickham Double Basses 01 Kees Boersma Brian and Rosemary White Chair of Double Bass 02 Alex Henery 03 Andrew Raciti Associate 04 Neil Brawley Emeritus 05 David Campbell 06 Steven Larson 07 Richard Lynn 08 David Murray Harp Louise Johnson Mulpha Australia Chair of Harp Flutes 01 Janet Webb 02 Emma Sholl Mr Harcourt Gough Chair of Associate Flute 03 Carolyn Harris Piccolo Rosamund Plummer 24 Sydney Symphony

24 MUSICIANS Oboes 01 Cor Anglais Clarinets Bass Clarinet Bassoons Contrabassoon Horns Trumpets Trombones Bass Trombone Tuba Timpani Percussion Piano Oboes 01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Oboe 02 Shefali Pryor Associate Cor Anglais Alexandre Oguey Clarinets 01 Lawrence Dobell 02 Francesco Celata Associate 03 Christopher Tingay Bass Clarinet Craig Wernicke Bassoons 01 Matthew Wilkie 02 Roger Brooke Associate 03 Fiona McNamara Contrabassoon 01 Noriko Shimada Horns 01 Robert Johnson 02 Ben Jacks 03 Geoff O Reilly 3rd 04 Lee Bracegirdle 05 Marnie Sebire Trumpets 01 Daniel Mendelow 02 Paul Goodchild Associate 03 John Foster 04 Anthony Heinrichs Trombone 01 Ronald Prussing NSW Department of State and Regional Development Chair of Trombone 02 Scott Kinmont Associate 03 Nick Byrne Rogen International Chair of Trombone Bass Trombone Christopher Harris Trust Foundation Chair of Bass Trombone Tuba Steve Rossé Timpani 01 Richard Miller 02 Brian Nixon Assistant Timpani (contract) Percussion 01 Rebecca Lagos 02 Colin Piper Piano Josephine Allan (contract) 25 Sydney Symphony

25 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

26 SILVER PARTNERS REGIONAL TOUR PARTNERS BRONZE PARTNERS MARKETING PARTNERS PATRONS Australia Post Beyond Technology Consulting Bimbadgen Estate Wines Goldman Sachs JBWere J. Boag & Son Q-Med (Sweden) Australia Pty Ltd. Vittoria Coffee Avant Card Blue Arc Group Digital Eskimo Lindsay Yates and Partners 2MBS Sydney s Fine Music Station The Sydney Symphony gratefully acknowledges the many music lovers who contribute to the Orchestra by becoming Symphony Patrons. Every donation plays an important part in the success of the 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

27 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 contact Corporate Relations on (02) Alan Jones, Managing Director Mulpha Australia with Mulpha Australia Chair of Harp, Louise Johnson 02 Mr Harcourt Gough Chair of Associate Flute, Emma Sholl 03 Sandra and Paul Salteri Chair of Artistic Director Education, Richard Gill OAM 04 Jonathan Sweeney, Managing Director Trust with Trust Foundation Chair of Bass Trombone, Christopher Harris 05 NSW Department of State and Regional Development Chair of Trombone, Ronald Prussing 06 Brian and Rosemary White Chair of Double Bass, Kees Boersma 07 Board and Council of the Sydney Symphony supports Chairs of Concertmaster Michael Dauth and Dene Olding 08 Gerald Tapper, Managing Director Rogen International with Rogen International Chair of Trombone, Nick Byrne 09 Stuart O Brien, Managing Director Moon Design with Moon Design Chair of Violin, Alexandra Mitchell 10 Ian and Jennifer Burton Chair of Assistant Concertmaster, Fiona Ziegler 11 Andrew Kaldor and Renata Kaldor AO Chair of Oboe, Diana Doherty 28 Sydney Symphony

28 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 Donations Levels Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999 To discuss giving opportunities, please call Caroline Mark on (02) Maestri Brian Abel & the late Ben Gannon AO Geoff & Vicki Ainsworth * Mr Robert O Albert AO * Alan & Christine Bishop Sandra & Neil Burns * Mr Ian & Mrs Jennifer Burton The Clitheroe Foundation * Patricia M. Dixson * Penny Edwards * Mr J O Fairfax AO * Dr Bruno & Mrs Rhonda Giuffre * Mr Harcourt Gough Mr David Greatorex AO & Mrs Deirdre Greatorex Mr Andrew Kaldor & Mrs Renata Kaldor AO H. Kallinikos Pty Ltd Mr David Maloney Mr B G O Conor The Paramor Family * Mr Paul & Mrs Sandra Salteri Mr Brian & Mrs Rosemary White Anonymous (1) * Virtuosi Mrs Antoinette Albert Mr Robert & Mrs L Alison Carr Mr John C Conde AO Mr John Curtis Irwin Imhof in Memory of Herta Imhof Mr Stephen Johns Mr & Mrs Gilles T Kryger Helen Lynch AM Mr E J Merewether & Mrs T Merewether OAM * Miss Rosemary Pryor * Bruce & Joy Reid Foundation * John Roarty in memory of June Roarty Rodney Rosenblum AM & Sylvia Rosenblum Mrs Helen Selle Dr James Smith David Smithers AM & family Michael & Mary Whelan Trust Anonymous (2) Soli Ms Jan Bowen * Mr Chum Darvall Ian Dickson & Reg Holloway * Hilmer Family Trust Mr Paul & Mrs Susan Hotz Mr Rory Jeffes Paul Lancaster & Raema Prowse Mrs Joan MacKenzie Mr James & Mrs Elsie Moore Ms Kathleen Parer Ms Gabrielle Trainor Mr R Wingate Anonymous (2) Tutti Mr C R Adamson Mr Henry W Aram Mr David Barnes Mrs F M Buckle Debby Cramer & Bill Caukill Libby Christie & Peter James Mr Bob & Mrs Julie Clampett Mr & Mrs J B Fairfax AM Mr Ian Fenwicke & Prof Neville Wills Mrs Dorit & Mr William Franken Mr & Mrs J R W Furber Mr Arshak & Ms Sophie Galstaun In Memory of Hetty Gordon Mrs Akiko Gregory Miss Janette Hamilton Mr A & Mrs L Heyko-Porebski Dr Paul Hutchins & Ms Margaret Moore Mrs Margaret Jack Mr John W Kaldor AM Mr & Mrs E Katz Mr Andrew Korda & Ms Susan Pearson Mr Justin Lam Mr Gary Linnane Ms Karen Loblay Mr & Mrs R. Maple-Brown Mrs Alexandra Martin & the late Mr Lloyd Martin AM Justice Jane Mathews Mrs Mora Maxwell Judith McKernan Mrs Barbara McNulty OBE Mr & Mrs John Morschel Mr R A Oppen Mr Robert Orrell Dr Timothy Pascoe Ms Robin Potter Mr Nigel Price Mr & Mrs Ernest Rapee Mrs Patricia H Reid Mr Brian Russell & Ms Irina Singleman Gordon & Jacqueline Samuels Ms Juliana Schaeffer Robyn Smiles Derek & Patricia Smith Catherine Stephen Mr Fred & Mrs Dorothy Street Mr Georges & Mrs Marliese Teitler Mr Stephen Thatcher Mr Ken Tribe AC & Mrs Joan Tribe Mr John E Tuckey Mrs Kathleen Tutton Ms Mary Vallentine AO Henry & Ruth Weinberg Mr & Mrs Bruce West Jill Wran Mrs R Yabsley Anonymous (10) Supporters over $500 Mr Roger Allen & Ms Maggie Gray Mr Lachlan Astle John Augustus Mr Warwick Bailey Mr Marco Belgiorno-Zegna AM Mr G D Bolton Pat & Jenny Burnett Hon. Justice J.C. & Mrs Campbell * Mr & Mrs Michel-Henri Carriol Mrs B E Cary Mr Leo Christie & Ms Marion Borgelt Mr Peter Coates Mr B & Mrs M Coles Mrs Catherine Gaskin Cornberg Stan & Mary Costigan * Mrs M A Coventry Ms Rowena Danziger Mr & Mrs Michael Darling Lisa & Miro Davis * Mrs Patricia Davis Mrs Ashley Dawson-Damer Mr Paul Espie Mr Russell Farr Mr & Mrs David Feetham Mr Richard & Mrs Diana Fisher Rev H & Mrs M Herbert * Ms Michelle Hilton-Vernon Mr and Mrs Paul Holt Mr Eric C Howie Mr & Mrs P Huthnance Ms Judy Joye Mrs Jeannette King * Mrs J Lam-Po-Tang Dr Barry Landa Mrs Joan Langley Ms Jan Lee Martin & Mr Peter Lazar Mr David & Mrs Skye Leckie Margaret Lederman Mr & Mrs Ezzelino Leonardi Mr Bernard & Mrs Barbara Leser Erna & Gerry Levy AM * Mr and Mrs S C Lloyd Mr Andrew & Mrs Amanda Love Mr Matthew McInnes Mr Tony & Mrs Fran Meagher Mr Andrew Nobbs Moon Design Mrs R H O Conor Ms Patricia Payn Mr Adrian & Mrs Dairneen Pilton Mr & Mrs Michael Potts Mrs B Raghavan Mrs Caroline Ralphsmith Dr K D Reeve AM * Mr & Mrs A Rogers Dr Jane & Mr Neville Rowden Mrs Margaret Sammut In memory of H. St.P Scarlett * Blue Mountain Concert Society Inc Mr Ezekiel Solomon Mr Andrew & Mrs Isolde Tornya Miss Amelia Trott Mrs Merle Turkington The Hon M. Turnbull MP & Mrs L. Hughes Turnbull Mr & Mrs Franc Vaccher Ronald Walledge Louise Walsh & David Jordon Mr Geoff Wood and Ms Melissa Waites Miss Jenny Wu Mr Michael Skinner & Ms Sandra Yates AO Anonymous (12) Allegro Program supporter * Emerging Artist Fund supporter Stuart Challender Fund supporter Orchestra Fund supporter 29 Sydney Symphony

29 BEHIND THE SCENES Sydney Symphony Board CHAIRMAN David Maloney Libby Christie John Conde AO John Curtis Stephen Johns Andrew Kaldor Goetz Richter David Smithers AM Gabrielle Trainor What s on the cover? During the 2007 season Sydney Symphony program covers will feature photos that celebrate the Orchestra s history over the past 75 years. The photographs on the covers will change approximately once a month, and if you subscribe to one of our concert series you will be able to collect a set over the course of the year. COVER PHOTOGRAPHS (clockwise from top left): Sydney Symphony cellist, Leah Lynn; Edo de Waart; Otto Klemperer in Sydney s Royal Botanic Gardens (1950); crowds wait outside the Sydney Town Hall before a Sydney Symphony Orchestra Prom Concert (1970); Charles Mackerras (left) and pianist Roger Woodward shake hands after a performance in the Sydney Opera House opening season (1973); Sydney Symphony Orchestra violinists (1965) 30 Sydney Symphony

30 Sydney Symphony Staff MANAGING DIRECTOR Libby Christie EXECUTIVE ASSISTANT Deborah Byers ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC OPERATIONS Wolfgang Fink Artistic Administration ARTISTIC ADMINISTRATION MANAGER Raff Wilson ARTIST LIAISON Ilmar Leetberg PERSONAL ASSISTANT TO THE CHIEF CONDUCTOR Lisa Davies-Galli Education Programs EDUCATION MANAGER Margaret Moore EDUCATION CO-ORDINATOR Bernie Heard A/EDUCATION CO-ORDINATOR Charlotte Binns-McDonald Library LIBRARIAN Anna Cernik LIBRARY ASSISTANT Victoria Grant LIBRARY ASSISTANT Mary-Ann Mead DEVELOPMENT DIRECTOR OF DEVELOPMENT Rory Jeffes CORPORATE RELATIONS MANAGER Leann Meiers CORPORATE RELATIONS EXECUTIVE Alan Watt CORPORATE RELATIONS EXECUTIVE Julia Owens PHILANTHROPY MANAGER Caroline Mark PATRONS & EVENTS MANAGER Georgina Andrews MARKETING AND CUSTOMER RELATIONS DIRECTOR OF MARKETING AND CUSTOMER RELATIONS Julian Boram Publicity PUBLIC RELATIONS MANAGER Imogen Corlette PUBLICIST Yvonne Zammit Customer Relationship Management MARKETING MANAGER CRM Aaron Curran ONLINE & PUBLICATIONS MANAGER Robert Murray DATABASE ANALYST Martin Keen Marketing Communications MARKETING COMMUNICATIONS MANAGER Georgia Rivers MULTICULTURAL MARKETING MANAGER Xing Jin ASSISTANT MARKETING MANAGER Simon Crossley-Meates CONCERT PROGRAM EDITOR Yvonne Frindle Corporate & Tourism CORPORATE & TOURISM SALES MANAGER Georgina Gonczi Box Office BOX OFFICE MANAGER Lynn McLaughlin BOX OFFICE COORDINATOR Anna Fraser CUSTOMER SERVICE REPRESENTATIVES Wendy Augustine Matthew D Silva Michael Dowling ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert ACTING DEPUTY ORCHESTRA MANAGER Greg Low ORCHESTRAL ASSISTANT Angela Chilcott OPERATIONS MANAGER John Glenn TECHNICAL MANAGER Derek Coutts PRODUCTION CO-ORDINATOR Tim Dayman PRODUCTION ASSISTANT Ian Spence STAGE MANAGER Marrianne Carter COMMERCIAL PROGRAMS DIRECTOR OF COMMERCIAL PROGRAMMING Baz Archer RECORDING ENTERPRISES RECORDING ENTERPRISES MANAGER Aimee Paret BUSINESS SERVICES DIRECTOR OF FINANCE Teresa Cahill FINANCE MANAGER Anthony Rosenthal OFFICE ADMINISTRATOR Shelley Salmon INFORMATION TECHNOLOGY MANAGER Tim Graham PAYROLL AND ACCOUNTS PAYABLE OFFICER Caroline Hall HUMAN RESOURCES Fran Cracknell 31 Sydney Symphony