Post on 12-Feb-2018
11 & 12 September 2015ADELAIDE TOWN HALL
Schubert 9
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ACCESSALL AREAS
3ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES
11 & 12 September, Adelaide Town Hall
Schubert 9 Master Series 6
aso.com.au
Classical ConversationOne hour prior to the concert in the auditorium with ASO Principal Oboe Celia Craig. Free for ticket holders.
Mozart Symphony No 35 in D, K385 Haffner
Allegro con spirito Andante Menuetto – Trio Finale (Presto)
Martinu Concerto for oboe and small orchestra
Moderato Poco andante Poco allegro
Diana Doherty oboe
Schubert Symphony No 9 in C, D944, ‘Great C major’
Andante – Allegro ma non troppo Andante con moto Scherzo (Allegro vivace – Trio) Allegro vivace
Interval
Gérard Korsten Conductor
Diana Doherty Oboe
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This concert runs for approximately 100 minutes including interval. Friday night’s concert will be recorded for live broadcast on ABC Classic FM.
4 ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES
Gerard Korsten conductor
Gérard Korsten is Principal Conductor of the Symphonieorchester Vorarlberg Bregenz. Born in South Africa, he began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe.
Korsten held positions of Principal Conductor of the State Theatre in Pretoria and the Uppsala Chamber Orchestra before being appointed Music Director of the Orchestra del Teatro Lirico di Cagliari. In 2009 he became Music Director of the London Mozart Players, a position he relinquished last season.
Gérard Korsten has appeared in the world’s most notable opera houses and concert halls including Teatro La Scala Milan, Opéra de Lyon, Netherlands Opera, English National Opera, Glyndebourne Festival Opera and the Lincoln Centre in New York.
His past symphonic engagements have included concerts with the Budapest Festival Orchestra, Leipzig Gewandhaus, Orchestre National de Lyon, Orchestra Sinfonica Rai Turin, Chamber Orchestra of Europe, Camerata Salzburg, Swedish Radio
Symphony, Deutsche Radio Philharmonie and Yomiuri Nippon Symphony Orchestra.
Gérard Korsten’s recordings feature a CD of Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon and a DVD recording of Le Nozze di Figaro at La Scala, which has been awarded a Diapason D’Or and was Critics’ Choice in the Opera News.
Recent highlights have included debuts with the Deutsche Oper Berlin, BBC Scottish Symphony, Hong Kong Philharmonic and returns to Chamber Orchestra of Europe, Camerata Salzburg, Gavle Symphony, Swedish Chamber Orchestra and the London Mozart Players on tour in China.
Next season Korsten brings Vorarlberg Symphoniorchester Bregenz to Vienna Musikverein and returns to Yomiuri Nippon Symphony Orchestra and to Lyon Opera for a new production of Idomeneo.
5ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES
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Diana Doherty oboe
Diana Doherty is widely regarded as one of the most talented Australian instrumentalists working today. Notable successes include performing Ross Edwards’ Concerto for Oboe with the New York, Liverpool and Hong Kong Philharmonic Orchestras, appearances with Australia’s and New Zealand’s leading Symphony Orchestras, Australian Chamber Orchestra, Melbourne Chamber Orchestra, St. Lawrence String Quartet, Musica Viva, the Seymour Group, Four Winds Festival, Ensemble Kanazawa, Japan, Townsville Chamber Music Festival, and at many international festivals, including Prague Spring Festival, MusicaRiva festival, Italy, Bratislava Music Festival and the ‘Young Artist in Concert’ Festival in Davos, Switzerland.
Diana has been Principal Oboe of the Sydney Symphony Orchestra since 1997, a position she had previously held with the Symphony Orchestra of Lucerne from 1990 to 1997. She was born in Brisbane and completed her Bachelor of Arts in Music Performance at the Victorian College of the Arts in Melbourne, where she was awarded the M.E.N.S.A prize for top graduating student. During this time she also won the ‘Other Instruments’ section of the ABC Instrumental and Vocal Competition and was named ‘Most Outstanding Competitor Overall’ for 1985.
Other awards and prizes include joint winner of the Young Concert Artists International Auditions in New York, first prize at Prague Spring Festival Competition, a MO award for Classical/Opera performer of the year and an Aria for her performance of the Ross Edwards’ Oboe Concerto.
Recordings include a disc of oboe concertos with Lucerne Symphony (Pan Classics), various recordings for ABC Classics, including Romantic concertos, Blues for DD, Souvenirs, a Bach Album, Concertos by Ross Edwards and Carl Vine, and a Naxos recording of Inflight Entertainment by Graeme Koehne.
Diana most recently performed Mozart’s Oboe Concerto in C Major with West Australian Symphony Orchestra.
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Diana Doherty shared some thoughts with us on the Martinu Concerto
The legend who had the idea, and the decision he wished he hadn’t made.Jiri Tancibudek was a superb Czech oboist who emigrated to Australia in 1950. His contribution to music and oboe playing in Australia has been enormous, not only because of his initiative in commissioning this concerto from Martinu.
Speaking with Tancibudek was always a very special thing. He considered his words carefully, he spoke softly and with a beautiful accent. One immediately had the feeling of being in the presence of someone extraordinary and so listened extra carefully in order to retain every single word.
I think it was sometime in 1994 that I had a conversation with him about the Martinu concerto. I knew Tancibudek already from my few lessons with him earlier, and on this occasion he was quite open about his regrets in regards to the cutting out of the second cadenza in the third movement of the concerto. Tancibudek was a very gentle and humble man, and I understood he felt at the time the piece was written (1955) two virtuosic cadenzas in one movement was just too showy. Apparently Martinu was not particularly precious about it and cut the second one out without much resistance at all. But during our conversation almost 50 years later, Tancibudek conceded that without it the movement was not as balanced, and so was happy that it had become widely played and reincluded, even though it had never been published. I had an upcoming recording on the horizon, and wanted his blessing to record
both cadenzas, which he gave without hesitation. Since then it is printed in a new edition of the piece.
My relationship with the piece......began in a hurry! I had studied (though never performed) the piece when I entered the Prague Spring competition in 1991, but as it was programmed only in the final round I thought, well, ‘let’s see if I get there first, then think about it!’ When I was included among the finalists, I then had a few problems to address, and quickly! First, I had played every piece till then from memory, which permitted me to close my eyes while playing and therefore to some degree block out the panel sitting at the front of the hall. I was terrified that if I used the music I would be forced to see them. So I had less than two days to get the piece to a point where I felt comfortable performing it, and from memory. (Needless to say, I was relieved that the second cadenza was not required back then!)
Second, I had somehow understood that the final round would be with orchestra, but only then realised that it was actually with piano accompaniment. My pianist was leaving! Rescuing me, the gallant young French contingent kindly offered their pianist, who was wonderful. It was all stressful at the time, but also very exciting, and these are all happy memories.
What I love about the piece.The concerto covers a wide scope of colour and atmosphere – everything from religious-like calm through to fury – and this gives the performer a big range of expression. It also has a lot of interesting rhythmic interplay and the occasional jazzy moment, which I love.
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Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer
Artist in Association Nicholas McGegan
Principal Conductor Designate Nicholas Carter
VIOLINS
Elizabeth Layton** (Guest Concertmaster)
Elinor Lea** (Guest Associate Concertmaster)Shirin Lim (Principal 1st Violin)*
Supported in the memory of Dr Nandor Ballai
Michael Milton** (Principal 2nd Violin)
Supported by The Friends of the ASO
Lachlan Bramble~ (Associate Principal 2nd Violin)
Supported in the memory of Deborah Pontifex
Ann AxelbyErna BerberyanGillian BraithwaiteJulia BrittainHilary Bruer
Supported by Marion Wells
Elizabeth CollinsJane CollinsFances DaviesBelinda GehlertDanielle JaquillardAlexis Milton
Sponsored by Patricia Cohen
Jennifer NewmanJulie NewmanEmma Perkins
Supported by Peter & Pamela McKee
Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr
VIOLAS Imants Larsens**
(Acting Principal) Supported by Mr & Mrs Simon & Sue Hatcher
Linda Garrett~
(Acting Associate Principal)Martin ButlerLesley CockramAnna HansenRosi McGowranMichael RobertsonCecily Satchell
CELLOS Simon Cobcroft**
Supported by Andrew & Gayle Robertson
Ewen Bramble~ Supported by Barbara Mellor
Sarah Denbigh
Christopher Handley Supported by Johanna and Terry McGuirk
Gemma Phillips Supported by R & P Cheesman
David Sharp Supported by Dr Aileen F Connon AM
DOUBLE BASSES David Schilling**
Supported by Mrs Maureen Akkermans
David Phillips~ (Acting Associate)
Supported for “a great bass player with lots of spirit - love Betsy”
Jacky Chang Belinda Kendall-Smith
FLUTES Katie Zagórski*(Guest Principal)Lisa Gill
OBOES
Celia Craig** Supported in the memory of Geoffrey Hackett-Jones
Renae Stavely Supported by Roderick Shire & Judy Hargrave
CLARINETS
Dean Newcomb** Supported by the Royal Over-Seas League SA Inc
Darren Skelton Supported in memory of Keith Langley
BASSOONS Mark Gaydon**
Supported by Pamela Yule
Jackie Hansen* Supported by Norman Etherington & Peggy Brock
HORNS Adrian Uren**Sarah Barrett~
Supported by Margaret Lehmann
Alex MillerPhilip Paine
TRUMPETS Martin Phillipson** (Acting Principal)
Supported by Richard Hugh Allert AO
Timothy Keenihan
TROMBONES
Cameron Malouf** Supported by Virginia Weckert & Charles Melton of Charles Melton Wines
Ian Denbigh
BASS TROMBONEHoward Parkinson*
TIMPANI Andrew Penrose*
PIANO Jamie Cock*
** denotes Section Leader* denotes Principal Player~ denotes Associate Principal
denotes Musical Chair Support
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ASO BOARD
Colin Dunsford AM (Chair)Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson
ASO MANAGEMENT
EXECUTIVE
Vincent Ciccarello - Managing Director
ARTISTIC
Simon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator
FINANCE AND HR
Bruce Bettcher - Business and Finance ManagerLouise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Receptionist
OPERATIONSHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra ManagerKingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Operations Assistant
MARKETING AND DEVELOPMENTPaola Niscioli - General Manager,
Marketing and DevelopmentVicky Lekis - Director of DevelopmentTom Bastians - Customer Service ManagerAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistAlexandra Bassett - Marketing and Development CoordinatorBen Bersten - Audience Development Coordinator
FRIENDS OF THE ASO EXECUTIVE COMMITTEE
Alison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsJudy Birze - Treasurer/SecretaryJohn Gell - Assistant Secretary/ Membership
Correct at time of print.
Flowers supplied by
10 ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES
Symphony No.35 in D, K385 Haffner
Allegro con spirito
Andante
Menuetto – Trio
Finale (Presto)
This symphony, the first Mozart completed after moving from Salzburg to Vienna in 1781, shows the confidence and richness of the opera he had composed for Munich the previous year, Idomeneo, transferred to a grand piece for orchestra alone. It is called the ‘Haffner’ Symphony because the music was composed for festivities in Salzburg associated with the ennoblement of the Mozarts’ friend Siegmund Haffner the Younger.
When in 1782 he received his father’s request for some new music appropriate to the occasion, Wolfgang Mozart was preoccupied with the production of his opera The Abduction from the Seraglio, and his marriage to Constanze Weber. But he somehow found time to compose festive music in six movements, including two minuets and a march. This was the standard form of an orchestral serenade. (Mozart had already in 1776 composed such a serenade for wedding festivities in the Haffner family
– that Haffner Serenade, K250 is an entirely different piece.)
Later in the same year, 1782, when planning one of his ‘academies’ or subscription concerts in Vienna, Mozart asked his father to return to him the ‘Haffner music’ from Salzburg. When he received it, he wrote back, ‘I was quite surprised by the new Haffner symphony, for I had forgotten every single note of it; it must certainly be very effective.’ For the concert on 22 March 1783 Mozart adapted his score by adding flutes and clarinets to the first and last movements, and deleting the march and the first minuet. It was common for elaborate multi-movement serenades to be ‘reduced’ to three- or four-movement symphonies in this way. In Mozart’s case, at least, there is little distinction between ‘symphonic’ writing and the grand festive style of his most ambitious serenades.
The first movement of the Haffner Symphony, an imposing call to attention, begins with the kind of striking gesture which would make a talkative audience sit up and pay attention. Mozart asked for it to be played ‘with great fire’. These two leaps of an octave followed by a rhythmic flourish are the main substance of the first movement. As in many of the first movements of Haydn, which we know Mozart was studying at the time, there is no contrasting second theme, yet the tonal
Wolfgang Amadeus Mozart 1756-1791
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Wolfgang Amadeus Mozart 1756-1791
drama of the form is not any the less for that.
The grace of the Andante has been related by many commentators to its serenade origins, but this is an unnecessary explanation: a symphony in Vienna’s concert life at this time was not expected to be the main work of the evening. Mozart’s own performance of a piano concerto would have taken a higher place. Relaxation was just what was needed after an unusually tightly written first movement with so much imitative counterpoint.
The Menuetto is grand without being pompous – this is certainly a minuet which asks to be listened to, not merely background music for dancing. The delicate subtleties of the Trio, then, will not be overlooked by the audience.
In the Finale we are in the world of comic opera. Mozart had been exploring how to write opera in a new way in The Abduction from the Seraglio, and there are reminders of that here, especially of the blustering triumphant rage of Osmin, the overseer of the harem. But Mozart smiles, laughs, and is serious all at once. In this Finale, which he said should go ‘as fast as possible’, he takes the quicksilver patter of Italian musical comedy and hands it back to the Italians, enriched. It is no accident that the final bars suggest (to modern ears) Rossini, who as a teenager 20 years after the composition of this symphony was so mad about Mozart (and Haydn) that his friends called him ‘the little German’.
© David Garrett
The Adelaide Symphony Orchestra first performed Mozart’s Symphony No 35 on 13 May 1941 under conductor Bernard Heinze, and most recently on 17 October 2012 with David Sharp.
Duration 18 minutes.
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Concerto for oboe and small orchestra
Moderato
Poco andante
Poco allegro
Diana Doherty oboe
Martinu spent much of his childhood in a church tower above the Bohemian town of Polička where his father was a shoemaker and the church’s watchman. Martinu often recalled the expansive views which were, by virtue of their distance, inaccessible to him. Several writers have suggested that this may account for certain features of his music: a style which is always distinctive but which nonetheless is clearly aware of the bigger picture and a pervasive sense of wonder. One of his colleagues described Martinu’s as ‘music of superb spiritual elevation’.
Martinu lived in France from 1923, having travelled to Paris to study with Albert Roussel (despite having been expelled from the Prague Conservatory for ‘incorrigible negligence’). The 1920s saw him assimilating the music and aesthetics of Stravinsky and the group of French composers known as Les Six (which included Poulenc, Honegger and
Milhaud). Neo-classicism was dominant, with its often ironic references to Baroque and Classical manners, and Martinu also heard and enjoyed music as varied as jazz and Elizabethan madrigals. In the 1930s Martinu further explored his own amalgam of established form and personal style, developing a language influenced by the music of the Baroque and the folk music of his native country. This reached its apogee in the music composed in 1938, works like the Tre Ricercari for orchestra (a huge success at that year’s Venice Festival) and the masterly Double Concerto for the Swiss conductor Paul Sacher which Martinu completed on the day of the Munich Agreement. With Hitler effectively encouraged to invade Czechoslovakia, Martinu was named cultural attaché by the Czech government in exile and as such helped a number of endangered Czech citizens to escape via Paris. He would never see his homeland again; he had to flee as the Nazis invaded France and he spent the years 1941-1956 in the United States, by which time the Communist regime made returning impractical.
One of Martinu’s countrymen, the illustrious oboist Jirí Tancibudek also fled his homeland in 1950. Invited by Sir Eugene Goossens to teach at the NSW Conservatorium, Tancibudek arrived in Sydney soon after; during his long career
Bohuslav Martinu 1890-1959
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Bohuslav Martinu 1890-1959
he also held the principal position with the Melbourne Symphony Orchestra and in 1964 moved to Adelaide where he was a foundation member of the Adelaide Wind Quintet and a distinguished teacher until his death in 2004. Martinu composed his Oboe Concerto for Tancibudek, who premiered it in Sydney under Hans Schmidt-Isserstedt in 1956 and gave numerous performances in Europe and North America.
The work is in three movements. The Moderato opening movement has a graceful cantering rhythm and exploits a long solo line against a wide variety of colours and textures from the small orchestra (which, distinctively, includes piano). The central Poco andante is songful and plangent, with an ornately decorated oboe line which makes much of its dark, lower register. The piano introduces the insistent polka rhythm of the finale, to which the oboe responds with glittering virtuosic passage work. Martinu wrote two cadenzas for this movement; although Tancibudek omitted one in editing the piece for publication, this evening’s performance features both.
Gordon Kerry © 2005
The Adelaide Symphony Orchestra’s first subscription performances of the Martinu Oboe Concerto took place on 18 and 19 September 1981 with Jirí Tancibudek under the direction of José Serebrier. The ASO’s only subsequent performance of the work was in May 1988 with Nicholas Braithwaite and soloist Joel Marangella.
Duration 15 minutes.
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Symphony No.9 in C, D944, ‘Great C major’
Andante – Allegro ma non troppo
Andante con moto
Scherzo (Allegro vivace – Trio)
Allegro vivace
Among papers found after Schubert’s death was a score of his ‘Great’ Symphony in C, which the composer’s brother showed to Robert Schumann in 1838. Fired with enthusiasm, Schumann sent it to Mendelssohn in Leipzig, and in 1839 the work was performed there by the Gewandhaus Orchestra. In a letter to his then fiancée, Clara Wieck, Schumann described the rehearsal he had attended:
I have been in paradise today! … I was supremely happy, and had nothing left to wish for, except that you were my wife, and that I could write such symphonies myself.
Schumann’s enthusiasm was generated in part by the ‘heavenly length’ of the piece, which he compared to a novel in four volumes; Schubert had, clearly, hit on a new way of structuring large spans of symphonic time, and this would have radical implications for the form as cultivated by composers from Schumann to Mahler.
The magic number ‘nine’, the fact of Schubert’s tragically early death, and
existence of at least one ‘Unfinished Symphony’ in Schubert’s oeuvre have conspired to create a number of myths about the ‘Great’ C major symphony. First, far from being Schubert’s last word in the medium, it was completed in 1826 – well before his death – and indeed was at one time numbered ‘seven’ in the Schubert canon. Second, while the Leipzig performance was the work’s public premiere, in fact the symphony hadn’t sat under Schubert’s bed all that time: the composer had sent a copy to Vienna’s Gesellschaft der Musikfreunde in 1826, and the orchestra, which paid Schubert a small gratuity, had read through the work but decided it was too long and ‘difficult’ for players and audiences alike. (This remained a stumbling-block for the work well into the 19th and early 20th centuries: Mendelssohn had to withdraw it from a performance in London owing to a player rebellion, and Hans von Bülow found aspects of it as baffling as the music of his erstwhile disciple, Mahler.) Finally, the nickname refers in part to the work’s generous dimensions, but also distinguishes it from the earlier symphony D589 (the ‘sixth’), also in C major.
The symphony’s challenges and joys both stem from its balance of classical principles and, for want of a better term, Romantic aspirations – it is after all roughly contemporary with Beethoven’s Ninth and Berlioz’s Symphonie fantastique. The work is cast in the conventional four-movement
Franz Schubert 1797-1828
15ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES
layout of the classical Viennese symphony, and Schubert uses some kind of sonata design in three of the movements; his orchestration, with its use of horn calls and distant, soft trombones, evokes the Romanticism of Mendelssohn and Weber.
The first movement begins with a slow introduction that creates added tension before the outbreak of the faster material in the main body of the movement. So far, so classical, but in addition the theme (on unison horns) which begins the work also contains the seeds of much of the symphony’s subsequent material – especially the dotted rhythm in the theme’s second bar, which pervades the whole work. This elaboration of material from a small cell recalls the examples of Haydn and Beethoven, though Schubert balances this concentration with his characteristic spinning of apparently endlessly new melodies. But from Beethoven too, he learned the rhetorical power of reiteration, and at various points in the piece creates long stretches of increasingly exciting music out of the forceful repetition of short, strongly profiled motives. The tremendous tension built up during the first movement is resolved in a way uncharacteristic of Schubert: he brings back the opening horn theme, now transformed by the prevailing fast tempo into something much less dreamy in character.
The slow movement begins in A minor, the work’s relative minor key, and its main theme, characterised by the pervasive dotted rhythm, has been described by Donald Tovey as a ‘heartbreaking show of spirit in adversity’. Certainly Schubert’s health was, at this time, deteriorating due to syphilis and the then common treatments for the disease, but the work is in no way a document of self-pity. Using a device common in his songs, Schubert takes his music into the major mode (A major) for dramatic, and possibly
optimistic, contrast.
The Scherzo maintains the large-scale thinking of the rest of the work, and in this regard anticipates the massive structures of Bruckner’s symphonic scherzos. Like Bruckner, Schubert generates great energy by the use of inexorably buoyant rhythms and a string of beautiful themes.
The finale is likewise of a proportion to match the previous movements and is as full of thematic invention. It encompasses material and emotional states as different as what Tovey identifies as ‘fairy music’ and gestures ‘as terrible as anything in Beethoven or Michelangelo’.
Gordon Kerry © 2009
The Adelaide Symphony Orchestra first performed Schubert’s Great C major Symphony on 5 August 1944 under conductor Eugene Ormandy, and most recently on 12 and 13 August 2011 with Simone Young.
Duration 48 minutes.
Concertmaster Natsuko Yoshimoto
Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford
Associate Principal CelloEwen Bramble
Supported byBarbara Mellor
Principal ViolaJuris Ezergailis
Supported in the memory of Mrs JJ Holden
Principal 2nd Violin Michael Milton
Supported by The Friends of the ASO
Associate Principal 2nd Violin Lachlan Bramble
Supported in the memory of Deborah Pontifex
Principal 1st ViolinShirin Lim
Supported in the memory of Dr Nandor Ballai
For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or nisciolip@aso.com.au
Violin Hilary Bruer
Supported by Marion Wells
Violin Emma Perkins
Supported byPeter & Pamela McKee
ViolinMinas Berberyan
Supported by
Merry Wickes
ViolinAlexis Milton
Supported byPatricia Cohen
Associate Principal Viola Imants Larsens
Supported byMr & Mrs Simon & Sue Hatcher
Principal CelloSimon Cobcroft
Supported byAndrew & Gayle Robertson
Cello Chris Handley
Supported byJohanna and Terry McGuirk
CelloDavid Sharp
Supported byDr Aileen F Connon AM
CelloSherrilyn Handley
Supported byJohanna and Terry McGuirk
Principal BassDavid Shilling
Supported by Mrs Maureen Akkermans
BassDavid Phillips
Supported for‘a great bass player with lots of spirit - love Betsy’
BassHarley Gray
Supported byBob Croser
Musical chair players and donors
Oboe Renae Stavely
Supported by Roderick Shire & Judy Hargrave
Principal Bass ClarinetMitchell Berick
Supported by Nigel Stevenson & Glenn Ball
Principal BassoonMark Gaydon
Supported byPamela Yule
Principal TubaPeter Whish-Wilson
Supported by Ollie Clark AM & Joan Clark
Principal TimpaniRobert Hutcheson
Drs Kristine Gebbie and Lester Wight
Principal ClarinetDean Newcomb
Supported byRoyal Over-Seas League SA Inc
Principal Flute Geoffrey Collins
Supported by Pauline Menz
Principal Cor Anglais Peter Duggan
Supported by Dr Ben Robinson
CelloGemma PhillipsSupported by R & P Cheesman
BassoonLeah Stephenson
Supported byLiz Ampt
Principal PiccoloJulia Grenfell
Supported by Chris & Julie Michelmore
Principal Contra BassoonJackie Hansen
Supported by Norman Etherington & Peggy Brock
ClarinetDarren Skelton
Supported in the memory of Keith Langley
Associate Principal TrumpetMartin Phillipson
Supported byRichard Hugh Allert AO
Principal PercussionSteven Peterka
Supported by The Friends of the ASO
Principal HarpSuzanne Handel
Supported byShane Le Plastrier
Associate Principal HornSarah Barrett
Supported byMargaret Lehmann
Principal OboeCelia Craig
Supported in memory of Geoffrey Hackett-Jones
Concertmaster Natsuko Yoshimoto
Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford
Associate Principal CelloEwen Bramble
Supported byBarbara Mellor
Principal ViolaJuris Ezergailis
Supported in the memory of Mrs JJ Holden
Principal 2nd Violin Michael Milton
Supported by The Friends of the ASO
Associate Principal 2nd Violin Lachlan Bramble
Supported in the memory of Deborah Pontifex
Principal 1st ViolinShirin Lim
Supported in the memory of Dr Nandor Ballai
For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or nisciolip@aso.com.au
Violin Hilary Bruer
Supported by Marion Wells
Violin Emma Perkins
Supported byPeter & Pamela McKee
ViolinMinas Berberyan
Supported by
Merry Wickes
ViolinAlexis Milton
Supported byPatricia Cohen
Associate Principal Viola Imants Larsens
Supported byMr & Mrs Simon & Sue Hatcher
Principal CelloSimon Cobcroft
Supported byAndrew & Gayle Robertson
Cello Chris Handley
Supported byJohanna and Terry McGuirk
CelloDavid Sharp
Supported byDr Aileen F Connon AM
CelloSherrilyn Handley
Supported byJohanna and Terry McGuirk
Principal BassDavid Shilling
Supported by Mrs Maureen Akkermans
BassDavid Phillips
Supported for‘a great bass player with lots of spirit - love Betsy’
BassHarley Gray
Supported byBob Croser
Musical chair players and donors
Oboe Renae Stavely
Supported by Roderick Shire & Judy Hargrave
Principal Bass ClarinetMitchell Berick
Supported by Nigel Stevenson & Glenn Ball
Principal BassoonMark Gaydon
Supported byPamela Yule
Principal TubaPeter Whish-Wilson
Supported by Ollie Clark AM & Joan Clark
Principal TimpaniRobert Hutcheson
Drs Kristine Gebbie and Lester Wight
Principal ClarinetDean Newcomb
Supported byRoyal Over-Seas League SA Inc
Principal Flute Geoffrey Collins
Supported by Pauline Menz
Principal Cor Anglais Peter Duggan
Supported by Dr Ben Robinson
CelloGemma PhillipsSupported by R & P Cheesman
BassoonLeah Stephenson
Supported byLiz Ampt
Principal PiccoloJulia Grenfell
Supported by Chris & Julie Michelmore
Principal Contra BassoonJackie Hansen
Supported by Norman Etherington & Peggy Brock
ClarinetDarren Skelton
Supported in the memory of Keith Langley
Associate Principal TrumpetMartin Phillipson
Supported byRichard Hugh Allert AO
Principal PercussionSteven Peterka
Supported by The Friends of the ASO
Principal HarpSuzanne Handel
Supported byShane Le Plastrier
Associate Principal HornSarah Barrett
Supported byMargaret Lehmann
Principal OboeCelia Craig
Supported in memory of Geoffrey Hackett-Jones
Our inspirational donors
Diamond Patron ($25,000+)
The Friends of the Adelaide Symphony OrchestraMr & Mrs Anthony & Margaret GerardAndrew Thyne Reid Charitable TrustMs Merry WickesPlus one anonymous donor
Platinum Patron ($10,000 - $24,999)
Dr Aileen F Connon AMEstate of the late David Malcolm Haines QCEstate of the late Winifred J. LongbottomMrs Diana McLaurinRobert PontifexPlus two anonymous donors
Mr Colin Dunsford AM & Mrs Lib DunsfordDrs Kristine Gebbie & Lester WrightMr Robert KenrickMrs Joan LyonsJohanna & Terry McGuirkPeter & Pamela McKee
Mrs Pauline MenzMr Norman Schueler OAM and Mrs Carol SchuelerThe Richard Wagner Society of South Australia Inc
Silver Patron ($2,500 - $4,999)
Mrs Maureen AkkermansRichard Hugh Allert AOMs Liz AmptMr and Mrs Vincent and Sandra CiccarelloMr Ollie Clark AM & Mrs Joan ClarkMrs Patricia CohenMr Bob CroserLegh & Helen DavisNorman Etherington & Peggy BrockMr Donald Scott GeorgeMrs Penelope Hackett-Jones and the late Geoffrey Hackett-JonesMr & Mrs Simon & Sue HatcherMrs Sue Langley
Shane Le PlastrierMrs Margaret LehmannMrs Barbara MellorMr & Mrs Chris & Julie MichelmoreMr & Mrs Andrew & Gayle RobertsonDr J B RobinsonRoyal Over-Seas League South Australia IncorporatedMr Ian SmailesMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyMrs M W WellsDr Betsy Williams & Mr Oakley DyerMrs Pamela Yule
A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help to sustain and expand the ASO. Your donation makes a difference.
Gold Patron ($5,000 - $9,999)
Maestro Patron ($1,000 - $2,499)
Mr Neil ArnoldDr Margaret ArstallAustralasian Double Reed Society SA
Rob BaillieProf Andrew & Mrs Elizabeth Bersten
Graeme & Susan BethuneThe Hon D J & Mrs E M Bleby
Ms Angelique BoileauMr Peter J ClearyTony & Rachel DavidsonDr Christopher DibdenDr Alan Down & Hon Catherine Branson
Mrs Lorraine DrogemullerJiri & Pamela FialaIn Memory of Jim FrostRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenDr I KlepperIan Kowalick AM & Helen Kowalick
Mr Peter McBrideDr & Mrs Neil & Fay McIntosh
Captain R S Pearson CSC and Mrs J V Pearson
Mrs Christine & The Late Dr Donald Perriam
Ms Marietta ResekMr Mark RinnePhilip Satchell AM & Cecily Satchell
Mr & Mrs W ScharerLarry & Maria ScottRoderick Shire & Judy Hargrave
Mr & Mrs H W ShortIan Smailes & Col EardleyNigel Steele ScottChristopher StoneMs Guila TiverDavid & Linnett TurnerMs Margaret TyrrellMr J W ValeDr Richard & Mrs Gweneth Willing
Plus seven anonymous donors
Soloist Patron ($500 - $999)
Aldridge Family Endowment
Dr Elinor AtkinsonMs Dora O’BrienBarbara BahlinMr John BakerMr & Mrs R & SE BartzMrs Judith BaylyMs Amanda BlairDianne & Felix Bochner
Liz BowenDr & Mrs J & M BrooksMrs J L BrooksDr Ivan CamensMrs Josephine CooperMr Bruce Debelle AOFr John DevenportMrs A E DowMrs Jane DoyleMr L J EmmettMs Barbara FergussonMr & Mrs Andrew & Helen Giles
Dr Noel & Mrs Janet Grieve
Mrs Eleanor HandreckDr Robert HeckerRhys & Vyvyan HorwoodMrs Elizabeth Keam AMMrs Rosemary KeaneMrs Bellena KennedyKerry & Barbara KirkeMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius
Mrs Beth LewisMr J H LoveMrs Beverley MacmahonMrs Lee MasonMrs Skye McGregorDr D G & Mrs K C MorrisK & K PalmerMs Jocelyn ParsonsMr Martin PenhaleMr & Mrs John & Jenny Pike
Mr Frank PrezMrs Catherine L OsborneJ M ProsserMr & Mrs David & Janet Rice
Mr Christopher RichardsDrs I and K Roberts-Thomson
Mrs Janet Ann RoverMr & Mrs Trevor & Elizabeth Rowan
Ms Linda SampsonProfessor Ivan Shearer AMRobert Short & Sherry Kothari
Mr & Mrs Antony & Mary Lou Simpson
Mr W & Mrs H StacyS and S ThomsonThe Honourable Justice Ann Vanstone
Mr Nick WardenMrs Pamela WhittleMrs Gretta WillisMs Janet WorthHon David Wotton AM & Mrs Jill Wotton
Plus 15 anonymous donors
Tutti Patron ($250 - $499)
Mr Brenton BarrittMrs Jillian BeareDr Gaby BerceJonathan BillingtonDr Adam BlackMr & Mrs Andrew & Margaret Black
Mr Mark BlumbergRob & Denise ButtroseMrs Janet H CallenMrs J Y ClothierMiss Joan CorrMr Stephen CourtenayMr & Mrs Michael & Jennifer Critchley
Mrs Betty CrossHonourable Dr Rosemary Crowley AO
George & Ilana CulshawMr John DaenkeMrs M D Daniel OAMMr & Mrs Stephen & Emma Evans
Dr Laurence J FergusonMr J H FordMr William FrogleyMr Otto FuchsDr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy
Mr Neil HallidayMrs Mary HandleyMrs Jill HayMr John H Heard AMProf Robert Heddle & Mrs Margaret Heddle
Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman
Mrs Kate HislopMr John HoldenMr D G W HowardMr Angus KennedyHon Anne Levy AOLodge Thespian, No 195 Inc
Mr Colin MacdonaldRobert MarroneDr Ruth MarshallMs E McEvoyMrs Josephine MonkMs Fiona MorganMrs Alyson MorrisonMrs Amparo Moya-KnoxMargaret MudgeMr Alex NicolDr Kenneth O’BrienDr John OvertonMr and Mrs PatersonMrs Coralie PattersonKrystyna PindralMr D G PittTony and Jenny ReadMrs Jill RussellMr A D Saint
Mr Frank and Mrs Judy Sanders
Mrs Meredyth Sarah AMMr David ScownMs Gweneth ShaughnessyMrs Pauline E. ShuteR & L SiegeleMr Brenton SmithMr & Mrs Jim & Anne Spiker
Eric StaakMrs Jill StevensMr & Mrs Graham & Maureen Storer
Mrs Verna SymonsJohn & Annette TerpelleDr Peter TillettAnita Robinson & Michael Tingay
Ms Christine TrenordenMr Jacky TsangMark & Jenny TummelMr David TurnerKeith and Neta VickeryProf Robert WarnerDr Nicholas WickhamMr & Mrs Peter & Dawn Yeatman
Plus 22 anonymous donors In Memory of Des Blundell, Former Principal Trombone and Rob Collins, Former ASO Violist donated by the ASO Players Association
The ASO also thanks the 535 patrons who gave other amounts in the past 12 months.
In tune with the Adelaide Symphony Orchestra
KPMG has a 16-year history of sponsoring
the ASO and is proud to be a World Artist Partner.
It’s tangible expression of our commitment
to help shape a successful future for
South Australia.
We look forward to celebrating music and hitting the right
notes together.
kpmg.com.au
© 2014 KPMG, an Australian partnership. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. August 2015. VIC13209MKT.
21ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES
What your donations support Give proudly
full-time musicians
casual employees
hours of concerts
students & teachers engaged with the ASO
hours of rehearsals in the Grainger Studio
composers currently under commission
pages of sheet music turned
75125 232
10,107400
3
13 ,800
The Adelaide Symphony Orchestra reaches over 100,000 people in our community every year and it’s thanks to individuals like you who help make it possible. With ticket sales only accounting for 28% of the Orchestra’s operational costs, private giving makes a significant impact in delivering world class concerts to the community. Please help the ASO to share the power of live music by donating generously.
Support Us
Donate nowSupporting your ASO is easy (donations over $2 are fully tax deductible and exempt of credit card charges). Give online at aso.com.au/donateOr, if you’d like further information or to discuss other ways to support the ASO, contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or nisciolip@aso.com.au
A Bequest for the futureImagine a world in which concerts are only on YouTube and music only heard on recordings. Where would we be without the great orchestral performances that transcend time and place and move us beyond our imagination?
Help us to preserve the world of music and share your lasting passion for the ASO by making a gift in your Will. Your generosity will create enduring benefits for the ASO and ensure that the pleasure of music will be passed on to future generations.
In tune with the Adelaide Symphony Orchestra
KPMG has a 16-year history of sponsoring
the ASO and is proud to be a World Artist Partner.
It’s tangible expression of our commitment
to help shape a successful future for
South Australia.
We look forward to celebrating music and hitting the right
notes together.
kpmg.com.au
© 2014 KPMG, an Australian partnership. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. August 2015. VIC13209MKT.
Principal Partner
Major Partners
World Artist Partners
Corporate Partners
Media Partners
Corporate Club
Industry collaborators
Friends
Government Support
Adelaide’s No.1
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SA
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The ASO receives Commonwealth Government funding through the Australia Council, its arts funding and advisory body. The Orchestra is funded by the Government of South Australia through Arts SA.
Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 Fax (08) 8233 6222 | Email aso@aso.com.au | aso.com.au
Principal Partner
Major Partners
World Artist Partners
Corporate Partners
Media Partners
Corporate Club
Industry collaborators
Friends
Government Support
57 FilmsBoylen – Website Design & DevelopmentCoopers Brewery Ltd FotonautHaigh’s ChocolatesHickinbotham Group
M2 GroupNormetalsPeregrine TravelPoster ImpactSan Remo Macaroni Co. Pty LtdSize Music
Thank you
DISCLAIMER: Every effort has been made to ensure that performance dates, times, prices and other information contained herein are correct at time of publication. Due to reasons beyond the ASO’s control, details may change without notice. We will make every effort to communicate these with you should this eventuate.
Join us
Adelaide’s No.1
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SA
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Santos and the ASO – great South Australian performersFor sixteen seasons Santos and the Adelaide Symphony Orchestra have partnered together to deliver outstanding performances to audiences across South Australia. This proud tradition continues in 2015.
With our head office here in Adelaide, Santos has been part of South Australia for over 60 years.
We search Australia to find gas and oil to help provide energy to our nation. But we also put our energy into supporting the communities in which we live and work.
Each year Santos supports a wide range of community events and organisations across South Australia.
By 2017, this support will add up to $60m over a ten-year period.
At Santos, we believe that contributing to a vibrant culture is good for everyone. We don’t just look for energy - we help create it.
Proudly working in partnership
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