Into the Light 12&13 June 2015.pdf

Into the Light12 & 13 June 2015

ADELAIDE TOWN HALL

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3ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES

12 & 13 June, Adelaide Town Hall

This concert runs for approximately 90 minutes including interval. Friday night’s concert will be recorded for broadcast on ABC Classic FM.

Into the Light Master 4

aso.com.au

Classical ConversationOne hour prior to the concerts, free for ticket holders.Composer/musicologist Vincent Plush and ASO Associate Principal 2nd Violin Lachlan Bramble discuss the concert’s music – including Peteris Vasks’s sublime violin concerto Distant Light.

Beethoven Romance in F for violin and orchestra, Op 50

Mozart Symphony No 31 in D, K297, Paris

Allegro assai

Andante

Allegro

Dvorák Romance in F minor for violin and orchestra, Op 11

Peteris Vasks Violin Concerto, Distant Light

Interval

Anthony Marwood Director/Violin

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Anthony Marwood director/violin

Anthony Marwood is internationally renowned both as a soloist and director, collaborating regularly with eminent ensembles around the world. Highlights of this season include a Wigmore Hall residency, his third tour with the Australian Chamber Orchestra, a performance of Berg’s Chamber Concerto with the Aurora Orchestra and a tour with accordionist James Crabb. Other highlights include his debut as soloist/director with the Norwegian Chamber Orchestra and Camerata Bern, a return to Canada for concerts with Les Violons du Roy, and engagements with the New Zealand, Sydney, Adelaide and Tasmanian Symphony Orchestras.

Anthony Marwood regularly collaborates with contemporary composers. Violin concertos that have been composed for him include Sally Beamish’s Violin Concerto, Steven Mackey’s Four Iconoclastic Episodes and Samuel Carl Adams’ Violin Concerto. He gave the premiere of Thomas Adès’ Concentric Paths in Berlin with the Chamber Orchestra of Europe (conducted by the composer), and went on to give national premieres of the work around the globe.

Anthony Marwood’s recordings include the Schumann violin sonatas and Brahms violin sonatas (both with Aleksandar Madžar), Schumann’s late works for violin and orchestra and Britten’s Violin Concerto and Double Concerto with the BBC Scottish Symphony Orchestra.

Born in London, Anthony Marwood studied with Emanuel Hurwitz at the Royal Academy of Music and David Takeno at the Guildhall School of Music. He was named Instrumentalist of the Year by the Royal Philharmonic Society in 2006, and for sixteen years was the violinist of the Florestan Trio. He is co-Artistic Director of the Peasmarsh Chamber Music Festival and teaches annually at the Yellow Barn Festival in Vermont. He was appointed a Fellow of the Guildhall School of Music in 2013.

He plays a 1736 Carlo Bergonzi violin.


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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

Cameron Hill** (Acting Concertmaster)

Shirin Lim** (Acting Associate Concertmaster)

Supported in the memory of Dr Nandor Ballai

Emma Perkins (Acting Associate Principal 1st Violin)

Supported by Peter & Pamela McKee

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 BraithwaiteHilary Bruer

Supported by Marion Wells

Jane CollinsFrances DaviesAlexander PermezelKemeri Spurr

VIOLAS Imants Larsens** (Acting Principal)

Supported by Mr & Mrs Simon & Sue Hatcher

Linda Garrett~

(Acting Associate Principal)Lesley CockramRosie McGowranMichael Robertson

CELLOS Simon Cobcroft**

Supported by Andrew & Gayle Robertson

Ewen Bramble~ Supported by Barbara Mellor

Sherrilyn Handley Supported by Johanna and Terry McGuirk

David Sharp Supported by Dr Aileen F Connon AM

DOUBLE BASSES David Schilling**

Supported by Mrs Maureen Akkermans

Hugh Kluger~

David Phillips ‘Supported for a great bass player with lots of spirit - love Betsy’

FLUTES Geoffrey Collins**

Supported by Pauline Menz

Lisa Gill

OBOES Celia Craig**

Supported by Penelope & Geoffrey Hackett-Jones

Renae Stavely Supported by Roderick Shire & Judy Hargrave

CLARINETS

Dean Newcomb** Supported by the Royal Over-Seas League Inc

Darren Skelton

BASSOONS Mark Gaydon**

Supported by Pamela Yule

Leah Stephenson Supported by Liz Ampt

HORNS Adrian Uren**Alex Miller

TRUMPETS

Martin Phillipson** (Acting Principal)

Supported by Richard Hugh Allert AO

Timothy Keenihan

TIMPANI Andrew Penrose*

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal

denotes Musical Chair Support

Correct at time of print.


ASO BOARD

Colin Dunsford AM (Chair)Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson

ASO MANAGEMENT

EXECUTIVE

Vincent Ciccarello - Managing DirectorMargie Corston - Assistant to 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 - Administrative Assistant

OPERATIONS

Heikki 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


Romance in F for violin and orchestra, Op 50

Long after Beethoven was well established in Vienna, he had two violin Romances published. The G major piece appeared in Leipzig in 1803 and the F major work in Vienna two years after that. But despite that, the non-contiguous opus numbers and the fact that their first public performances were some years apart – the F major seems to have been premiered in 1798, and the G major in 1801 or 1802 – it is possible that they were written at the same time, namely in the 1790s. After all, in 1802 Beethoven produced his three Violin Sonatas, Op.30, works that do for their genre what the ‘Rasumovsky’ quartets and Eroica Symphony had done for theirs. Charming as the Romances undoubtedly are, the same could not be said for them.

Also in existence is a fragment from the first movement of what would have been a substantial Violin Concerto in C major (catalogued as WoO5) composed between 1790 and 1792 – before Beethoven left Bonn for Vienna – and it seems likely that at least one of the Romances, written for exactly the same modest orchestral forces, was intended as the slow movement: the keys of F and G are both closely related to C, according to classical convention, so

could serve as a slow movement.

Both works also show Beethoven’s intimate knowledge of string instruments – he was a more than proficient violinist and had played viola in the court orchestra in Bonn. In both works, he makes full use of the instrument’s singing upper register, but also uses its darker lower tones sparingly and to great dramatic effect.

The term ‘romance’, of course, has a literary history: French writers, in particular, used it to denote a poem or song in strophic form that related a tale of love and gallantry. German poets took the term over, infusing it with folk-idioms and often using it interchangeably with ‘ballade’. The sense of a story told with the structural repetition of strophic verse carries over into Beethoven’s use, in these pieces, of rondo form, where repeated statements of material are contrasted with episodes of new material, balancing lyricism and virtuosity. Just what the story might be is a mystery, of course.

The F major piece is perhaps more forward-looking than its stable-mate. It begins without preamble, with the soloist spinning out the long and songlike melody, which is then taken up by the orchestra. While in some ways Mozartian, the melody contains a number of features that would soon become staples of Romantic music, such as the rapid ornamental ‘turn’ before

Ludwig van Beethoven 1770 - 1827


Ludwig van Beethoven 1770 - 1827

the third beat of the first bar, and the use of increasingly wide intervals like the minor seventh. There is also a sense of subtle conflict, as in the slow movement of Beethoven’s Fourth Piano Concerto, where the soloist’s part is, broadly speaking, ‘Apollonian’ and serene in the face of ominous chromaticism and dark instrumental shading from the orchestra, which often seems to be offering stern admonitions in its formal rhetoric. Serenity, however, wins.

© Gordon Kerry 2010/15

Soloist Wilfred Lehmann performed the Romance in F, Op 50 with the Adelaide Symphony Orchestra conducted by Henry Krips in a Beethoven Festival concert on 25 March 1952. The ASO’s most recent performance, with Natsuko Yoshimoto as soloist, was in July 2012.

Duration 9 minutes.


Symphony No 31 in D, K297, Paris

Allegro assai

Andante

Allegro

Mozart had no great love for Paris, the City of Love. He arrived in the French capital in March 1778 in search of a job. Mozart’s father, Leopold, would have accompanied him but he was not granted leave from his position in Salzburg and in his place sent Maria Anna, Mozart’s mother. That the 22-year-old composer needed a guardian at all tells us something about Leopold’s controlling influence.

Mozart didn’t want to be in Paris in the first place. He had travelled via Munich, Augsburg and Mannheim and, in Mannheim, had fallen in love with soprano Aloysia Weber. Mozart would have liked to have prolonged his already lengthy stopover in the city (Mannheim was renowned for its orchestra) to see how things would develop with Aloysia, but Leopold sent a furious letter commanding ‘Be off with you to Paris! And soon!’

So Mozart was out of sorts when he arrived in the French capital. He was in love and the object of his love was a long way away.

Over the next few months he attempted to make connections with the great households of Paris but nothing substantial came of his efforts. He composed the Concerto for Flute and Harp for the flute-playing Duc de Guines who never actually paid him the full amount for the commission. The most substantial composition of his six-month stay was this particular work, the Symphony No.31, Paris.

Mozart was particularly pleased to tailor the Paris Symphony to Parisian taste. One thing that local audiences loved was having all of the instruments sounding together at the start, the so-called le premier coup d’archet (‘first stroke of the bow’). Mozart wisely guessed that he would have the audience on side by giving them this characteristically French opening statement. In fact, he rounds off the first movement with the same gesture and cites it on numerous occasions in between. Two different slow movements exist for this symphony. One was written for the premiere on 12 June and another for a performance on 15 August. Both, in other words, are authentic. Mozart dispenses with a minuet and trio and, instead, follows the Andante with a fleet-footed Allegro.

Never before had Mozart had such a large orchestra at his disposal as in this work. In addition to the usual pairs of flutes, oboes, bassoons and horns, the Paris Symphony includes two trumpets, timpani and, very

Wolfgang Amadeus Mozart 1756 - 1791


Wolfgang Amadeus Mozart 1756 - 1791

importantly, two clarinets. Later that same year Mozart wrote to his father back in Salzburg: ‘If only we had clarinets! You cannot imagine the glorious effect of a symphony with flutes, oboes and clarinets.’ Although unknown in Salzburg, clarinets were a fixture of the orchestra of the Concert spirituel, the concert series for which the Paris Symphony was written.

Of particular note in one of Mozart’s letters home is his comment that, at the premiere, the Paris audience was delighted by the surprise forte early in the third movement and broke into spontaneous applause as the orchestra was playing. Clearly, symphony concerts were more raucous affairs in those days.

Robert Gibson © 2015

The Adelaide Symphony Orchestra first performed this symphony under the direction of Henry Krips during a 1957 regional tour, and most recently in August 2008 with David Sharp.

Gordon Kalton Williams © 2015

Duration 20 minutes.


Romance in F minor for violin and orchestra, Op 11

Dvorák’s Romance for violin and orchestra had its origins in the slow movement of a string quartet the young composer completed just six weeks before his marriage to Anna Čermáková in Prague in November 1873. This was the Quartet in F minor, the fifth of the composer’s 14 extant, complete quartets, a work which remained unpublished until 1929.

The great Dvorák scholar Otakar Šourek saw this string quartet as autobiographical, contrasting the poverty and failures of the composer’s earlier life with his optimism for a happily married future. That interpretation, however, is speculative. Nor is there any indication that romantic love inspired Dvorák’s designation ‘Romance’ for his new composition, which he completed probably in 1877 and first heard performed by Josef Markus in December of that year.

Dvorák doubtless thought of ‘romance’ (or romanza) as the sort of song without words, or instrumental serenade, implied in 18th-century usage such as Mozart’s Eine kleine Nachtmusik and Haydn’s Symphony No 85, La Reine. More specific models were probably Beethoven’s two familiar Romances for violin and orchestra. And they reflect what Dvorák was consciously attempting – to break away from the siren allure of fashionable Wagnerian style and achieve mastery of traditional musical structure, sonata form in particular.

The new composition must have been a success. While the original string quartet remained on the shelf, the Romance (in separate versions with orchestral and piano accompaniment) was promptly published in 1879 by Fritz Simrock in Berlin, to whom Brahms had introduced the young Czech composer, and who was already enjoying runaway success with Dvorák’s first set of Slavonic Dances.

The Romance is dominated, as was the original string quartet movement, by a loftily gliding main theme which emerges in the fullness of its aplomb only when the solo violin pulls together the elements of a short, canonic introduction. For his new sonata structure – the quartet original was in rondo form – Dvorák in fact provides not one but two new themes: first a singing melody over an irregular rocking accompaniment, then a descending theme which supports a striding orchestral tutti ahead of a highly competent development and recapitulation.

This relatively early work already displays characteristic signs of the mature Dvorák, not least in the dying fall of the main theme’s second phrase and in the expressive colouring of the winds and brass as they accompany the soloist into the sunset.

Anthony Cane © 2003

This is the first performance of this work by the Adelaide Symphony Orchestra.


Antonin Dvorák 1841-1904


Violin Concerto, Distant Light

For 35 years now, orchestral repertoire has been replenished by Eastern European and Baltic composers. Latvian Peteris Vasks became known in the West in the 1980s, and he was contracted by German publisher Schott in 1990, the year before Latvian independence from the Soviet Union. Vasks studied double bass in Latvia and Lithuania and performed with major Latvian ensembles before turning to composition.

US radio presenter Daniel Stephen Johnson has said, ‘The rough outlines of Peteris Vasks’ work and career might have a familiar ring to them: born in Soviet Latvia, Vasks endured government repression not only for his aesthetics but for his Christian faith, and emerged in the late 1970s with a pared-down compositional style heavily influenced by sacred themes.’ Endurance of the human spirit against the brutality of a monolithic oppressor might describe the Symphony No 1; later works sometimes put us in mind of the sacred music of Estonian Arvo Pärt, but the influence of earlier models, the Poles Lutosławski and Penderecki endures, particularly in moments of ‘indeterminacy’. Vasks’ later works are concerned with broader questions of the soul (he is the son of a clergyman). Some works are offered almost as articles of faith

that we can escape the self-annihilation inherent in our hostile relationship with nature.

Distant Light was first performed by Gidon Kremer (its dedicatee) and the Kremerata Baltica at the 1997 Salzburg Festival. On a more prosaic level, this most ‘ethereal’ of violin concertos was inspired by reading Kremer’s autobiography, Childhood Fragments. Vasks realised that he and Kremer had, unknowingly, gone to the same school. ‘Distant Light is nostalgia with a touch of tragedy. Childhood memories, but also the glittering stars millions of light-years away.’

The work has its own unique single-movement structure. Beginning with atmospheric sounds (the soloist, for example, is asked to play an arpeggio of unspecified, ‘bird-like’ harmonics), the work soon introduces a broad, lyrical melody. The passion rises (and it is possible to talk of passion in Vasks’ music), and then the soloist launches into the first of three cadenzas that will define the structure. Out of glacially-moving lower strings, a new lyrical section emerges and builds toward a folk-like dance (with glints of waltz) leading to the second cadenza. After more dance-like music, silence – and then slow music resumes. The aspiring lyricism of this work is won against genuine intrusion of drama; there are what sound like apprehensions

Peteris Vasks born 1946


of alarm and then the most intense of the cadenzas takes place, before the brief, lumbering return of dance music. Recollection of the opening melodic material suggests that we may have been listening all this time to a highly interesting arch structure; the return of atmospheric sounds supports this.

‘Nostalgia with a touch of tragedy’ partly explains the emotional appeal of this work. But it could also be explained by the prevailing singing style ‘through which I express my ideals’. Overall, Vasks asks listeners to hold out against the darkness and focus on the ‘distant light’.

Gordon Kalton Williams © 2015

This is the first performance of this work by the Adelaide Symphony Orchestra.


Concertmaster Natsuko Yoshimoto

Sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal Cello Ewen Bramble

Supported by Barbara Mellor

Principal Viola Juris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Principal 1st Violin Shirin Lim

Supported in the memory of Dr Nandor Ballai

For more information please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported by Peter & Pamela McKee

Violin Minas Berberyan

Supported by

Merry Wickes

Violin Alexis Milton

Supported by Patricia Cohen

Associate Principal Viola Imants Larsens

Supported by Mr & Mrs Simon & Sue Hatcher

Principal Cello Simon Cobcroft

Supported by Andrew & Gayle Robertson

Cello Chris Handley

Supported by Johanna and Terry McGuirk

Cello David Sharp

Supported byDr Aileen F Connon AM

Cello Sherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal Bass David Shilling

Supported by Mrs Maureen Akkermans

Bass David Phillips

Supported for ‘a great bass player with lots of spirit - love Betsy’

Bass Harley Gray

Supported by Bob Croser

Musical chair players and donors

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass Clarinet Mitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal Bassoon Mark Gaydon

Supported by Pamela Yule

Principal Tuba Peter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal Timpani Robert Hutcheson

Supported by an anonymous donor

Principal Clarinet Dean Newcomb

Supported by Royal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

Principal Trumpet Chair Position Supported by R & P Cheesman

Bassoon Leah Stephenson

Supported by Liz Ampt

Principal Piccolo Julia Grenfell

Supported by Chris & Julie Michelmore

Principal Contra Bassoon Jackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal Trumpet Martin Phillipson

Supported by Richard Hugh Allert AO

Principal Percussion Steven Peterka


Principal Harp Suzanne Handel

Supported byShane Le Plastrier

Associate Principal Horn Sarah Barrett

Supported by Margaret Lehmann

Principal Trombone Cameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Principal Oboe Celia Craig

Supported byPenelope & 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 WickesKim Williams AM

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

Richard Hugh Allert AOMr Bob CroserMr Donald Scott GeorgeMr Robert KenrickMrs Margaret LehmannMrs Joan LyonsJohanna & Terry McGuirkPeter & Pamela McKee

Mrs Pauline MenzDr J B RobinsonMr Norman Schueler OAM and Mrs Carol SchuelerThe Richard Wagner Society of South Australia IncMrs Pamela YulePlus two anonymous donors

Silver Patron ($2,500 - $4,999)

Mrs Maureen AkkermansMs Liz AmptR & P CheesmanMr Ollie Clark AM & Mrs Joan ClarkMrs Patricia CohenLegh & Helen DavisMr Colin Dunsford AM & Mrs Lib DunsfordNorman Etherington & Peggy BrockGeoffrey & Penelope Hackett-JonesMr & Mrs Simon & Sue HatcherShane Le Plastrier

Mrs Barbara MellorMr & Mrs Chris & Julie MichelmoreMr & Mrs Andrew & Gayle RobertsonRoyal Over-Seas League South Australia IncorporatedMr Ian SmailesMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyMrs M W WellsDr Betsy Williams & Mr Oakley DyerPlus one anonymous donor

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

Prof Andrew & Mrs Elizabeth Bersten

Graeme & Susan BethuneThe Hon D J & Mrs E M Bleby

Dianne & Felix BochnerDr Ivan CamensMr and Mrs Vincent and Sandra Ciccarello

Tony & Rachel DavidsonMr Bruce Debelle AODr Christopher DibdenMrs A E DowDr Alan Down & Hon Catherine Branson

Mrs Lorraine DrogemullerJiri & Pamela FialaIn Memory of Jim FrostRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenDr Robert HeckerDr I KlepperIan Kowalick AM & Helen Kowalick

Mr Peter McBrideDr & Mrs Neil & Fay McIntosh

Ms Jocelyn ParsonsCaptain R S Pearson CSC and Mrs J V Pearson

Mrs Christine & The Late Dr Donald Perriam

Ms Marietta ResekMr Mark RinneMr & Mrs Trevor & Elizabeth Rowan

Mr Roger SalkeldLarry & Maria ScottProfessor Ivan Shearer AMRoderick Shire & Judy Hargrave

Mr & Mrs H W ShortMr W & Mrs H StacyDr & Mrs Nigel & Chris Steele-Scott OAM

Ms Guila TiverDavid & Linnett TurnerMr J W ValeMrs Margaret VerranMr Nick WardenDr Richard & Mrs Gweneth Willing

Plus seven anonymous donors

Soloist Patron ($500 - $999)

Aldridge Family Endowment

Dr E Atkinson & Mr J Hardy

Ms Dora O’BrienBarbara BahlinMr John BakerMr & Mrs R & SE BartzMrs Judith BaylyDr Adam BlackMr Mark BlumbergDr & Mrs J & M BrooksMrs J L BrooksRob & Denise ButtroseMrs Josephine CooperFr John DevenportMr & Mrs Stephen & Emma Evans

Mr William FrogleyMr Otto FuchsDr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy

Dr Noel & Mrs Janet Grieve

Mr Neil HallidayMrs Eleanor HandreckMr John H Heard AMMr & Mrs Peter & Helen Herriman

Dr Douglas & Mrs Tiiu Hoile

Rhys & Vyvyan HorwoodMr & Mrs G & L JaunayMrs Elizabeth Keam AMMrs Bellena KennedyKerry & Barbara KirkeMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius

Mr J H LoveMr Colin MacdonaldRobert MarroneMrs Lee MasonMrs Skye McGregorMr Grant M MorganDr D G & Mrs K C MorrisMr Alex NicolDr John OvertonK & K PalmerMr Martin PenhaleMr & Mrs John & Jenny Pike

Mr Frank PrezJ M ProsserMr & Mrs David & Janet Rice

Mr Christopher RichardsDrs I and K Roberts-Thomson

Mrs Janet Ann RoverMr A D SaintMs Linda SampsonMr & Mrs W ScharerRobert Short & Sherry Kothari

Mr & Mrs Antony & Mary Lou Simpson

Christopher StoneMr David TurnerThe Honourable Justice Ann Vanstone

Prof Robert Warner

Mrs Pamela WhittleDr Nicholas WickhamMrs Gretta WillisMs Janet WorthHon David Wotton AM & Mrs Jill Wotton

Plus ten anonymous donors

Tutti Patron ($250 - $499)

Mr & Mrs David & Elaine Annear

Mr & Mrs A H & J A Baghurst

Mr Rob BaillieMr Brenton BarrittMrs Jillian BeareDr Gaby BerceJonathan BillingtonMr & Mrs Andrew & Margaret Black

Mrs Betty A BlackwoodLiz, Mike & Zoe BowenProf & Mrs John & Brenda Bradley

Ms Rosie BurnDr John CombeMr & Mrs R & J CopelandMiss Joan CorrMr Stephen CourtenayMr Don R R CreedyMr & Mrs Michael & Jennifer Critchley

Mrs Betty CrossMr John DaenkeMrs M D Daniel OAMMs Barbara DeedMr L J EmmettMs Barbara FergussonMr R P FletcherMr J H FordMr John GazleyMr & Mrs Andrew & Helen Giles

Mr John D HamannMrs Mary HandleyMrs Jill HayProf Robert & Mrs Margaret Heddle

Mrs Judith HeidenreichMr & Mrs Michael & Stacey Hill Smith

Mr John HoldenMr D G W HowardMs Patricia HurdleMr H JelfsMrs Rosemary KeaneMr Angus KennedyMr Peter KingMr & Mrs M & K KloppMrs Sue & The Late Mr Keith Langley

Mr G G LarwoodHon Anne Levy AOLodge Thespian, No. 195 Inc

Mrs Beverley MacmahonMr Ian Maitland

Mr A J MarriageMr & Mrs Rob & Sue Marshall

Dr Ruth MarshallMs Beverley MartinMrs Barbara MayMrs Caroline MilneMr & Mrs D & M MolyneuxMrs Josephine MonkMs Fiona MorganMrs Alyson MorrisonMrs Amparo Moya-KnoxReverend James Murton and Mrs Nina Murton

Dr Kenneth O’BrienMrs Christine O’NyonsThe Hon Carolyn PicklesKrystyna PindralMr & Mrs Michael & Susan Rabbitt

Mr & Mrs Ian & Jen Ramsay

Mr A L ReadMrs Jill RussellMr & Mrs Jeff & Barbara Ryan

Mr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMDr W T H & Mrs P M ScalesChris SchachtMr David ScownMs Gweneth ShaughnessyBeth & John ShepherdR & L SiegeleMr Brenton SmithMr & Mrs Jim & Anne Spiker

Eric StaakMr Gerrit StaffordMrs Jill StevensMr & Mrs Graham & Maureen Storer

Mrs Anne SutcliffeDr Anne Sved WilliamsMrs Verna SymonsMr & Mrs R & J TaylorMrs Jillian TierneyDr Peter TillettAnita Robinson & Michael Tingay

Ms Christine TrenordenKeith and Neta VickeryMr & Mrs Glen & Robina Weir

Mrs Ann WellsMr & Mrs Peter & Dawn Yeatman

Plus 22 anonymous donors The ASO also thanks the 602 patrons who gave other amounts in the past 12 months.


What your donations support Give proudly

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Into the Light 12&13 June 2015.pdf

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Transcript of Into the Light 12&13 June 2015.pdf