Konstant in P lays Tchaikovsky

A D E L A I D E S Y M P H O N Y O R C H E S T R A S E A S O N 2 0 1 8

M A S T E R S E R I E S 2

Thu 19 Apr, 6.30pmFri 20 Apr, 8.00pmAde la ide Town Ha l l

P R E S E N T I N G PA R T N E R

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This concert runs for approximately 120 minutes including a 20 minute interval.

Concert supported in memory of M I Podgoretsky, thanks to a generous anonymous donor.

Classical ConversationFree for ticket holders, held one hour prior to the performance in the Adelaide Town Hall. Presenters Anna Goldsworthy, pianist and Konstantin Shamray, soloist in conversation discussing the programmed works by Brahms, Tchaikovsky and Bartok.

Thu 19 Apr, 6.30pmFri 20 Apr, 8.00pm Adelaide Town Hall

Eivind Aadland Conductor Konstantin Shamray Piano

Konstantin Plays Tchaikovsky Maste r Se r ie s 2

Brahms Academic Festival Overture, Op.80

Tchaikovsky Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spirito Andantino semplice – Prestissimo – Andantino semplice Allegro con fuoco

Konstantin Shamray piano

Interval

Bartók Concerto for Orchestra, BB 123, Sz.116

Introduzione: Andante non troppo – Allegro vivace Giuoco delle coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante – Presto

Approximately 15 minutes after Thursday’s main performance, Konstantin Shamray will perform a short mini-recital as part of our new Coda offering at Thursday night Master Series concerts (ca. 15mins, Liszt: Mephisto Waltz No.1). Free for ticket holders.

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Sweet symphony!

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Good evening and welcome to tonight’s concert.

This Master Series program comes hot on the heels of our first Master Series program for the year – performed here in the Adelaide Town Hall less than a fortnight ago, in fact. Our next program in the series isn’t until June.

If this scheduling feels to you somewhat sporadic, I can only agree. It underscores the dilemma the ASO faces when it comes to having adequate access to performances venues.

It is by now a well-known fact that the ASO does not have its own ‘home’, a fit-for-purpose music performance space where the ASO can rehearse and perform and over which it has priority access.

It is also a well-known fact that despite earning the designation of UNESCO City of Music in 2015, Adelaide remains the only Australian city not to have a purpose-built concert hall.

Why does it matter? Well, there is a host of reasons.

First, having a dedicated facility would allow the ASO to plan with certainty and to schedule with regularity. It would give the ASO the ability to perform the entire gamut of orchestral repertoire in an acoustically optimum setting; new

backstage facilities would permit our 75 musicians to dress with privacy and not to have to share one bathroom; load-in facilities would not require our operations team to carry equipment through a commercial kitchen; and our conductors and soloists would have access to dressing rooms within easy access and on the same level as the stage.

For you, the members of the audience, and our reason for existing, it might allow an many of you uninhibited view of the concert platform from fixed, comfortable seats; easy access to and egress from the auditorium; room to mingle at interval; a hot cup of tea or chilled glass of wine without a queue; who knows, perhaps even a gift shop where you could purchase music, books, artwork or trinkets?

Above all, though, a purpose-built music venue would become the home of all music in Adelaide – a readily identifiable meeting place for the creation and performance of music at the highest level.

The ASO is determined to make such a facility a reality and has been part of various proposals in recent years. We are taking a new tack and you can expect to hear more from me on this topic. I hope to be able to enlist your support.

Enjoy the concert.

V incent C i ccare l loManag ing D i rec to r

WELCOME

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From 2004 to 2010, Eivind Aadland was Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra, during which time he conducted complete cycles of the Beethoven and Mahler symphonies. He has been Principal Guest Conductor of the Queensland Symphony Orchestra.

Within Scandinavia he has conducted the major orchestras as well as Den Norske Opera, Oslo in productions of Don Giovanni, The Marriage of Figaro, The Magic Flute and Die Fledermaus. He has toured China with the Trondheim orchestra, recorded with the Royal Liverpool Philharmonic, and worked with orchestras such as the Orchestre national du Capitole de Toulouse, Royal Flemish Philharmonic, Lausanne and Scottish Chamber Orchestras, Rotterdam Philharmonic, Seoul Philhamonic, Berlin Radio Symphony Orchestra and Tokyo Metropolitan Symphony Orchestra. Recent appearances have included concerts with the Iceland Symphony Orchestra, Trondheim Symphony, Belgian National Orchestra, Norwegian Academy of Music Orchestra, Kristiansand Symphony

Orchestra and Bergen Philharmonic. After this Australian visit, he appears with the Oslo Philharmonic and Uppsala Chamber Orchestra.

Eivind Aadland is a tireless advocate of Norwegian music. His recordings include a March 2017 release of Eyvind Alnaes’s Symphony and Piano Concerto with Håvard Gimse and the Oslo Philharmonic. November 2015 saw the final instalment in a five-CD set of Grieg’s complete orchestral works, recorded with the Cologne orchestra. Other recordings include works of Arne Nordheim, Eivind Groven, Irgen-Jensen and Ole Bull, as well as symphonies by Haydn recorded with the European Union Chamber Orchestra. He is a devoted collector of, and authority on, contemporary art. His private collection encompasses works in the diverse media of painting, photography, video and installation.

E i v ind Aad landConducto r

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Konstantin Shamray was born into a musical family in 1985 in Novosibirsk, Russia and thus his passion for piano and classical music began early, at the age of six, when he embarked on formal studies at Kemerovo Music School with Natalia Knobloch. At eleven years of age, he relocated to Moscow to study at the Gnessin Special Music School, progressing to the Russian Gnessin Academy of Music with Professor Tatiana Zelikman, then post-graduate studies with Vladimir Tropp. In 2014, he completed post masters-equivalent advanced courses at Hochschule fuer Musik in Freiburg, Germany with Professor Tibor Szasz.

In August 2008, Konstantin Shamray was announced the Winner of Sydney International Piano Competition. Mr. Shamray is the first and only musician to date in the 30+ year history of the competition to win both First Prize and People’s Choice Prize, in addition to six other prizes. Immediately following his success, he undertook a tour of 27 performances throughout Australia’s all states and territories. One year later, he partnered with the Australian String Quartet for their 13-concert National Subscription Tour of 2009. In 2010 his Australian and New Zealand tour consisted of 47 solo and orchestral performances. He recorded CDs for

the labels Naxos, ABC Classics and Fonoforum.

In October 2011, Mr. Shamray won First Prize at the Klavier Olympiade in Bad Kissingen, Germany and has since performed numerous times at the Kissinger Sommer Festival. In July 2013, following chamber recitals with Alban Gerhardt and Feng Ning, Konstantin Shamray was awarded the festival’s coveted Luitpold Prize for “outstanding musical achievements”. He has also enjoyed critical acclaim at the Klavier-Festival Ruhr, the Bochum Festival in Germany, the 11th Mariinsky International Piano Festival, the White Nights Festival with the Maryinsky Theatre Orchestra in St. Petersburg, Coriole Music Festival and the Adelaide Festival.

Konstantin Shamray’s international performances include solo recitals and collaborations with orchestras and distinguished conductors in Russia, Europe, Australia, New Zealand, Canada, Japan, Singapore and China. He has performed with the Russian National Philharmonic, the Mariinsky Theatre Orchestra, Moscow Virtuosi, Orchestre National de Lyon, Calgary Philharmonic, Belgrade Philharmonic and the Sydney and Adelaide Symphony orchestras among others.

Konstant in Shamray P iano

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Ade la ide Symphony Orchest ra

Principal ConductorNicholas Carter \

Principal Guest Conductor Mark Wigglesworth \

Artist-in-AssociationPinchas Zukerman \

VIOLINSNatsuko Yoshimoto** (Concertmaster)Cameron Hill** (Associate Concertmaster) Shirin Lim* (Principal 1st Violin)Michael Milton** (Principal 2nd Violin)Lachlan Bramble ~(Associate Principal 2nd Violin)Ann AxelbyErna BerberyanGillian BraithwaiteJulia BrittainHilary BruerJane Collins Judith CoombeKarla HannaAlison HeikeDanielle Jaquillard Alexis MiltonJennifer Newman Julie Newman Emma PerkinsAlexander Permezel Kemeri Spurr

VIOLAS Caleb Wright**Alex Brogan ~ (Guest Associate)Martin ButlerLesley Cockram Linda GarrettRosi McGowranCarolyn MoozMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft**Sherrilyn Handley ~ (Acting Associate)Sarah DenbighChristopher HandleyGemma PhillipsDavid SharpJillian VisserCameron Waters

DOUBLE BASSES David Schilling**Jonathon Coco~Jacky ChangDavid PhillipsHarley GrayBelinda Kendall-Smith

FLUTES Geoffrey Collins**Lisa GillJulia Grenfell

PICCOLOJulia Grenfell*

OBOESCelia Craig**Renae Stavely

COR ANGLAIS Peter Duggan*

CLARINETS Dean Newcomb** Darren SkeltonMitchell Berick

BASS CLARINETMitchell Berick*

BASSOONS Mark Gaydon**Jackie NewcombLeah Stephenson

CONTRA BASSOONJackie Newcomb*

HORNS Adrian Uren**Emma GreganAlex MillerPhilip Paine

TRUMPETS Owen Morris**David Khafagi ~ (Guest Associate)Gregory FrickTimothy Keenihan

TROMBONES Colin Prichard**Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBA Peter Whish-Wilson*

TIMPANI Robert Hutcheson*

PERCUSSION Steven Peterka** Jamie AdamGregory Rush

HARP Suzanne Handel*Carolyn Burgess

** Section Leader~ Associate Principal* Principal Player\ Conductors’ Circle Support (See p.21 for

list)

Correct at time of print

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Flowers supplied by

ASO BOARD MEMBERS

Colin Dunsford AM (Chairman)Vincent CiccarelloGeoffrey CollinsElizabeth DavisByron GregoryDavid LeonKaren LimbAndrew Robertson

ASO MANAGEMENT

EXECUTIVE

Vincent Ciccarello - Managing DirectorShecky Leask - Executive Administrator

ARTISTIC

Simon Lord - Director, Artistic PlanningKenan Henderson - Artistic Administrator

Dr Jennifer Rosevear AM - Acting Learning & Community Engagement CoordinatorKane Moroney - Audience Development Coordinator

FINANCE, OPERATIONS, PEOPLE & CULTURE

Guy Ross - Chief Operating OfficerHilary Faulds - Manager People & CultureKaren Frost - Orchestra ManagerKatherine Zhang - AccountantJanet Carey - Orchestra CoordinatorDavid Khafagi - Production & Venue CoordinatorKarin Juhl - Accounts CoordinatorBruce Stewart - Orchestral LibrarianEmma Wight - Administrative AssistantSarah McBride - Payroll CoordinatorDeclan Smith - Production & Venue Assistant Terri Figueroa - People & Culture Coordinator

MARKETING & DEVELOPMENT

Paola Niscioli - Director, Marketing & DevelopmentAlexandra Bassett - Donor Relations ManagerTom Bastians - Customer Service ManagerRenato Capoccia - Marketing ManagerRae O’Connell - Corporate Partnerships ManagerCheree McEwin - PublicistAnnika Stennert - Marketing CoordinatorHannah Truth - Development & Events CoordinatorEmma Quinn - Marketing Assistant

FRIENDS OF THE ASO EXECUTIVE COMMITTEE

John Pike – PresidentAlison Campbell – Immediate Past PresidentLiz Bowen & Michael Critchley – Vice PresidentsJudy Birze – TreasurerJohn Gell – Membership SecretaryRuth Bloch – Secretary

Correct at time of print

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Academic Festival Overture, Op.80

Brahms had never been a formally enrolled university student, but during the spring and summer of 1853 he’d had a rattling good time leading a student-style existence in Göttingen. He’d particularly enjoyed gathering with the local student population for a beer and schnapps, and to sing drinking songs.

Many years later, when at the prompting of the Breslau Orchestral Society Brahms was awarded an Honorary Doctorate at the University of Breslau, the by-now-famous composer responded with a concert overture in honour of the occasion. But rather than writing an ‘academic’ work based on dry contrapuntal principles or scholastic formulae, Brahms set out to complete a jovial piece based on the convivial aspects of student life which he had known first-hand.

In 1880, the year following the award of his doctorate, Brahms took four of his favourite student drinking songs and worked them into a free sonata structure using the largest and most percussion-dominated orchestra that he had ever employed. His working title

had been Viadrina (the Latin name for the University of Breslau), but he soon changed it to the title by which it is known today, noting that it was ‘a very boisterous potpourri of student songs à la Suppé’ – a reference to Franz von Suppé’s opera Flotte Bursch of 1863, which is constructed in the same way.

The four songs on which the work is based are Wir hatten gebauet ein stattliches Haus (We had built a stately house), which is introduced in chorale-like fashion by the brass; Der Landesvater (The father of our country), heard first on the second violins; the undergraduate initiation song Was kommt dort von der Hoh, introduced by bassoons over pizzicato figures in the violas and cellos; and finally, a full orchestral version of Gaudeamus igitur, a medieval student song that Suppé had also used in Flotte Bursch. Given its grand sense of occasion and rousing spirit, it’s the kind of piece which suggests that Brahms may have written a terrific opera had he ever felt so inclined.

The fun starts right at the beginning, with a pompously solemn opening in

Johannes B rahms (1833-1897)

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C minor, rapidly giving way to the high spirits which characterise the piece as a whole. With rushing scales in the strings, brass chorales, and cymbals, triangle and drum pounding away, Brahms parodies the Wagner of the Mastersingers Overture, and towards the end it seems Schumann’s Spring Symphony comes in for the same treatment.

The work was first performed in Breslau’s Konzerthaus in January 1881 with the composer conducting an all-Brahms program including the Second Symphony and the Tragic Overture. According to one report, the Breslau students were so impressed by the Academic Festival Overture, they began singing their own obscene versions of the words during the premiere.

Martin Buzacott © Symphony Australia

The Adelaide Symphony Orchestra first performed this work on a regional tour on 14-15 November 1951 under Rudolf Pekárek and most recently on 20-22 July 2000 with János Fürst.

Duration: 10 minutes

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Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spiritoAndantino semplice – Prestissimo – Andantino sempliceAllegro con fuoco

If it was fortuitous that Tchaikovsky succeeded at his first attempt, writing perhaps the ‘greatest piano concerto of all time’, then it is remarkable that he simultaneously created a new Russian genre. Excepting the earlier examples by his teacher, Anton Rubinstein (of whose works critics noted a lack of ‘Russianness’), Tchaikovsky’s First Piano Concerto established a model renowned for drama and lyricism, marked by extraordinary virtuosity. Such attributes can be noted in later compositions by Rachmaninov, Medtner, Scriabin and Prokofiev, to name just a few. The relative lateness in establishing a Russian concerto genre was a result of the Europe-leaning tastes of the Imperial court, art-music being an imported commodity until the middle of the 19th century. In Russian music, as in other disciplines, the distinctive

characteristics of the land and its people were yet to be fully explored. It was not until Rubinstein created a music school in St Petersburg in the 1860s that native composers were able to receive professional training, and it was a young Tchaikovsky who achieved the title of ‘free artist’ in its first graduating year.

Written over six weeks late in 1874, the concerto is not Tchaikovsky’s only youthful work to find a permanent place in the repertoire – Romeo and Juliet (1869, later revised) and Swan Lake (1876) are distinguished inclusions – but it was the first to receive an international premiere. The dedicatee of the concerto, Hans von Bülow, performed the work in Boston, Massachusetts in 1875 to positive reviews, yet one wonders if the small band, consisting of only four first violins, were a match for the music’s potential. (A critic noted that, after a missed entry of the trombones in the first movement, von Bülow cried out ‘the brass may go to hell!’) Rather, it is likely that the potential of the new concerto was first realised in a performance in Moscow by Sergei Taneyev later that year, following an apparently mediocre performance

Pete r I l y i ch Tcha ikovsky (1840-1893)

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by Gustav Kross in St Petersburg. Of Taneyev, the composer noted that he ‘could not wish to hear a better performance’, and he was touched that his Moscow student had dedicated himself to mastering the work.

And ‘mastery’ is what is required here of pianists. It had been to Anton Rubinstein’s younger brother, Nikolai, that Tchaikovsky had turned within days of the score’s completion, seeking advice about piano composition that only a professional could offer. Instead, and quite notoriously, he savaged the composition, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over the reason for Rubinstein’s reaction – ranging from jealousy to a tempestuous personality – but the defiant young composer remained true to his word, publishing the work exactly as it stood. In any event, Nikolai Rubinstein was soon to recant his position: as well as conducting the first Moscow performance with Taneyev, he performed it often as soloist in the years before his early death.

With hindsight, it might have been over the demanding solo part that Rubinstein voiced concerns, or about sections where piano textures might be lost beneath the orchestration. Similarly, it could have been about structural matters that are still difficult to explain today, chief of which is the famous melody that begins the concerto but which, inexplicably, never returns. (A melody which, furthermore, is technically in the ‘wrong’ key.) In this opening passage, Tchaikovsky eventually relented to advice, replacing the lightweight arpeggios that had previously accompanied the soaring melody with the now-famous double-octave chords (revised version, 1889). In terms of structure, it is the brisk, dotted theme that quietly follows which is the real first subject in this sonata-form movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows in the style of the newly formed nationalist group of composers – the so-called kuchka – by using a Ukrainian folksong, ‘Oy, kryatshe, kryatshe’.

The simple theme that opens the second movement typifies Tchaikovsky’s

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innate gift for melody, the solo flute conjuring folk-like affinities. A central section – originally marked Allegro vivace assai but later escalated to Prestissimo, no doubt capitalising on the concerto’s virtuosic appeal – briefly quotes a café waltz, Il faut s’amuser, danser et rire, well-known to the composer’s circle of friends. And it is to another Ukrainian folksong, ‘Vïdy, vïdy, Ivan’ku’, that Tchaikovsky turns for the principal theme of the finale, its dance-like cross-rhythms again evoking national character. The broadly lyrical melody that contrasts with this material twice succeeds in holding back the momentum, before the concerto arrives at a seemingly inevitable conclusion: a forceful octave cadenza traverses the entire keyboard, and moves headlong into an apotheosised statement of the movement’s lyrical theme. With the pianist indefatigably leading the entire orchestra with fortissimo treble chords, it is a famous and satisfying ending. (And for more than a few of the composers who followed, one that proved irresistible to copy!)

Scott Davie © 2011/2013

The Adelaide Symphony Orchestra first performed Tchaikovsky’s First Piano Concerto at a War Funds Concert on 13 August 1942 with conductor Bernard Heinze and soloist Raymond Lambert. The ASO most recently performed it on 1 August 2015 with Vasily Petrenko and Simon Trpčeski.

Duration: 45 minutes

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Concerto for Orchestra, BB 123, Sz.116

Introduzione: Andante non troppo – Allegro vivaceGiuoco delle coppie: Allegretto scherzandoElegia: Andante non troppoIntermezzo interrotto: AllegrettoFinale: Pesante – Presto

Bartók himself described the Concerto for Orchestra in a program note as ‘a gradual transition from the sternness of the first movement…to the life-assertion of the last one’. The piece was composed during the autumn of 1943 by the idyllic Saranac Lake in upstate New York, and was premiered by the Boston Symphony Orchestra under Serge Koussevitzky in December 1944. As its title suggests, it is more than a symphony, rather a work where, as Bartók put it, ‘single instruments or instrument-groups’ are treated ‘in a concertante or soloistic manner’.

In view of his circumstances at the time it is hard to imagine how Bartók could speak in terms of life-assertion, let alone produce such a sustained piece of beautifully crafted and radiant

music. Bartók and his wife had arrived in the USA as refugees from fascism in 1940 and made a precarious living from performances and teaching. Early in 1943, Bartók’s health deteriorated – the trip to Saranac Lake, paid for by the American Society for Composers, Authors and Publishers, was for him to convalesce after a mysterious illness that proved to be the early signs of leukaemia; the commission from Koussevitzky was secretly brokered by fellow Hungarian emigrés to help Bartók’s dire finances.

While the Concerto makes a linear transition from sternness to life-affirmation, it is, formally, symmetrical, an example of what scholars call ‘arch-form’. The outer movements, and the even-numbered ones, mirror each other in their duration and tempo, and the whole work pivots on the central Elegia. The work begins mysteriously, producing a motif of rising perfect fourths (a reminiscence of Bartók’s 1911 opera, Bluebeard’s Castle) that will return, inverted, in the Elegia. It leads to an impassioned, buoyant Allegro section, a rich mosaic of orchestral colour that offers moments of quiet delicacy

Bé la Bar tók (1881-1945)

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and reaches its climax in a jubilant cacophony of hunting calls from the brass.

The second movement, Giuoco delle coppie (‘game of pairs’), is introduced by a passage of drum taps, after which pairs of instruments state a perky tune that is always harmonised in mellifluous sixths – until the muted trumpets insist on playing it in dissonant parallel seconds. This musical joke is dispelled by a solemnly glowing ‘chorale’ passage from the rest of the brass, before a return to a version of the original material. The Elegia that follows, with its folk melodies and birdcalls, reflects Bartók’s grief at leaving a homeland that would be forever changed, but this spills over into sarcastic anger in the fourth movement. A deceptively simple Balkan tune, passed among the winds, alternates with a broad ‘Hungarian’ melody in the strings. The clarinet then introduces a parody of the ‘fascist’ march theme from Shostakovich’s ‘Leningrad’ Symphony, whose popularity Bartók despised, which is in turn crushed by loud raspberries from the trombone section.

The finale is a thrilling compendium of orchestral colour, energetic ostinatos and passages of masterful counterpoint. Bartók proudly reported that Koussevitzky thought it ‘“the best orchestra piece in the last 25 years”, including the works of his idol Shostakovich’.

© Gordon Kerry 2014

The Adelaide Symphony Orchestra first performed Bartók’s Concerto for Orchestra on 30 May 1963 with conductor Henry Krips, and most recently in July 2014 under Eugene Tzigane.

Duration: 36 minutes

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Philanthropy makes a difference to everything we do at the ASO. Our donors and sponsors are a highly valued part of the orchestra and integral to our success.

Thanks to your generous support, we can continue to share the music, perform the works you love and bring world class performances to South Australia.

We invite you to be part of our story.

Vincent Ciccarello Managing Director

Annua l G i v ing

Our Annual Giving program is the backbone of philanthropy at the ASO, providing the resources to make our orchestra the exceptional ensemble you see on stage each night.

Donations can be made year round and gifts of any size are welcome, and much appreciated. There are many ways to support the orchestra, including joining our Conductors’ Circle or Musical Chair programs which we acknolwedge on the following pages.

A list of our generous donors can be found on page 24. Please use the contact details below for more details on making a gift.

Gra inger C i rc le

A lasting way to support the ASO is to leave a gift to the orchestra in your will. It is a unique way to honour your love of music and the part it has played in your life.

If you are leaving a bequest to the ASO, we encourage you to contact us so that we can thank you for your gift during your lifetime. Of course, your bequest can remain anonymous and we will acknowledge your gift privately.

In appreciation of your support, you will be invited to join our Grainger Circle and meet like-minded music lovers at events throughout the year.

Corporate PartnershipsA partnership with the ASO is a wonderful way for businesses to engage with and support live orchestral music in South Australia. We offer unique corporate networking opportunities, brand awareness, community engagement and education programs, as well as employee and client rewards. Please contact us to find out more about the levels and benefits of becoming a Corporate Sponsor.

ContactFor more information please contact:

Donations Alexandra Bassett Donor Relations Manager

8233 6221 / bassetta@aso.com.au

Corporate Partnerships

Paola Niscioli Director, Marketing & Development 8233 6233 / nisciolip@aso.com.au

Suppor t Us

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Ph i lanth rop ic Par tner s

We gratefully acknowledge the support of the following foundations, trusts and private ancillary funds, whose generous support of the orchestra has been transformative.

Friends of the Adelaide Symphony Orchestra

FWH Foundation

Lang Foundation

Thyne Reid Foundation

Dr Sing Ping Ting

Ar t i s t i c Leadersh ip Team

Grace CliffordEmerging Artist in Association

Supported by Boileau Family Trust

Pinchas ZukermanArtist in Association

Mark WigglesworthPrincipal Guest Conductor

Nicholas CarterPrincipal Conductor

Cathy MillikenComposer in Association

Supported by Mary Louise Simpson, in honour of her mother, Grace Margaret McArthur

Supported by Conductors’ Circle donors

The Friends of the ASO Robert Kenrick Joan Lyons Diana McLaurin

Pauline Menz Robert Pontifex AM, in memory of Deborah Pontifex Anonymous (1)

Principal Bass David Schilling

Patricia Cohen

Mus ica l Cha i r s

Musical Chair donors form a deeper engagement with the artists performing the music they love. Chair support starts at $2500, renewed annually.

Concertmaster Natsuko Yoshimoto

ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Violin Hilary Bruer

Marion Wells

Violin Judith Coombe

In memory of Don Creedy

Violin Julie Newman

Graeme & Susan Bethune

Violin Emma Perkins

Peter & Pamela McKee

Principal Viola Caleb Wright

In memory of Mrs JJ Holden

Associate Concertmaster Cameron Hill

The Baska Family

Principal 2nd Violin Michael Milton

The Friends of the ASO in memory of Ann Belmont OAM

Principal 1st Violin Shirin Lim

Bob Croser

Associate Principal 2nd Violin Lachlan Bramble

In memory of Deborah Pontifex

Violin Ann Axelby

David & Linnett Turner

Violin Minas Berberyan

Merry Wickes

Violin Gillian Braithwaite

Mary Dawes BEM

Viola Martin Butler

John & Emmanuelle Pratt

Cello Gemma Phillips

An anonymous donor

Cello David Sharp

Dr Aileen F Connon AM

Cello Cameron Waters

Peter & Pamela McKee

Associate Principal Cello Ewen Bramble

Barbara Mellor

Principal Cello Simon Cobcroft

An anonymous donor

Cello Sarah Denbigh

An anonymous donor

“The ASO’s Musical Chair Program has become an increasingly important way for the community to support the orchestra. The program provides a great opportunity for donors to form personal connections with the musicians, and is great fun.”

Chris Michelmore, chair supporter of Julia Grenfell since 2012

Principal Clarinet Dean Newcomb

Royal Over-Seas League SA Inc

Bass David Phillips

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

Bass Belinda Kendall-Smith

In memory of Drs Nandor Ballai & Georgette Straznicky

Principal Flute Geoffrey Collins

Pauline Menz

Flute Lisa Gill

Dr Tom & Sharron Stubbs

Principal Piccolo Julia Grenfell

Chris & Julie Michelmore

Principal Oboe Celia Craig

In memory of Geoffrey Hackett-Jones

Oboe Renae Stavely

Roderick Shire & Judy Hargrave

Principal Cor Anglais Peter Duggan

Dr Ben Robinson

Clarinet Darren Skelton

In memory of Keith & Susie Langley

Principal Bass Clarinet Mitchell Berick

Nigel Stevenson & Glenn Ball

Principal Bassoon Mark Gaydon

Pamela Yule

Bassoon Leah Stephenson

Liz Ampt

Principal Contra Bassoon Jackie Newcomb

Norman Etherington AM & Peggy Brock

Principal Horn Adrian Uren

Roderick Shire & Judy Hargrave

Associate Principal Horn Sarah Barrett

Margaret Lehmann

Horn Emma Gregan

The Richard Wagner Society of South Australia Inc.

Horn Alex Miller

Andrew & Barbara Fergusson

Principal Trumpet Owen Morris

David Leon

Principal Bass Trombone Howard Parkinson

Ian Kowalick AM & Helen Kowalick

Principal Tuba Peter Whish-Wilson

Ollie Clark AM & Joan Clark

Principal Timpani Robert Hutcheson

Drs Kristine Gebbie & Lester Wight

Principal Percussion Steven Peterka

The Friends of the ASO

Associate Principal Bass Jonathan Coco

Could this be you?

Bass Harley Gray

Bob Croser

Cello Gemma Phillips

An anonymous donor

Cello David Sharp

Dr Aileen F Connon AM

Cello Cameron Waters

Peter & Pamela McKee

Associate Principal Cello Ewen Bramble

Barbara Mellor

Principal Cello Simon Cobcroft

An anonymous donor

Cello Sarah Denbigh

An anonymous donor

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ASO Annua l G i v ing

Diamond Patron ($25,000+)The Friends of the Adelaide Symphony OrchestraFWH FoundationAnthony & Margaret GerardLang FoundationRoger & Helen SalkeldMary Louise SimpsonDr Sing Ping TingAnonymous (1)

Platinum Patron ($10,000 - $24,999)Boileau Family TrustDr Aileen Connon AMCoopers Brewery LtdRodney Crewther & Galina PodgoretskyRobert KenrickJoan LyonsPeter & Pamela McKeeDiana McLaurinPauline Menz

Robert Pontifex AMAnonymous (2)

Gold Patron ($5,000 - $9,999)Bob CroserColin Dunsford AM & Lib DunsfordEstate of Lilly KusmanoffPenelope Hackett-JonesUlrike Klein AOIan Kowalick AM & Helen KowalickMargaret LehmannJohanna & Terry McGuirkAndrew & Gayle RobertsonSan Remo Macaroni Company Pty LtdNorman Schueler OAM & Carol SchuelerRoderick Shire & Judy HargravePamela YuleAnonymous (1)

Silver Patron ($2,500 - $4,999)Liz AmptThe Baska FamilyGraeme & Susan BethuneOllie Clark AM & Joan ClarkPatricia CohenRuth CreedyLegh & Helen DavisMary Dawes BEMLorraine DrogemullerNorman Etherington AM & Peggy BrockAndrew & Barbara FergussonDrs Kristine Gebbie & Lester WrightJudy & Koon Hwee KohIn memory of Keith & Susie LangleyDavid LeonBarbara MellorChris & Julie MichelmoreChristine PerriamJohn & Emmanuelle PrattDr J B RobinsonRoyal Over-Seas League South Australia IncorporatedLinda SampsonHenry & Dorothy ShortNigel Stevenson & Glenn BallDr Nora StraznickyDr Tom & Sharron StubbsThe Richard Wagner Society of South Australia IncDavid & Linnett TurnerNick WardenM W WellsMerry WickesDr Betsy WilliamsAnonymous (3)

The Annual Giving program supports the Adelaide Symphony Orchestra’s main activities and helps keep us on the stage. Thank you to all of our generous donors.

Maestro Patron ($1,000 - $2,499)

Neil ArnoldA. Prof Margaret ArstallRob BaillieJudy BaylyProf Andrew & Prof Elizabeth Bersten

The Hon D J & E M BlebyLiz BowenGillian BrocklesbyVincent & Sandra Ciccarello

Josephine CooperTony & Rachel DavidsonBruce Debelle AODeborah DownDr Alan Down & The Hon Catherine Branson QC

Pamela Fiala, in memory of Jiri

Donald Scott GeorgeRJ, LL & SJ GreensladePeter R GriffithsDonald GrowdenDaniel & Sue HainsRobert HeckerMargo Hill-SmithClayton & Susan HuntElizabeth Keam AMDr I KlepperHon Diana Laidlaw AMMark Lloyd & Libby Raupach

Lee MasonDavid & Ann MatisonSkye McGregorDr Neil & Fay McIntoshDavid & Pamela McKeeDavid MinnsDavid & Kerrell MorrisDr Darren MounkleyK & K PalmerJocelyn ParsonsTom F PearceChristopher RichardsWarren & Margaret Scharer

Larry & Maria ScottBeth & John Shepherd

Nigel Steele ScottChristopher StoneGuila TiverJames W ValeAnn WellsPamela WhittleDr Richard WillingR & G WillisJanet WorthAnonymous (10)

Soloist Patron ($500 - $999)

Aldridge Family Endowment

Barbara BahlinJohn BakerR & SE BartzTom Bastians & Lucy Eckermann

Ruth BlochMark BlumbergDianne & Felix BochnerProf J & B BradleyDr J & M BrooksRob & Denise ButtroseJohn & Flavia CapornKathleen & Richard CarterStephen CourtenayBetty CrossHonourable Dr Rosemary Crowley AO

John DaenkeDrs Ruth & David DaveyFr John DevenportAnne Eleanor DowKay DowlingJane DoyleOtto FuchsRichard GilesJosephine HailsNeil HallidayDr Helen Marmanidis & Dr Michael Hammerton

Eleanor HandreckDavid G W HowardRosemary KeaneBellena KennedyDavid Kirke

John H LoveDr Scott C Y MaBeverley MacmahonMelvyn MadiganProf Susan Magarey & Prof Susan Sheridan

Ruth Marshall and Tim Muecke

Melissa BochnerPeter McBridePat Lescius & Michael McClaren

Diane McEwenCarole McKayAmparo Moya-KnoxDr Craig Mudge AO & Maureen Mudge

Dora O’BrienDr Kenneth O’BrienCaptain R. S. Pearson, CSC & Jan Pearson

Martin PenhaleJohn & Jenny PikeDonald G PittJosephine M ProsserMarietta ResekDavid & Janet RiceMark RinneGarry Roberts & Lynn Charlesworth

Drs I C & K F Roberts-Thomson

David & Emma RobinsonJill RussellRichard Ryan AO & Trish Ryan

Frank & Judy SandersIn memory of Frida SapgirDavid ScownGwennyth ShaughnessyW & H StacyAnne SutcliffeVerna SymonsS & S ThomsonAnne TonkinChristine & Lynn Trenorden

Jenny & Mark TummelDr Nicholas WickhamAnonymous (15)

Tutti Patron ($250 - $499)

111 Patrons

Donor ($2 - $249)

682 Patrons

In memory of Veronica Quintell, former Violinist, donated by the ASO Players Association.

Correct as at 28 Feb 2018

G OV E R N M E N T PA R T N E R S

P L AT I N U M PA R T N E R

M A J O R PA R T N E R S

P H I L A N T H R O P I C PA R T N E R S & PA F S

W O R L D A R T I S T PA R T N E R S

CO R P O R AT E PA R T N E R S

M E D I A PA R T N E R S

I N D U S T RY CO L L A B O R ATO R S

CO R P O R AT E C L U B

Dr Sing Ping Ting FWH Foundation

Haigh’s Chocolates

Hickinbotham Group

Isentia

Normetals

Poster Impact

SEA Gas

Size Music

The ASO receives Commonwealth funding through the Australia Council; its arts funding and advisory body

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

Thank You to our Par tner s

P R E S E N T I N G PA R T N E R