Beyond P ictures

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 4

Fri 22 Jun, 8pmSat 23 Jun, 6.30pmAde 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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Classical ConversationFree for ticket holders, held one hour prior to the performance time in the Adelaide Town Hall. Popular conductor, broadcaster and educator Graham Abbott is joined by ASO Principal Cor anglais Peter Duggan to discuss the works by Sibelius, Rachmaninov, Pärt, and Mussorgsky in tonight’s programme.

Fri 22 Jun, 8pmSat 23 Jun, 6.30pmAdelaide Town Hall

Arvo Volmer Conductor Stephen Hough Piano

Beyond Pictures Maste r Se r ie s 4

Sibelius Lemminkäinen Suite, Op.22: ‘The Swan of Tuonela’

Rachmaninov Rhapsody on a theme of Paganini, Op.43

Stephen Hough Piano

Interval

Pärt Swansong

Mussorgsky orch. Vladimir Ashkenazy

Pictures at an Exhibition

Promenade IGnomus Promenade IIIl Vecchio Castello (The Old Castle) Promenade IIITuileriesBydloPromenade IVBallet des poussins dans leurs coques (Ballet of the Unhatched Chickens) Samuel Goldenberg and SchmuÿlePromenade VLimoges Catacombs Con mortuis in lingua mortua (With the Dead in a Dead language)Baba-Yaga Great Gate of Kiev

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

This performance will be recorded for delayed broadcast on 29 Jun, 12.30pm & 1 Aug, 12.30pm

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Sweet symphony!

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Arvo Volmer was Music Director of the Adelaide Symphony Orchestra from 2004 to 2013 and was the ASO’s Principal Guest Conductor, 2013-15.

He studied at the Tallinn State Conservatory from 1980 to 1985, then in Leningrad, as well as taking part in Helmuth Rillings mastercourses in the US. In 1989 he won the special prize and Fourth place at the International Nicolai Malko Conductors Competition.

Arvo Volmer made his professional with the Estonian National Opera at the age of 22. He became Associate Conductor of the Estonian National Symphony Orchestra in 1989 and was Music Director, 1993-2001. Other titled positions have included Chief Conductor and Artistic Director of Finland’s Oulu Symphony Orchestra and Artistic Director and Chief Conductor at the Estonian National Opera, appointed the same year he became director of the ASO.

As Music Director of the ASO, Arvo Volmer conducted the Orchestra in a highly-acclaimed five-year long Mahler cycle as well as Schumann and Sibelius festivals. He led the Orchestra on tour to Los Angeles and New York. Milestones with

the Estonian National Opera were the first Estonian productions of Tristan and Isolde and Parsifal as well as production and DVD recording of Erkki-Sven Tüür’s Wallenberg.

Since the 2014-15 season, Arvo Volmer has been Music Director of the Orchestra Haydn. Other orchestras he has conducted include: the NHK Symphony Orchestra Tokyo Netherlands Radio Philharmonic Orchestra, BBC Philharmonic, Orchestre National de France, St.Petersburg Philharmonic Orchestra, São Paulo Symphony Orchestra OSESP, Orchestra of the Komische Oper Berlin, and most of Scandinavia’s major ensembles. As an opera conductor, Volmer has appeared at the Bolshoi Theatre, Finnish National Opera, and Norwegian Opera, among others.

His recordings include performances with the ASO of Peter Sculthorpe’s Requiem and the complete symphonies of Sibelius.

Arvo Vo lmer Conducto r

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As pianist, Stephen Hough has appeared with many of the world’s leading ensembles including the Berlin, London, and New York Philharmonic Orchestras, Chicago, Boston, and San Francisco Symphony Orchestras, Minnesota Orchestra, Budapest Festival Orchestra and Russian National Orchestra. He has given recitals at New York’s Lincoln Center and Carnegie Hall, and in London, Hong Kong and Paris. He is a regular guest at festivals such as Salzburg, La Roque d’Anthéron, Edinburgh, and the BBC Proms, where he has made over 25 concerto appearances. His schedule since the beginning of the year has included: Beethoven concertos with the Royal Liverpool Philharmonic (as Artist in Residence), Brahms’ Piano Concerto No.1 with the Filarmonica Arturo Toscanini in Parma and the Illinois Symphony in Springfield, Rachmaninov’s Piano Concerto No.1 with the National Arts Center Orchestra (Ottawa), Slovak Philharmonic and RAI Orchestra Turin, recitals in Europe, America and the UK, and a US tour with the Berlin Philharmonic Wind Quintet which included performances of his own work, Was mit der Tränen geschieht.

Conductors with whom he has worked include James Judd, Sir Mark Elder and Vassily Petrenko.

Stephen Hough has a large discography including his latest release, of Debussy’s piano music, and his own Missa mirabilis in a recording by the Colorado Symphony conducted by Andrew Litton. He is also featured in an iPad app about the Liszt Piano Sonata, which includes a fully-filmed performance.

Stephen Hough was the first classical pianist to be awarded a MacArthur Foundation Fellowship and was made a Commander of the Order of the British Empire (CBE) in 2014. Named by The Economist as one of Twenty Living Polymaths, since the beginning of the year, he has had columns published in The Times, New York Times, The Week, and The Tablet. His first novel, The Final Retreat, was published in March.

Stephen Hough 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)Janet AndersonAnn AxelbyErna BerberyanMinas BerberyanGillian BraithwaiteJulia BrittainHilary BruerJane Collins Judith CoombeBelinda GehlertAlison HeikeDanielle Jaquillard Alexis MiltonJennifer Newman Julie Newman Emma PerkinsAlexander Permezel Kemeri Spurr

VIOLAS Caleb Wright**Lesley Cockram~ (Acting Associate)Martin Butler OAMAnna HansenLinda GarrettRosi McGowranCarolyn MoozMichael RobertsonCecily SatchellHeidi von Bernewite

CELLOS Simon Cobcroft**Ewen Bramble~Sarah DenbighChristopher HandleySherrilyn HandleyGemma PhillipsDavid SharpCameron Waters

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

FLUTES Geoffrey Collins**Lisa GillJulia Grenfell

PICCOLO Julia Grenfell*

OBOESCelia Craig**Renae StavelyPeter Duggan

COR ANGLAIS Peter Duggan*

OBOE D’AMOREPeter Duggan*

CLARINETS Dean Newcomb**Damien HurnDarren Skelton

Eb CLARINET Darren Skelton*

BASS CLARINET Mitchell Berick*

BASSOONS Mark Gaydon**Leah Stephenson

CONTRA BASSOON Jackie Newcomb*

HORNS Adrian Uren**Sarah Barrett~Emma GreganAlex MillerPhilip Paine

TRUMPETS Owen Morris**Martin Phillipson~Gregory Frick

TROMBONES Colin Prichard**Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBA Peter Whish-Wilson*

TIMPANI Robert Hutcheson*

PERCUSSION Steven Peterka** Jamie AdamAmanda GriggAndrew PenroseGregory Rush

HARPS Suzanne Handel**Carolyn Burgess

CELESTE Katrina Reynolds* (Guest Principal)

** Section Leader~ Associate Principal* Principal Player\ Conductors’ Circle Support (See p.24 for list)

Correct at time of print

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Correct at time of print

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Lemminkäinen Suite, Op.22: The Swan of Tuonela

The four tone poems which comprise Sibelius’ Lemminkäinen Suite (sometimes known as Four Legends from the Kalevala) have a common inspiration and seem so clearly to emanate from a singular musical spirit that a first-time listener might not be surprised if Sibelius simply called them, collectively, a symphony.

Although, towards the end of his life, Sibelius remarked that the Suite was worthy of standing as one of his symphonies, the four movements were not conceived together, and he revised each of them at different times and in different ways. Nevertheless, they are a wonderfully cohesive whole, and with En saga and the grand choral symphony Kullervo are his earliest major works.

The Kalevala is the Finnish national epic, a collection of mythological tales which has inspired may Finnish poets and painters. It was from the Kalevala that Sibelius drew the inspiration for the opera The Building of the Boat, which he began composing in 1892. Inspired by Wagner’s music dramas, he

began the project with high hopes, but abandoned it soon after. Instead he revised the prelude to the opera, and this became The Swan of Tuonela (1893), the best-known and most frequently played of the Legends. Other music from the opera was re-worked for use in Lemminkäinen in Tuonela, after which Lemminkäinen and the Maidens of Saari and Lemminkäinen’s Return were quickly completed.

The four works were performed together in April 1896. Sibelius then revised them before a further performance in 1897, and continued revising the individual pieces intermittently until 1937. The four works were not published together until 1954.

The Four Legends concern themselves with the exploits of Lemminkäinen, one of four principal heroes in the Kalevala epic. He was described by one annotator as ‘a jovial, reckless personage whose intrepidity and beauty made him the favourite of women’, and these Legends celebrate his journeys to the enchanted island of Saari and to Tuonela, the land of the dead; his resurrection there, aided by his mother’s magic powers; and his return home.

Jean S ibe l i u s (1865-1957)

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Lemminkäinen asks the Old Woman of Pohja for her daughter’s hand in marriage. She agrees, but only on condition that he successfully complete three tasks: on snowshoes, to capture the Elk of Hiisi; to harness fire-breathing creatures; and then to shoot the Swan of Tuonela with a single arrow. (He failed in this, and was killed, but his magical mother put him back together again.)

The composer’s own program note for The Swan says ‘Tuonela is the land of death, the Hades of Finnish mythology, surrounded by a large river with black waters and a rapid current, on which the Swan of Tuonela floats majestically, singing.’ [Tuoni means ‘death’.] Sibelius’ music creates the appropriate funereal atmosphere. One of the most famous and challenging solos for cor anglais in the entire repertoire evokes both the moody tranquillity of the scene, and also the reediness of the swan’s song. The opening phrase of the cor anglais denotes the principal theme of the entire work; a theme which is echoed and answered by other sections of the orchestra. The string section is subdivided into as many as 17 different parts, all muted (except for the double basses). The combination of these dark

timbres and the sombre use of drums was so effective that the work (along with Lemminkäinen’s Return) played a major role in establishing Sibelius’ international reputation.

Adapted from a note by Phillip Sametz © 1993

The Adelaide Symphony Orchestra first performed The Swan of Tuonela on 18 September 1943 under conductor Bernard Heinze, and most recently on 10 November 2010 with David Sharp.

Duration: 10 minutes

Lemminkäinen’s Mother by Akseli Gallen-Kallela (1897)

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Rhapsody on a theme of Paganini, Op.43

On leaving Russia for good in 1917, Rachmaninov descended into a composerly silence. While he busied himself with his self-appointed task of acquiring a concert pianist’s repertoire, so that he could earn a steady income, he ceased composing altogether.

After deciding to settle in the USA, he gave 40 concerts in four months during his first concert season there. But he gradually reduced his concert commitments until, in 1925, he had nine months free of performances. During this period he composed his first post-Russian pieces, Three Russian Songs for Chorus and Orchestra, which were well received, and the Piano Concerto No.4, which was greeted with widespread indifference. Rachmaninov was so dismayed at the work’s failure that he withdrew it until he could re-examine it thoroughly, which he was not able to do until 1941.

Rachmaninov was always sensitive about his own music, and his eagerness to bring a new concerto into his repertoire – for his first three were by now very

popular works – had been seriously rebuffed by the Fourth Concerto’s failure after its 1927 debut. He did not produce another work for four years.

When the Variations on a theme of Corelli for solo piano appeared in 1931, they not only signalled a more astringent approach to harmonic language and musical texture, but indicated that a large-scale variation structure might serve Rachmaninov’s musical needs better than the more traditional concerto structure in which success had so recently eluded him.

So the Corelli Variations, still not particularly popular, might be thought of as the moodier, introspective dress rehearsal for the work that was to follow, the Rhapsody on a theme of Paganini. The Corelli ‘theme’ Rachmaninov chose was actually not by Corelli at all, but was the Baroque popular tune La Folia, which forms the basis of a movement in Corelli’s violin sonata Op.5 No.12. It was to another celebrated work for violin that Rachmaninov turned for the Rhapsody: the 24th Caprice of Paganini that had already been mined with distinguished results by Schumann, Liszt and Brahms, not to mention Paganini

Serge i Rachman inov (1873-1943)

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himself. How confident Rachmaninov must have felt about himself – a man so often pessimistic about his musical achievements – to be exploring the theme yet further, in a big work for piano and orchestra.

The Rhapsody is one of those works which attained an instant popularity that has never waned. Rachmaninov finally had a new ‘concerto’ to play, and was asked to do so frequently. The work has wit, charm, shapeliness, a clear sense of colour, strong rhythmic impetus and a dashing, suitably fiendish solo part that translates Paganini’s legendary virtuosity into a completely different musical context.

In the Rhapsody, Rachmaninov’s quicksilver musical imagination seems to grasp the big picture and distil a sense of unity, from variation to variation, that he does not achieve in the more extended forms of the Fourth Concerto. Yet the Rhapsody’s theme and 24 variations actually behave like a four-movement work. Variations 1 to 11 form a quick first movement with cadenza; Variations 12 to 15 supply the equivalent of a scherzo/minuet; Variations 16 to 18, the slow movement; and the final six variations, the dashing finale.

We actually hear the first variation – a skeletal march that evokes Paganini’s bony frame – before the theme itself. The ensuing variations are increasingly animated and decorative until Variation 7 gives us a first stately glimpse, on the piano, of the Dies irae plainchant, with the strings muttering the Paganini theme against it. This old funeral chant features prominently in Rachmaninov’s output. Sometimes, as in his final work, the Symphonic Dances, he uses it without irony, but its appearances in the Rhapsody are essentially sardonic.

Variation 8 is a kind of demented can-can which rushes headlong into the even more helter-skelter Variation 9, in which the strings begin by playing with the wood of their bows. Grimly glittering arpeggios are tossed between piano and orchestra in Variation 10, in which the Dies irae is heard in brazen octaves on the piano, with syncopated brass commentary.

With the cadenza-like Variation 11 forming a point of transition, we move to the exquisite, gently regal minuet of Variation 12. The drive, directness and power of Variation 14 are created with much bolder writing for wind and brass than Rachmaninov employed in

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his earlier orchestral scores. The piano is given a very subsidiary role here, then comes instantly to the fore in the dazzling, cadenza-like Variation 15.

After a pause, Variation 16 has an intimacy and exoticism that evokes the Arabian Dance from Tchaikovsky’s The Nutcracker, with short but telling solo phrases for oboe, horn, violin, clarinet and cor anglais. Variation 17 is more palpably mysterious, even sinister, and the only one where the theme seems to have vanished altogether. But we land on very deep shag-pile indeed with the celebrated 18th Variation, in which Rachmaninov uses his sleight of hand to turn Paganini’s theme upside down and create a luxuriant, much admired (and much imitated) melody of his own. Rachmaninov is reported to have said of it: ‘This one is for my agent.’

As if being woken suddenly from a dream, the orchestra calls the soloist and the audience to attention for six final variations that evoke Paganini’s legendary left-hand pizzicato playing (Variation 19) and the demonic aspects of the Paganini legend, with more references to the Dies irae and an increasing emphasis on pianistic and

orchestral virtuosity in the last two variations. Just as a final violent outburst of the Dies irae seems to be leading us to a furious crash-bang coda, we are left instead with a nudge and a wink, as Rachmaninov’s final masterpiece for piano and orchestra bids us a sly farewell.

Phillip Sametz © 2000

The Adelaide Symphony Orchestra first performed Rachmaninov’s Variations on a theme of Paganini on 3 October 1950 with conductor Henry Krips and soloist Ronald Farren-Price, and most recently in February 2014 with Garry Walker and Alexander Gavrylyuk.

Duration: 22 minutes

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Swansong

In 1845, in the middle of the journey of his life, an Anglican clergyman named John Henry Newman (1801-1890) was received into the Roman Catholic Church. Soon he would be ordained priest, and in due course would become a Cardinal. His conversion provided the Catholic Church in Britain with an eloquent and charismatic spokesman, whose thinking had considerable effect on the place of Catholics in English society, and on Catholic theology itself. But it had not come out of the blue. Newman, as a priest in Oxford during the 1830s, had come to feel, and say, that Anglicanism needed to return to its roots in the Catholic tradition. He was a formative influence on the Oxford Movement, which sought to reintroduce Catholic ideas and forms of worship into the Church of England. His Tract 90, written in 1841, said as much; the fallout caused Newman to withdraw to the village of Littlemore, then some miles outside of Oxford, where he lived in a kind of monastic community of like-minded men. In Littlemore, in 1843, he preached a sermon, Wisdom and Innocence, on Christ’s remark to his disciples in

Matthew’s Gospel: ‘Behold, I send you forth as sheep in the midst of wolves; be ye therefore wise as serpents, and harmless as doves.’ Newman’s sermon concluded with the now-famous prayer:

May He support us all the day long, till the shades lengthen, and the evening comes, and the busy world is hushed, and the fever of life is over, and our work is done! Then in his mercy may He give us a safe lodging, and a holy rest, and peace at the last.

In 1999, Arvo Pärt was commissioned by the Revd Canon Bernhard Schunemann, Vicar of St Stephen’s South Dulwich in London, to compose a work for the bicentenary of Newman’s birth, and set those words for choir and organ in a piece called Littlemore Tractus that was performed extensively in Oxford and London in 2001. Pärt made this orchestral version, which has come to be known as Swansong, to a commission from the Salzburg Mozarteum for the 2014 Mozart week, when it was premiered by the Vienna Philharmonic.

Pärt’s musical language stems to an extent from his own mid-life conversion experience – in his case to the Eastern Orthodox faith. It, like Newman’s

Arvo Pär t (born 1935)

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theology, is concerned with wisdom and innocence, and is ideally suited to the depiction of that final peace which, for Newman, was as yet far from realised. As Pärt once said in an interview:

Composers often think that because they think a lot they have something to say. Underneath all this complexity there is only a lack of wisdom and no truth. The truth is very simple; earnest people understand that to be so.

Beginning with mournful double-reed intonations, the piece gradually gains in intensity and emotive power through accretion of sound and hymnal harmonies. After a rich climax, the music seems to trail off, dominated by sighing two-note motifs.

© Gordon Kerry 2018

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

Duration: 10 minutes

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Pictures at an Exhibition

Promenade IGnomus Promenade IIIl Vecchio Castello (The Old Castle) Promenade IIITuileriesBydloPromenade IVBallet des poussins dans leurs coques (Ballet of the Unhatched Chickens) Samuel Goldenberg and SchmuÿlePromenade VLimoges Catacombs Con mortuis in lingua mortua (With the Dead in a Dead language )Baba-Yaga Great Gate of Kiev

In 1873, the 39-year-old St. Petersburg artist Victor Hartmann died of a heart attack. The following year, the critic Vladimir Stasov mounted an exhibition of Hartmann’s works. He suggested that their mutual friend Mussorgsky assuage his grief in some sort of memorial, and thus Mussorgsky produced what became his signature piano work, Pictures at an Exhibition, a set of ‘tone-portraits’ based

on a selection of Hartmann’s works. It was completed in 20 days on 22 June 1874.

Pictures at an Exhibition is one of the monuments of piano literature, yet many musicians have orchestrated it over the years. The most famous orchestration is that of Ravel which some consider so convincing as to feel like Ravel’s conception to begin with.

Vladimir Ashkenazy always had reservations, however. His orchestration dates from the early 1980s, near the beginning of his conducting career, after he had achieved fame as a virtuoso pianist. He was scheduled to conduct Pictures in a TV recording with the Swedish Radio Orchestra. According to Jasper Parrott in Ashkenazy: Beyond Frontiers, Ashkenazy planned to use Ravel’s orchestration but Ravel’s publishers made financial demands for the TV licence that were ‘out of all proportion’ to the program’s budget.

Parrott goes on: ‘After considering all the alternatives, and in view of long-standing reservations he held about some aspects of the Ravel version, Ashkenazy finally decided to record instead the orchestration by the Finnish composer,

Modest Mussorgsky (1839-1881) o rch . V lad im i r Ashkenazy (born 1937)

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Funtek.’ Ashkenazy’s ‘long-standing reservations’ about the Ravel came to the attention of Decca executives who asked Ashkenazy to make an orchestration which could be coupled with his new digital recording of the piano version. Ashkenazy premiered this version with the Philharmonia Orchestra at Royal Festival Hall in the 1982/83 season.

In Parrott’s book, Ashkenazy says, ‘I admire Ravel’s orchestration tremendously…But I think that it has very little of Mussorgsky in it. One only needs to listen to [the opera] Boris Godunov in Mussorgsky’s original orchestration to see what I mean.’ In his program note for the London performance, Ashkenazy added, ‘I have been guided by the deeper undercurrents of this predominantly dark piece.’

Ashkenazy’s work follows the progress of Mussorgsky’s original, including a ‘Promenade’ between Samuel Goldenberg and Schmuyle and Limoges that Ravel omitted. Pictures at an Exhibition begins with an introduction which Mussorgsky dubbed Promenade because it represents the composer himself wandering around looking at artworks. Gnomus is inspired by

Hartmann’s design for a small nutcracker in the shape of a gnome, The Old Castle by a watercolour of a troubadour singing before a medieval castle. Ravel, rather novelly, gave the serenading melody to an alto saxophone; Ashkenazy gives it to oboe d’amore. Tuileries is based on Hartmann’s watercolour of children quarrelling in a corner of the famous French garden of that name while Bydlo refers to a drawing of two oxen pulling a heavy cart. Ravel suggested the approach and passing of the cart, beginning with a distant forlorn tuba solo, building to a huge climax and then tailing off with solo tuba. Ashkenazy conjures immediately the strength of the oxen with four French horns blaring out the melody. Ballet of the Unhatched Chickens is based on Hartmann’s costume designs for a ballet.

Stasov claimed that in Samuel Goldenberg and Schmuyle, Mussorgsky may have conflated two different portraits of Jews. Ashkenazy here uses a skittering solo violin whereas Ravel created a passage for stuttering muted trumpet solo that is often used for an orchestral audition piece. The next ‘picture’ depicts the busy-ness of Limoges Market while in Catacombs

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Hartmann painted himself and the architect Kenel exploring the Paris catacombs by lantern-light. Catacombs moves into With the Dead in a Dead Language, a ghostly-sounding variation of the Promenade theme. Baba-Yaga refers to a design for a clock face in the form of Baba-Yaga, the witch in Russian folktales, who lives in a hut mounted on the legs of a giant fowl. Great Gate of Kiev refers to Hartmann’s design for a gate-structure to commemorate Tsar Alexander II’s escape from assassination, a massive finale in all versions of Mussorgsky’s work. But, as Parrott sums up: ‘The almost Asiatic, old-Russian flavour of the work in Ashkenazy’s conception contrasts dramatically with the brilliantly urbane, but perhaps over-cultivated images created by Ravel.’

Gordon Kalton Williams © 2018

This is the first performance by the Adelaide Symphony Orchestra of Vladimir Ashkenazy’s orchestration of Pictures at an Exhibition.

Duration: 35 minutes

Hartmann - Kiev City Gate

Hartmann - Ballet of the Unhatched Chicks

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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.

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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.

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ContactFor more information please contact:

Donations Alexandra Bassett Donor Relations Manager

8233 6221 / bassetta@aso.com.au

Corporate Partnerships

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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 Andrew & Gayle Robertson Anonymous (1)

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 Janet Anderson

In memory of Gweneth Willing

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

Associate Principal Cello Ewen Bramble

Barbara Mellor

Principal Cello Simon Cobcroft

An anonymous donor

Cello Sarah Denbigh

An anonymous donor

Cello Christopher Handley

Bruce & Pam Debelle

“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

Joan & Ollie Clark AM

Principal Timpani Robert Hutcheson

Drs Kristine Gebbie & Lester Wight

Principal Percussion Steven Peterka

The Friends of the ASO

Principal Harp Suzanne Handel

Could this be you?

Bass Harley Gray

Bob Croser

Principal Bass David Schilling

Patricia Cohen

Cello Cameron Waters

Peter & Pamela McKee

Principal Cello Simon Cobcroft

An anonymous donor

Cello Sarah Denbigh

An anonymous donor

24

ASO Annua l G i v ing

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

Platinum ($10,000 - $24,999)Boileau Family TrustDr Aileen Connon AMCoopers Brewery LtdRodney Crewther & Galina PodgoretskyBruce Debelle AO, QCColin Dunsford AM & Lib DunsfordRobert KenrickJoan LyonsDiana McLaurinPauline MenzRobert Pontifex AM

Andrew & Gayle RobertsonAnonymous (2)

Gold ($5,000 - $9,999)Bob CroserEstate of Lilly KusmanoffPenelope Hackett-JonesJames & Diana Ramsay FoundationUlrike Klein AOIan Kowalick AM & Helen KowalickSan Remo Macaroni Company Pty LtdNorman Schueler OAM & Carol SchuelerRoderick Shire & Judy HargravePamela YuleAnonymous (1)

Silver ($2,500 - $4,999)Liz AmptThe Baska FamilyGraeme & Susan BethuneOllie Clark AM & Joan ClarkPatricia CohenRuth CreedyLegh & Helen DavisMary Dawes BEMBruce & Pam DebelleLorraine DrogemullerNorman Etherington AM & Peggy BrockAndrew & Barbara FergussonDrs Kristine Gebbie & Lester WrightMargo Hill-SmithJudy & Koon Hwee KohIn memory of Keith & Susie LangleyMargaret LehmannDavid 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 WilliamsDr Richard WillingAnonymous (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 ($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 DavidsonJan & Peter DavisDeborah 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 HeckerClayton & Susan HuntElizabeth Keam AMDr I KlepperHon Diana Laidlaw AMMark Lloyd & Libby Raupach

Frank MarkusLee MasonDavid & Ann MatisonSkye McGregorDr Neil & Fay McIntoshDavid & Pamela McKeeDavid MinnsDavid & Kerrell MorrisDr Darren MounkleyK & K PalmerJocelyn ParsonsTom F PearceChristopher RichardsPhilip Satchell AM & Cecily Satchell

Warren & Margaret Scharer

Larry & Maria ScottProfessor Iuan Shearer AM

Beth & John ShepherdW & H StacyNigel Steele ScottChristopher StoneGuila TiverJames W ValeAnn WellsR & G Willis Janet WorthAnonymous (10)

Soloist ($500 - $999)

Aldridge Family Endowment

Barbara BahlinJohn BakerR & SE BartzTom Bastians & Lucy Eckermann

Ruth BlochMark BlumbergDianne & Felix BochnerDr J & M BrooksRob & Denise ButtroseJohn & Flavia CapornKathleen & Richard CarterStephen CourtenayGraham CrooksBetty CrossHonourable Dr Rosemary Crowley AO

John DaenkeDrs Ruth & David DaveyBruce Debelle AOFr John DevenportAnne Eleanor DowKay DowlingJane DoyleOtto FuchsRichard GilesNeil HallidayDr Helen Marmanidis & Dr Michael Hammerton

Eleanor HandreckRosemary KeaneBellena Kennedy

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

Ruth Marshall and Tim Muecke

Melissa BochnerPeter McBridePat Lescius & Michael McClaren

Carole 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 SandersDavid ScownGwennyth ShaughnessyAnne SutcliffeVerna SymonsS & S ThomsonAnne TonkinChristine & Lynn Trenorden

Jenny & Mark TummelAnonymous (17)

Tutti ($250 - $499)

107 Patrons

Donor ($2 - $249)

681 Patrons

In Memory of Veronica Quintell and Brian Porter, former Violinists, donated by the ASO Players Association.

Correct as at 13 June 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