Schubert 9 - Adelaide Symphony Orchestra · PDF fileSchubert Symphony No 9 in C, D944, ... of...

11 & 12 September 2015ADELAIDE TOWN HALL

Schubert 9

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3ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES

11 & 12 September, Adelaide Town Hall

Schubert 9 Master Series 6

aso.com.au

Classical ConversationOne hour prior to the concert in the auditorium with ASO Principal Oboe Celia Craig. Free for ticket holders.

Mozart Symphony No 35 in D, K385 Haffner

Allegro con spirito Andante Menuetto – Trio Finale (Presto)

Martinu Concerto for oboe and small orchestra

Moderato Poco andante Poco allegro

Diana Doherty oboe

Schubert Symphony No 9 in C, D944, ‘Great C major’

Andante – Allegro ma non troppo Andante con moto Scherzo (Allegro vivace – Trio) Allegro vivace

Interval

Gérard Korsten Conductor

Diana Doherty Oboe

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This concert runs for approximately 100 minutes including interval. Friday night’s concert will be recorded for live broadcast on ABC Classic FM.

4 ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES

Gerard Korsten conductor

Gérard Korsten is Principal Conductor of the Symphonieorchester Vorarlberg Bregenz. Born in South Africa, he began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and with Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe.

Korsten held positions of Principal Conductor of the State Theatre in Pretoria and the Uppsala Chamber Orchestra before being appointed Music Director of the Orchestra del Teatro Lirico di Cagliari. In 2009 he became Music Director of the London Mozart Players, a position he relinquished last season.

Gérard Korsten has appeared in the world’s most notable opera houses and concert halls including Teatro La Scala Milan, Opéra de Lyon, Netherlands Opera, English National Opera, Glyndebourne Festival Opera and the Lincoln Centre in New York.

His past symphonic engagements have included concerts with the Budapest Festival Orchestra, Leipzig Gewandhaus, Orchestre National de Lyon, Orchestra Sinfonica Rai Turin, Chamber Orchestra of Europe, Camerata Salzburg, Swedish Radio

Symphony, Deutsche Radio Philharmonie and Yomiuri Nippon Symphony Orchestra.

Gérard Korsten’s recordings feature a CD of Tchaikovsky’s Serenade and Souvenir de Florence with the Chamber Orchestra of Europe on Deutsche Grammophon and a DVD recording of Le Nozze di Figaro at La Scala, which has been awarded a Diapason D’Or and was Critics’ Choice in the Opera News.

Recent highlights have included debuts with the Deutsche Oper Berlin, BBC Scottish Symphony, Hong Kong Philharmonic and returns to Chamber Orchestra of Europe, Camerata Salzburg, Gavle Symphony, Swedish Chamber Orchestra and the London Mozart Players on tour in China.

Next season Korsten brings Vorarlberg Symphoniorchester Bregenz to Vienna Musikverein and returns to Yomiuri Nippon Symphony Orchestra and to Lyon Opera for a new production of Idomeneo.


Diana Doherty oboe

Diana Doherty is widely regarded as one of the most talented Australian instrumentalists working today. Notable successes include performing Ross Edwards’ Concerto for Oboe with the New York, Liverpool and Hong Kong Philharmonic Orchestras, appearances with Australia’s and New Zealand’s leading Symphony Orchestras, Australian Chamber Orchestra, Melbourne Chamber Orchestra, St. Lawrence String Quartet, Musica Viva, the Seymour Group, Four Winds Festival, Ensemble Kanazawa, Japan, Townsville Chamber Music Festival, and at many international festivals, including Prague Spring Festival, MusicaRiva festival, Italy, Bratislava Music Festival and the ‘Young Artist in Concert’ Festival in Davos, Switzerland.

Diana has been Principal Oboe of the Sydney Symphony Orchestra since 1997, a position she had previously held with the Symphony Orchestra of Lucerne from 1990 to 1997. She was born in Brisbane and completed her Bachelor of Arts in Music Performance at the Victorian College of the Arts in Melbourne, where she was awarded the M.E.N.S.A prize for top graduating student. During this time she also won the ‘Other Instruments’ section of the ABC Instrumental and Vocal Competition and was named ‘Most Outstanding Competitor Overall’ for 1985.

Other awards and prizes include joint winner of the Young Concert Artists International Auditions in New York, first prize at Prague Spring Festival Competition, a MO award for Classical/Opera performer of the year and an Aria for her performance of the Ross Edwards’ Oboe Concerto.

Recordings include a disc of oboe concertos with Lucerne Symphony (Pan Classics), various recordings for ABC Classics, including Romantic concertos, Blues for DD, Souvenirs, a Bach Album, Concertos by Ross Edwards and Carl Vine, and a Naxos recording of Inflight Entertainment by Graeme Koehne.

Diana most recently performed Mozart’s Oboe Concerto in C Major with West Australian Symphony Orchestra.


Diana Doherty shared some thoughts with us on the Martinu Concerto

The legend who had the idea, and the decision he wished he hadn’t made.Jiri Tancibudek was a superb Czech oboist who emigrated to Australia in 1950. His contribution to music and oboe playing in Australia has been enormous, not only because of his initiative in commissioning this concerto from Martinu.

Speaking with Tancibudek was always a very special thing. He considered his words carefully, he spoke softly and with a beautiful accent. One immediately had the feeling of being in the presence of someone extraordinary and so listened extra carefully in order to retain every single word.

I think it was sometime in 1994 that I had a conversation with him about the Martinu concerto. I knew Tancibudek already from my few lessons with him earlier, and on this occasion he was quite open about his regrets in regards to the cutting out of the second cadenza in the third movement of the concerto. Tancibudek was a very gentle and humble man, and I understood he felt at the time the piece was written (1955) two virtuosic cadenzas in one movement was just too showy. Apparently Martinu was not particularly precious about it and cut the second one out without much resistance at all. But during our conversation almost 50 years later, Tancibudek conceded that without it the movement was not as balanced, and so was happy that it had become widely played and reincluded, even though it had never been published. I had an upcoming recording on the horizon, and wanted his blessing to record

both cadenzas, which he gave without hesitation. Since then it is printed in a new edition of the piece.

My relationship with the piece......began in a hurry! I had studied (though never performed) the piece when I entered the Prague Spring competition in 1991, but as it was programmed only in the final round I thought, well, ‘let’s see if I get there first, then think about it!’ When I was included among the finalists, I then had a few problems to address, and quickly! First, I had played every piece till then from memory, which permitted me to close my eyes while playing and therefore to some degree block out the panel sitting at the front of the hall. I was terrified that if I used the music I would be forced to see them. So I had less than two days to get the piece to a point where I felt comfortable performing it, and from memory. (Needless to say, I was relieved that the second cadenza was not required back then!)

Second, I had somehow understood that the final round would be with orchestra, but only then realised that it was actually with piano accompaniment. My pianist was leaving! Rescuing me, the gallant young French contingent kindly offered their pianist, who was wonderful. It was all stressful at the time, but also very exciting, and these are all happy memories.

What I love about the piece.The concerto covers a wide scope of colour and atmosphere – everything from religious-like calm through to fury – and this gives the performer a big range of expression. It also has a lot of interesting rhythmic interplay and the occasional jazzy moment, which I love.


Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Principal Conductor Designate Nicholas Carter

VIOLINS

Elizabeth Layton** (Guest Concertmaster)

Elinor Lea** (Guest Associate Concertmaster)Shirin Lim (Principal 1st Violin)*

Supported in the memory of Dr Nandor Ballai

Michael Milton** (Principal 2nd Violin)

Supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Supported in the memory of Deborah Pontifex

Ann AxelbyErna BerberyanGillian BraithwaiteJulia BrittainHilary Bruer

Supported by Marion Wells

Elizabeth CollinsJane CollinsFances DaviesBelinda GehlertDanielle JaquillardAlexis Milton

Sponsored by Patricia Cohen

Jennifer NewmanJulie NewmanEmma Perkins

Supported by Peter & Pamela McKee

Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Imants Larsens**

(Acting Principal) Supported by Mr & Mrs Simon & Sue Hatcher

Linda Garrett~

(Acting Associate Principal)Martin ButlerLesley CockramAnna HansenRosi McGowranMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft**

Supported by Andrew & Gayle Robertson

Ewen Bramble~ Supported by Barbara Mellor

Sarah Denbigh

Christopher Handley Supported by Johanna and Terry McGuirk

Gemma Phillips Supported by R & P Cheesman

David Sharp Supported by Dr Aileen F Connon AM

DOUBLE BASSES David Schilling**

Supported by Mrs Maureen Akkermans

David Phillips~ (Acting Associate)

Supported for “a great bass player with lots of spirit - love Betsy”

Jacky Chang Belinda Kendall-Smith

FLUTES Katie Zagórski*(Guest Principal)Lisa Gill

OBOES

Celia Craig** Supported in the memory of Geoffrey Hackett-Jones

Renae Stavely Supported by Roderick Shire & Judy Hargrave

CLARINETS

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

Darren Skelton Supported in memory of Keith Langley

BASSOONS Mark Gaydon**

Supported by Pamela Yule

Jackie Hansen* Supported by Norman Etherington & Peggy Brock

HORNS Adrian Uren**Sarah Barrett~

Supported by Margaret Lehmann

Alex MillerPhilip Paine

TRUMPETS Martin Phillipson** (Acting Principal)

Supported by Richard Hugh Allert AO

Timothy Keenihan

TROMBONES

Cameron Malouf** Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian Denbigh

BASS TROMBONEHoward Parkinson*

TIMPANI Andrew Penrose*

PIANO Jamie Cock*

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

denotes Musical Chair Support


ASO BOARD

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

ASO MANAGEMENT

EXECUTIVE

Vincent Ciccarello - Managing Director

ARTISTIC

Simon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator

FINANCE AND HR

Bruce Bettcher - Business and Finance ManagerLouise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Receptionist

OPERATIONSHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra ManagerKingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Operations Assistant

MARKETING AND DEVELOPMENTPaola Niscioli - General Manager,

Marketing and DevelopmentVicky Lekis - Director of DevelopmentTom Bastians - Customer Service ManagerAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistAlexandra Bassett - Marketing and Development CoordinatorBen Bersten - Audience Development Coordinator

FRIENDS OF THE ASO EXECUTIVE COMMITTEE

Alison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsJudy Birze - Treasurer/SecretaryJohn Gell - Assistant Secretary/ Membership

Correct at time of print.

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Symphony No.35 in D, K385 Haffner

Allegro con spirito

Andante

Menuetto – Trio

Finale (Presto)

This symphony, the first Mozart completed after moving from Salzburg to Vienna in 1781, shows the confidence and richness of the opera he had composed for Munich the previous year, Idomeneo, transferred to a grand piece for orchestra alone. It is called the ‘Haffner’ Symphony because the music was composed for festivities in Salzburg associated with the ennoblement of the Mozarts’ friend Siegmund Haffner the Younger.

When in 1782 he received his father’s request for some new music appropriate to the occasion, Wolfgang Mozart was preoccupied with the production of his opera The Abduction from the Seraglio, and his marriage to Constanze Weber. But he somehow found time to compose festive music in six movements, including two minuets and a march. This was the standard form of an orchestral serenade. (Mozart had already in 1776 composed such a serenade for wedding festivities in the Haffner family

– that Haffner Serenade, K250 is an entirely different piece.)

Later in the same year, 1782, when planning one of his ‘academies’ or subscription concerts in Vienna, Mozart asked his father to return to him the ‘Haffner music’ from Salzburg. When he received it, he wrote back, ‘I was quite surprised by the new Haffner symphony, for I had forgotten every single note of it; it must certainly be very effective.’ For the concert on 22 March 1783 Mozart adapted his score by adding flutes and clarinets to the first and last movements, and deleting the march and the first minuet. It was common for elaborate multi-movement serenades to be ‘reduced’ to three- or four-movement symphonies in this way. In Mozart’s case, at least, there is little distinction between ‘symphonic’ writing and the grand festive style of his most ambitious serenades.

The first movement of the Haffner Symphony, an imposing call to attention, begins with the kind of striking gesture which would make a talkative audience sit up and pay attention. Mozart asked for it to be played ‘with great fire’. These two leaps of an octave followed by a rhythmic flourish are the main substance of the first movement. As in many of the first movements of Haydn, which we know Mozart was studying at the time, there is no contrasting second theme, yet the tonal

Wolfgang Amadeus Mozart 1756-1791


Wolfgang Amadeus Mozart 1756-1791

drama of the form is not any the less for that.

The grace of the Andante has been related by many commentators to its serenade origins, but this is an unnecessary explanation: a symphony in Vienna’s concert life at this time was not expected to be the main work of the evening. Mozart’s own performance of a piano concerto would have taken a higher place. Relaxation was just what was needed after an unusually tightly written first movement with so much imitative counterpoint.

The Menuetto is grand without being pompous – this is certainly a minuet which asks to be listened to, not merely background music for dancing. The delicate subtleties of the Trio, then, will not be overlooked by the audience.

In the Finale we are in the world of comic opera. Mozart had been exploring how to write opera in a new way in The Abduction from the Seraglio, and there are reminders of that here, especially of the blustering triumphant rage of Osmin, the overseer of the harem. But Mozart smiles, laughs, and is serious all at once. In this Finale, which he said should go ‘as fast as possible’, he takes the quicksilver patter of Italian musical comedy and hands it back to the Italians, enriched. It is no accident that the final bars suggest (to modern ears) Rossini, who as a teenager 20 years after the composition of this symphony was so mad about Mozart (and Haydn) that his friends called him ‘the little German’.

© David Garrett

The Adelaide Symphony Orchestra first performed Mozart’s Symphony No 35 on 13 May 1941 under conductor Bernard Heinze, and most recently on 17 October 2012 with David Sharp.

Duration 18 minutes.


Concerto for oboe and small orchestra

Moderato

Poco andante

Poco allegro

Diana Doherty oboe

Martinu spent much of his childhood in a church tower above the Bohemian town of Polička where his father was a shoemaker and the church’s watchman. Martinu often recalled the expansive views which were, by virtue of their distance, inaccessible to him. Several writers have suggested that this may account for certain features of his music: a style which is always distinctive but which nonetheless is clearly aware of the bigger picture and a pervasive sense of wonder. One of his colleagues described Martinu’s as ‘music of superb spiritual elevation’.

Martinu lived in France from 1923, having travelled to Paris to study with Albert Roussel (despite having been expelled from the Prague Conservatory for ‘incorrigible negligence’). The 1920s saw him assimilating the music and aesthetics of Stravinsky and the group of French composers known as Les Six (which included Poulenc, Honegger and

Milhaud). Neo-classicism was dominant, with its often ironic references to Baroque and Classical manners, and Martinu also heard and enjoyed music as varied as jazz and Elizabethan madrigals. In the 1930s Martinu further explored his own amalgam of established form and personal style, developing a language influenced by the music of the Baroque and the folk music of his native country. This reached its apogee in the music composed in 1938, works like the Tre Ricercari for orchestra (a huge success at that year’s Venice Festival) and the masterly Double Concerto for the Swiss conductor Paul Sacher which Martinu completed on the day of the Munich Agreement. With Hitler effectively encouraged to invade Czechoslovakia, Martinu was named cultural attaché by the Czech government in exile and as such helped a number of endangered Czech citizens to escape via Paris. He would never see his homeland again; he had to flee as the Nazis invaded France and he spent the years 1941-1956 in the United States, by which time the Communist regime made returning impractical.

One of Martinu’s countrymen, the illustrious oboist Jirí Tancibudek also fled his homeland in 1950. Invited by Sir Eugene Goossens to teach at the NSW Conservatorium, Tancibudek arrived in Sydney soon after; during his long career

Bohuslav Martinu 1890-1959


Bohuslav Martinu 1890-1959

he also held the principal position with the Melbourne Symphony Orchestra and in 1964 moved to Adelaide where he was a foundation member of the Adelaide Wind Quintet and a distinguished teacher until his death in 2004. Martinu composed his Oboe Concerto for Tancibudek, who premiered it in Sydney under Hans Schmidt-Isserstedt in 1956 and gave numerous performances in Europe and North America.

The work is in three movements. The Moderato opening movement has a graceful cantering rhythm and exploits a long solo line against a wide variety of colours and textures from the small orchestra (which, distinctively, includes piano). The central Poco andante is songful and plangent, with an ornately decorated oboe line which makes much of its dark, lower register. The piano introduces the insistent polka rhythm of the finale, to which the oboe responds with glittering virtuosic passage work. Martinu wrote two cadenzas for this movement; although Tancibudek omitted one in editing the piece for publication, this evening’s performance features both.

Gordon Kerry © 2005

The Adelaide Symphony Orchestra’s first subscription performances of the Martinu Oboe Concerto took place on 18 and 19 September 1981 with Jirí Tancibudek under the direction of José Serebrier. The ASO’s only subsequent performance of the work was in May 1988 with Nicholas Braithwaite and soloist Joel Marangella.



Symphony No.9 in C, D944, ‘Great C major’

Andante – Allegro ma non troppo

Andante con moto

Scherzo (Allegro vivace – Trio)

Allegro vivace

Among papers found after Schubert’s death was a score of his ‘Great’ Symphony in C, which the composer’s brother showed to Robert Schumann in 1838. Fired with enthusiasm, Schumann sent it to Mendelssohn in Leipzig, and in 1839 the work was performed there by the Gewandhaus Orchestra. In a letter to his then fiancée, Clara Wieck, Schumann described the rehearsal he had attended:

I have been in paradise today! … I was supremely happy, and had nothing left to wish for, except that you were my wife, and that I could write such symphonies myself.

Schumann’s enthusiasm was generated in part by the ‘heavenly length’ of the piece, which he compared to a novel in four volumes; Schubert had, clearly, hit on a new way of structuring large spans of symphonic time, and this would have radical implications for the form as cultivated by composers from Schumann to Mahler.

The magic number ‘nine’, the fact of Schubert’s tragically early death, and

existence of at least one ‘Unfinished Symphony’ in Schubert’s oeuvre have conspired to create a number of myths about the ‘Great’ C major symphony. First, far from being Schubert’s last word in the medium, it was completed in 1826 – well before his death – and indeed was at one time numbered ‘seven’ in the Schubert canon. Second, while the Leipzig performance was the work’s public premiere, in fact the symphony hadn’t sat under Schubert’s bed all that time: the composer had sent a copy to Vienna’s Gesellschaft der Musikfreunde in 1826, and the orchestra, which paid Schubert a small gratuity, had read through the work but decided it was too long and ‘difficult’ for players and audiences alike. (This remained a stumbling-block for the work well into the 19th and early 20th centuries: Mendelssohn had to withdraw it from a performance in London owing to a player rebellion, and Hans von Bülow found aspects of it as baffling as the music of his erstwhile disciple, Mahler.) Finally, the nickname refers in part to the work’s generous dimensions, but also distinguishes it from the earlier symphony D589 (the ‘sixth’), also in C major.

The symphony’s challenges and joys both stem from its balance of classical principles and, for want of a better term, Romantic aspirations – it is after all roughly contemporary with Beethoven’s Ninth and Berlioz’s Symphonie fantastique. The work is cast in the conventional four-movement

Franz Schubert 1797-1828


layout of the classical Viennese symphony, and Schubert uses some kind of sonata design in three of the movements; his orchestration, with its use of horn calls and distant, soft trombones, evokes the Romanticism of Mendelssohn and Weber.

The first movement begins with a slow introduction that creates added tension before the outbreak of the faster material in the main body of the movement. So far, so classical, but in addition the theme (on unison horns) which begins the work also contains the seeds of much of the symphony’s subsequent material – especially the dotted rhythm in the theme’s second bar, which pervades the whole work. This elaboration of material from a small cell recalls the examples of Haydn and Beethoven, though Schubert balances this concentration with his characteristic spinning of apparently endlessly new melodies. But from Beethoven too, he learned the rhetorical power of reiteration, and at various points in the piece creates long stretches of increasingly exciting music out of the forceful repetition of short, strongly profiled motives. The tremendous tension built up during the first movement is resolved in a way uncharacteristic of Schubert: he brings back the opening horn theme, now transformed by the prevailing fast tempo into something much less dreamy in character.

The slow movement begins in A minor, the work’s relative minor key, and its main theme, characterised by the pervasive dotted rhythm, has been described by Donald Tovey as a ‘heartbreaking show of spirit in adversity’. Certainly Schubert’s health was, at this time, deteriorating due to syphilis and the then common treatments for the disease, but the work is in no way a document of self-pity. Using a device common in his songs, Schubert takes his music into the major mode (A major) for dramatic, and possibly

optimistic, contrast.

The Scherzo maintains the large-scale thinking of the rest of the work, and in this regard anticipates the massive structures of Bruckner’s symphonic scherzos. Like Bruckner, Schubert generates great energy by the use of inexorably buoyant rhythms and a string of beautiful themes.

The finale is likewise of a proportion to match the previous movements and is as full of thematic invention. It encompasses material and emotional states as different as what Tovey identifies as ‘fairy music’ and gestures ‘as terrible as anything in Beethoven or Michelangelo’.

Gordon Kerry © 2009

The Adelaide Symphony Orchestra first performed Schubert’s Great C major Symphony on 5 August 1944 under conductor Eugene Ormandy, and most recently on 12 and 13 August 2011 with Simone Young.


Concertmaster Natsuko Yoshimoto

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

Associate Principal CelloEwen Bramble

Supported byBarbara Mellor

Principal ViolaJuris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Principal 1st ViolinShirin Lim

Supported in the memory of Dr Nandor Ballai

For more information please contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or [email protected]

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan

Supported by

Merry Wickes

ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported byMr & Mrs Simon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley

Supported byJohanna and Terry McGuirk

CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloSherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal BassDavid Shilling

Supported by Mrs Maureen Akkermans

BassDavid Phillips

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

BassHarley Gray

Supported byBob Croser

Musical chair players and donors

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

CelloGemma PhillipsSupported by R & P Cheesman

BassoonLeah Stephenson

Supported byLiz Ampt

Principal PiccoloJulia Grenfell

Supported by Chris & Julie Michelmore

Principal Contra BassoonJackie Hansen

Supported by Norman Etherington & Peggy Brock

ClarinetDarren Skelton

Supported in the memory of Keith Langley

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal OboeCelia Craig

Supported in memory of Geoffrey Hackett-Jones

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Mrs Betty CrossHonourable Dr Rosemary Crowley AO

George & Ilana CulshawMr John DaenkeMrs M D Daniel OAMMr & Mrs Stephen & Emma Evans

Dr Laurence J FergusonMr J H FordMr William FrogleyMr Otto FuchsDr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy

Mr Neil HallidayMrs Mary HandleyMrs Jill HayMr John H Heard AMProf Robert Heddle & Mrs Margaret Heddle

Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman

Mrs Kate HislopMr John HoldenMr D G W HowardMr Angus KennedyHon Anne Levy AOLodge Thespian, No 195 Inc

Mr Colin MacdonaldRobert MarroneDr Ruth MarshallMs E McEvoyMrs Josephine MonkMs Fiona MorganMrs Alyson MorrisonMrs Amparo Moya-KnoxMargaret MudgeMr Alex NicolDr Kenneth O’BrienDr John OvertonMr and Mrs PatersonMrs Coralie PattersonKrystyna PindralMr D G PittTony and Jenny ReadMrs Jill RussellMr A D Saint

Mr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMMr David ScownMs Gweneth ShaughnessyMrs Pauline E. ShuteR & L SiegeleMr Brenton SmithMr & Mrs Jim & Anne Spiker

Eric StaakMrs Jill StevensMr & Mrs Graham & Maureen Storer

Mrs Verna SymonsJohn & Annette TerpelleDr Peter TillettAnita Robinson & Michael Tingay

Ms Christine TrenordenMr Jacky TsangMark & Jenny TummelMr David TurnerKeith and Neta VickeryProf Robert WarnerDr Nicholas WickhamMr & Mrs Peter & Dawn Yeatman

Plus 22 anonymous donors In Memory of Des Blundell, Former Principal Trombone and Rob Collins, Former ASO Violist donated by the ASO Players Association

The ASO also thanks the 535 patrons who gave other amounts in the past 12 months.

In tune with the Adelaide Symphony Orchestra

KPMG has a 16-year history of sponsoring

the ASO and is proud to be a World Artist Partner.

It’s tangible expression of our commitment

to help shape a successful future for

South Australia.

We look forward to celebrating music and hitting the right

notes together.

kpmg.com.au

© 2014 KPMG, an Australian partnership. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. August 2015. VIC13209MKT.


What your donations support Give proudly

full-time musicians

casual employees

hours of concerts

students & teachers engaged with the ASO

hours of rehearsals in the Grainger Studio

composers currently under commission

pages of sheet music turned

75125 232

10,107400

3

13 ,800

The Adelaide Symphony Orchestra reaches over 100,000 people in our community every year and it’s thanks to individuals like you who help make it possible. With ticket sales only accounting for 28% of the Orchestra’s operational costs, private giving makes a significant impact in delivering world class concerts to the community. Please help the ASO to share the power of live music by donating generously.

Support Us

Donate nowSupporting your ASO is easy (donations over $2 are fully tax deductible and exempt of credit card charges). Give online at aso.com.au/donateOr, if you’d like further information or to discuss other ways to support the ASO, contact Paola Niscioli, Director, Marketing & Development on (08) 8233 6263 or [email protected]

A Bequest for the futureImagine a world in which concerts are only on YouTube and music only heard on recordings. Where would we be without the great orchestral performances that transcend time and place and move us beyond our imagination?

Help us to preserve the world of music and share your lasting passion for the ASO by making a gift in your Will. Your generosity will create enduring benefits for the ASO and ensure that the pleasure of music will be passed on to future generations.

In tune with the Adelaide Symphony Orchestra

KPMG has a 16-year history of sponsoring

the ASO and is proud to be a World Artist Partner.

It’s tangible expression of our commitment

to help shape a successful future for

South Australia.

We look forward to celebrating music and hitting the right

notes together.

kpmg.com.au

© 2014 KPMG, an Australian partnership. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. August 2015. VIC13209MKT.

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

Adelaide’s No.1

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SA

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The ASO receives Commonwealth Government funding through the Australia Council, its arts funding and advisory body. The Orchestra is funded by the Government of South Australia through Arts SA.

Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 Fax (08) 8233 6222 | Email [email protected] | aso.com.au

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

57 FilmsBoylen – Website Design & DevelopmentCoopers Brewery Ltd FotonautHaigh’s ChocolatesHickinbotham Group

M2 GroupNormetalsPeregrine TravelPoster ImpactSan Remo Macaroni Co. Pty LtdSize Music

Thank you

DISCLAIMER: Every effort has been made to ensure that performance dates, times, prices and other information contained herein are correct at time of publication. Due to reasons beyond the ASO’s control, details may change without notice. We will make every effort to communicate these with you should this eventuate.

Join us

Adelaide’s No.1

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SA

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Santos and the ASO – great South Australian performersFor sixteen seasons Santos and the Adelaide Symphony Orchestra have partnered together to deliver outstanding performances to audiences across South Australia. This proud tradition continues in 2015.

With our head office here in Adelaide, Santos has been part of South Australia for over 60 years.

We search Australia to find gas and oil to help provide energy to our nation. But we also put our energy into supporting the communities in which we live and work.

Each year Santos supports a wide range of community events and organisations across South Australia.

By 2017, this support will add up to $60m over a ten-year period.

At Santos, we believe that contributing to a vibrant culture is good for everyone. We don’t just look for energy - we help create it.

Proudly working in partnership

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Schubert 9 - Adelaide Symphony Orchestra · PDF fileSchubert Symphony No 9 in C, D944, ... of...

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Transcript of Schubert 9 - Adelaide Symphony Orchestra · PDF fileSchubert Symphony No 9 in C, D944, ... of...