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Adelaide Symphony Orchestra

3 October 8pmFestival Theatre

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3ADELAIDE SYMPHONY GALA SERIES

Festival Theatre 3 October 8pm

SE NADELAIDE SYMPHONY ORCHESTRA 2014

MOZART AND MAGIC

Michael Stern Conductor Michael Collins Clarinet

Dukas The Sorcerer’s Apprentice

Mozart Concerto for Clarinet In A Major K 622Allegro Adagio Rondo (Allegro)

Michael Collins - Clarinet

Copland

Appalachian Spring: SuiteVery slowly Fast Moderate Fast Still faster Very slowly (as at first) Calm and flowing Moderate

Stravinsky The Firebird: Suite (1919)Introduction – The Firebird and her Dance – Variation of the Firebird The Princesses’ Round (Khorovod) Infernal Dance of King Kashchei Berceuse Finale

This concert runs for approximately 120 minutes including interval. This performance will be recorded for broadcast on ABC Classic FM.

Interval

Adelaide’s No.1

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SA

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michael stern conductor

Music Director Michael Stern is in his eighth season with the Kansas City Symphony, hailed for its remarkable artistic ascent, original programming, organisational development and stability, and the extraordinary growth of its varied audiences since his tenure began. Over the past three seasons, he and the orchestra have ushered in a new era, performing to critical acclaim and sold-out audiences in Helzberg Hall at the Kauffman Center for the Performing Arts. Since 2008, he and the orchestra have partnered with Grammy Award-winning Reference Recordings for an ongoing series of highly praised CDs, including their latest release in March of 2014, Miraculous Metamorphoses, with music of Prokofiev, Bartók and Hindemith.

Michael Stern serves as the founding Artistic Director and Principal Conductor of IRIS Orchestra in Germantown, Tennessee, which has garnered national attention for its unique model and artistic excellence. Previous appointments include Chief Conductor of Germany’s Saarbrücken Radio Symphony Orchestra (the first American chief conductor in the orchestra’s history); Permanent Guest Conductor of the Orchestre national de Lyon, a position he held for five years; and Principal Guest Conductor of the Orchestre national de Lille. He has guest conducted major orchestras throughout North America, Europe, Israel and Asia.

Michael Stern received his music degree from the Curtis Institute of Music in Philadelphia, and is a 1981 graduate of Harvard University, where he earned a degree in American History.

6 ADELAIDE SYMPHONY GALA SERIES


michael collins clarinet

Michael Collins' virtuosity and musicianship have earned him recognition as one of today’s most distinguished artists and a leading exponent of his instrument. He has given world and local premieres of John Adams’ Gnarly Buttons, Elliott Carter’s Clarinet Concerto, Brett Dean’s Ariel’s Music, Elena Kats-Chernin’s Ornamental Air and Mark-Anthony Turnage’s Riffs and Refrains. He has since performed Riffs and Refrains with the Hague Philharmonic, Royal Flanders Philharmonic, Helsinki Philharmonic and London Philharmonic orchestras. In 2007 he received the Royal Philharmonic Society’s Instrumentalist of the Year Award in recognition of the pivotal role he has played in expanding the clarinet repertoire.

In great demand as a chamber musician, Michael Collins performs with musical colleagues such as the Belcea and Takács quartets, Martha Argerich, Stephen Hough, Mikhail Pletnev, Lars Vogt, Joshua Bell and Steven Isserlis. His Residency at Wigmore Hall saw him in performance with András Schiff, Piers Lane and the Endellion String Quartet. His ensemble, London Winds, celebrated its twenty-fifth anniversary in 2013 and maintains a busy diary with engagements at the BBC Proms, Aldeburgh Festival, Edinburgh Festival, City of London Festival, Cheltenham Music Festival and Bath Mozartfest.

Michael Collins has become increasingly highly regarded as a conductor, and in September 2010 took the position of Principal Conductor of the City of London Sinfonia. He is also Artistic Director of the Liberation International Music Festival in Jersey.


Principal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Associate Guest Conductor Nicholas Carter

Concertmaster Natsuko Yoshimoto

Musical Chair sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

VIOLINS Natsuko Yoshimoto** (Concertmaster) Cameron Hill** (Guest Associate Concertmaster)Shirin Lim* (Principal 1st Violin)

Musical Chair in the memory of Dr Nandor Ballai

Michael Milton** (Principal 2nd Violin)

Musical Chair supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Musical Chair supported in the memory of Deborah Pontifex

Janet Anderson Ann AxelbyErna BerberyanMinas Berberyan

Musical Chair supported by Merry Wickes

Gillian BraithwaiteJulia BrittainHilary Bruer

Musical Chair supported by Marion Wells

Elizabeth Collins Jane Collins

Frances DaviesBelinda GehlertAlison HeikeDanielle Jaquillard Alexis Milton Jennifer Newman Julie Newman Emma Perkins

Musical Chair supported by Peter & Pamela McKee

Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Juris Ezergailis**

Musical Chair supported in the memory of Mrs JJ Holden

Imants Larsens ~

Musical Chair supported by Mr & Mrs Simon & Sue Hatcher

Martin ButlerLesley CockramAnna HansenNatalie MaegraithRosi McGowranCarolyn MoozMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft** Ewen Bramble~

Musical Chair supported by Barbara Mellor

Sarah Denbigh Musical Chair supported by an anonymous donor

Christopher Handley Musical Chair supported by Johanna and Terry McGuirk

Sherrilyn Handley Musical Chair supported Johanna and Terry McGuirk

Gemma PhillipsDavid Sharp

Musical Chair supported by Aileen Connon AM

Cameron Waters

DOUBLE BASSES David Schilling**

Musical Chair supported by Mrs Maureen Akkermans

Harley Gray~ (Acting Associate Principal)

Musical Chair supported by Bob Croser

Jacky ChangBelinda Kendall-SmithDavid Phillips

Musical Chair supported for a great Bass player, with lots of spirit - love Betsy

Esther Toh

FLUTES Geoffrey Collins**

Musical Chair supported by Pauline Menz

Lisa Gill

PICCOLOJulia Grenfell*

Musical Chair supported by Chris & Julie Michelmore

OBOES Celia Craig**

Musical Chair supported by Penelope & Geoffrey Hackett-Jones

Peter Duggan Musical Chair supported by Dr JB Robinson

COR ANGLAIS Peter Duggan*

CLARINETS Dean Newcomb**

Musical Chair supported by the Royal Over-Seas League SA Inc

Darren Skelton

E FLAT CLARINETDarren Skelton*

BASS CLARINETMitchell Berick*

Musical Chair supported by Nigel Stevenson & Glenn Ball

BASSOONS Mark Gaydon**

Musical Chair supported by Pamela Yule

Leah Stephenson Musical Chair supported by Liz Ampt

Kristina Phillipson

CONTRA BASSOONJackie Hansen*

Musical Chair supported by Norman Etherington & Peggy Brock

HORNS Sarah Barrett** (Acting Principal)Alex Miller~

(Guest Associate Principal)Bryan Griffiths Philip PaineAnna Handsworth

TRUMPETS Matt Dempsey**

Musical Chair supported by R & P Cheesman

Adelaide Symphony Orchestra


ASO BOARDColin Dunsford AM (Chair) Jillian AttrillVincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson

ASO MANAGEMENT

ExecutiveVincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director ArtisticSimon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator Finance and HRBruce Bettcher - Business and Finance Manager Louise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant

OperationsHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra Manager Kingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Acting Orchestra Manager

Marketing and DevelopmentPaola Niscioli - General Manager, Marketing and DevelopmentVicky Lekis - Director of DevelopmentAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistTom Bastians - Customer Service Manager

FRIENDS OF THE ASO EXECUTIVE COMMITTEEElizabeth Bowen - PresidentAlyson Morrison - Past PresidentAlison Campbell and Michael Critchley - Vice PresidentsHonora Griffith - Honorary SecretaryJohn Gell - Assistant Secretary/ MembershipJudy Birze - Treasurer

Martin Phillipson~ Musical Chair supported by Rick Allert AO

Gregory FrickIsaac White

TROMBONES Cameron Malouf**

Musical Chair supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBA David Gill*

TIMPANI Robert Hutcheson*

Musical Chair supported by an anonymous donor

PERCUSSION Steven Peterka**

Musical Chair supported by The Friends of the ASO

Gregory RushJamie AdamAndrew Penrose

HARP Suzanne Handel*

Musical Chair supported by Shane Le Plastrier

PIANO/CELESTE Dale Ringland*

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal(Orchestra list correct at time of printing)


The Sorcerer’s Apprentice: scherzo after a ballad by Goethe

In 1894, writing in one of his regular columns in La Revue hebdomadaire, Dukas observed that ‘the question of the pictorial in music has been much discussed, but the study of its potential for the comic has, on the contrary, been left almost completely in the shade’. He goes on to explore various examples of humour in music from the ‘primitives’ (that is, the Renaissance) to his own day, and concludes that ‘nothing, in the category of human feelings, is a stranger to music’. As if to prove his point, in 1897 he produced one of the great comic masterpieces of music: The Sorcerer’s Apprentice, which enjoyed instant popularity after its premiere and was the vehicle for one of Walt Disney’s most memorable cartoons.

Dukas’ reputation as a composer rests largely on this piece and the very few others that survived his self-critical purges, and, indeed, after 1912 he composed practically nothing, concentrating instead on teaching a generation of composers that included Messiaen and Duruflé and producing sophisticated musical commentary.

In this scherzo (‘joke’), Dukas returns to an early love, the poetry of Goethe. The ballad, written a century earlier, is essentially a fable of

the misuse of partially understood power. The apprentice, left alone by his master, enchants a broom, endowing it with limbs to draw water from the well. Not knowing the spell to stop the broom, the apprentice chops it in half but now has two creatures inexorably filling the house with water. The sorcerer returns in time to set things right with a short, emphatic spell.

Dukas begins mysteriously, with a gradual crystallisation of short motifs into themes. The comically lumbering bassoon, the washes of sound suggesting inundation and the sorcerer’s magisterial intervention are sheer orchestral magic.

Gordon Kerry © 2013

The first performance of The Sorcerer’s Apprentice by the Adelaide Symphony Orchestra took place on 16-18 May 1957 under conductor Enrique Jorda.

Duration 12 minutes.

paul dukas (1865-1935)

Level 1, 192 Rundle Street, Adelaide SA 5000Phone 08 8223 5905Email [email protected]

www.peregrinetraveladelaide.com.auPeregrine Travel Centre

proud supporter of the ASO

Explore Eastern Europe with the brand new Albania & Macedonia trip, take a walking tour on the new Iceland Walking and Nature tour, explore areas off the beaten track in Southern Italy or book in early for one of the ever popular Croatia tours and be a part of Europe Fest 2015. Book by 31 October and save 10%.

*Terms and Conditions: 10% discount applies to new bookings made between 1 Sep – 31 Oct 2014 on brochured Peregrine Europe tours departing between 1 Jan 2015 – 30 Sep 2015. Further terms and conditions apply.

BOOK BY 31 OCTOBER 2014 AND SAVE 10%

EUROPE FEST 2015

Level 1, 192 Rundle Street, Adelaide SA 5000Phone 08 8223 5905Email [email protected]

www.peregrinetraveladelaide.com.auPeregrine Travel Centre

proud supporter of the ASO

Explore Eastern Europe with the brand new Albania & Macedonia trip, take a walking tour on the new Iceland Walking and Nature tour, explore areas off the beaten track in Southern Italy or book in early for one of the ever popular Croatia tours and be a part of Europe Fest 2015. Book by 31 October and save 10%.

*Terms and Conditions: 10% discount applies to new bookings made between 1 Sep – 31 Oct 2014 on brochured Peregrine Europe tours departing between 1 Jan 2015 – 30 Sep 2015. Further terms and conditions apply.

BOOK BY 31 OCTOBER 2014 AND SAVE 10%

EUROPE FEST 2015


Clarinet Concerto in A, K622

Allegro Adagio Rondo (Allegro)

Michael Collins clarinet

My thanks to you, brave virtuoso! I have never before heard the like of what you contrived with your instrument. Never should I have thought that a clarinet could be capable of imitating the human voice as it was imitated by you. Indeed, your instrument has so soft and so lovely a tone that no one with a heart can resist it … – Johann Friedrich Schink (1784)

The ‘brave virtuoso’ was the clarinettist Anton Stadler (1753-1812), whom Schink had heard in a performance of four movements from Mozart’s Serenade, K361 (the ‘Gran Partita’).

Stadler probably first met Mozart in Vienna in 1781. As well as their musical association, both were members of the Masonic order. Another Mason was Theodor Lotz, instrument-maker to the Viennese court. Lotz and Stadler collaborated on a new version of the clarinet. Instead of the lower written range finishing with E below middle C, the addition of more key-work extended this

to a full octave below middle C. Mozart soon exploited the advantages of the extra four notes in pieces for Stadler’s new instrument, the basset clarinet.

Of the works Mozart wrote for Stadler, the Clarinet Concerto in A, K622, is arguably the most important. Stadler gave its premiere at Prague’s National Theatre on 16 October 1791. Over the next four years he performed the work in Berlin, Warsaw, Vilnius, Riga, St Petersburg, Lübeck, Hamburg and Hanover. Stadler’s last documented performance of the work was in 1804. Sadly, this is also the last known use of Mozart’s own manuscript, which subsequently disappeared. It may have been stolen from Stadler along with several other manuscripts or, equally likely, pawned to alleviate financial hardship.

After Stadler’s death, the basset clarinet all but faded into obscurity, with subsequent 19th-century performances of the concerto being given on the ordinary clarinet in A. In the late 20th century, the basset clarinet was revived in historically informed models, to give timbral authority; at the same time attempts were made to re-establish ‘the score’. However, the Concerto continues to be played, as in the first published versions, on the ordinary clarinet in A. Using essentially the same score as first appeared around 1801, this evening’s performance has

wolfgang amadeus mozart (1756-1791)


something of a contemporary textual authority. We are indeed fortunate that someone, possibly Mozart’s publisher Johann André, had access to the original manuscript and had transcribed a version for clarinet in A, making the concerto available for generations of performers. No less a figure than English clarinettist Gervase de Peyer (born 1926) claimed to be able to ‘do things with the A clarinet that I cannot do with the basset … these things add more to the overall performance than the few extra notes at the bottom’.

In the Concerto, Mozart balances the clarinet’s mellifluous timbre with subtle colours of flutes, bassoon and horns, in addition to the regular string section. The opening orchestral exposition of the Allegro establishes the elegant, singing nature of the first movement. The soloist’s initial entry is cast in the clarinet’s operatic upper register. Throughout this movement Mozart displays his intimate knowledge of the clarinet’s registral and dynamic flexibility, utilising its complete compass in a manner truly sublime.

The structural simplicity of the Adagio contrasts Mozart’s timbral innovation. He bathes the solo line in a variety of textures. In particular, the French horns’ lower tessitura complements the movement’s wistful and somewhat introspective character. The Rondo ebulliently blends sonata and rondo forms, and the clarinet line abounds with wit and exuberance.

Despite Mozart’s untimely death on 5 December 1791, soon after the Concerto’s premiere, this final monument to his favourite wind instrument provides a fitting testimony to the vitality and sheer genius of his musical gifts.

In the words of the Concerto’s first critic, writing in 1802:

Good execution of this concerto will bestow honour and admiration upon every able clarinettist as it will bestow pleasure upon every listener whatever his sensibilities.

Ingrid E. Pearson © 2010

The first complete performance of Mozart’s Clarinet Concerto by the Adelaide Symphony Orchestra was given on 2 May 1952 with conductor Henry Krips and soloist Cleve Martin.



Appalachian Spring: Suite

Very slowly Fast Moderate Fast Still faster Very slowly (as at first) Calm and flowing Moderate

Aaron Copland met the choreographer Martha Graham in 1931. She wanted to do a ballet on his Piano Variations. Copland threw back his head and laughed – until he saw her interpretation, the ballet Dithyramb. A collaboration was born.

In 1942 Elizabeth Sprague Coolidge commissioned Graham to stage three ballets and Copland was one of three composers asked for a score (the others being Paul Hindemith and Darius Milhaud). The result was Appalachian Spring, which premiered in Washington in October 1944. The score eventually won a Pulitzer Prize and a Music Critics’ Circle Award.

Springtime was not in the creators’ heads at the time of writing. The reference is to a spring of water on a trail through the Appalachian Mountains. A poem by Hart Crane actually contains the words:

I took the portage climb, then chose A further valley-shed; I could not stop. Feet nozzled wat’ry webs of upper flows; One white veil gusted from the very top. O Appalachian Spring!…

Appalachian Spring is one of those works which defines the American spirit in music. Graham’s original scenario included Bible quotations, a central character who resembled Pocahontas (the Powhatan woman who saved the life of Virginia explorer John Smith), and several references to the Civil War. Eventually the story revolved around a pioneer farmhouse in the Pennsylvania hill country in the early 1800s – a stark symbol of American values.

Graham’s unique choreographic style – spare and restrained – determined much of the expressive content of the ballet. Set designer Isamu Noguchi noted that Graham was ‘in a sense influenced by Shaker furniture, but it is also the culmination of Martha’s interest in American themes and in the Puritan American tradition’. The values of simplicity and directness led to the use of the Shaker hymn ‘Simple Gifts’, a song ‘previously … unknown to the general public’, recalled Copland.

With the benefit of hindsight, we can tell that much of Graham’s aesthetic was in accord with Copland’s own compositional inclinations, and which we associate now with the typical

aaron copland (1900-1990)


American sound. ‘Plain, plain, plain! …’ said Leonard Bernstein in admiration, ‘one of those Puritan values like being fair – you’re thrifty.’

In the spring of 1945, Copland arranged the ballet as an orchestral suite. He trimmed 15 minutes of primarily choreographic material, and expanded the original 13-member ensemble to full orchestra. Even in the suite it is possible to discern the broader features of the ballet. Slow music: the characters are introduced one by one. After a fast section introduced by unison strings, the Bride and her intended dance to a moderate tempo, a scene of tenderness. Next a folksy feeling – hints of square dancers and country fiddlers suggesting the Revivalist and his flock. The music speeds up as the Bride experiences presentiments of motherhood, joy, fear and wonder. A slow transition leads to scenes of activity for the Bride and her farmer-husband, and the appearance of ‘The Gift to be Simple’. In a coda the Bride takes her place among her neighbours, the couple left ‘quiet and strong in their new house’.

‘Appalachian Spring had a great deal to do with bringing my name before a larger public,’ recalled Copland in later years, and Copland’s orchestration of ‘Simple Gifts’ has become a secondary American anthem. The storyline of the original ballet implies good Yankee values – solidity, sobriety, industriousness, family and

community spirit. Though few people these days know the ballet, there is something in Copland’s music – the wide-open folksy breeziness, the stoic heroism of melodies constructed starkly from fourths, the simple colours of the orchestration – which has also come to represent these qualities.

Gordon Kalton Williams Symphony Australia © 2006

The Adelaide Symphony Orchestra first performed the Suite from Appalachian Spring on 7 September 1978 with conductor Myer Fredman.



The Firebird – Suite (1919)

Introduction – The Firebird and her Dance – Variation of the Firebird The Princesses’ Round (Khorovod) Infernal Dance of King Kashchei Berceuse Finale

With the music for The Firebird, the 28-year-old Stravinsky rose from obscurity to celebrity. Scarcely known in his native St Petersburg, where he was perhaps Rimsky-Korsakov’s most gifted student, and quite unknown in Russia as a whole, Stravinsky’s first works were performed, if at all, in small venues and for smaller audiences.

But in the winter of 1909 two of Stravinsky’s short orchestral pieces, the Scherzo fantastique and Fireworks, were conducted by Alexander Siloti as part of St Petersburg’s main orchestral series. This was to prove a crucial turning-point in the young composer’s career – in the audience was Sergei Diaghilev, who was forming a new ballet company, the Ballets Russes, that would combine the creative daring of dancers, choreographers, painters, composers and writers in a bold new artistic venture.

Fireworks in particular caught Diaghilev’s ear, and he immediately put Stravinsky to the test, commissioning the young composer to orchestrate some short pieces by Chopin and Grieg for two separate productions in the opening season of the Ballets Russes. When Stravinsky fulfilled this first commission to Diaghilev’s satisfaction, a bolder collaboration was offered: that of a new ballet based on the Firebird scenario for the Ballets Russes’ second season in Paris in 1910. When initial plans to have the score composed by Anatol Liadov fell through, Stravinsky received a telegram inviting him to take on the ballet. It would not be overstating the case to say that, in the longer term, this telegram changed the course of 20th-century musical history.

And yet at the time Stravinsky was doubtful that he could complete such a high-profile – and, for a young, largely untried composer, risky – commission at short notice. But it was an offer which he could not refuse. Not only would it expose his work to an international audience, but he would be collaborating with the legendary dancer and choreographer Michel Fokine and other great artists of the day. He accepted the commission and finished the manuscript score on 18 May 1910, just five weeks before the ballet’s premiere.

igor stravinsky (1882-1971)


Predictably, Diaghilev was impressed. ‘Keep a close eye on him,’ Diaghilev is reported to have told his leading dancer Tamara Karsavina during a rehearsal at the Paris Opera. ‘He is about to become famous.’ And so it was to prove. Perhaps indicating that at the time of this surprisingly innovative work Stravinsky was still effectively a student, the score is dedicated to his teacher Rimsky-Korsakov. And, as was the case so often with Rimsky-Korsakov himself, Stravinsky’s source of inspiration was Russia’s folk heritage: the story of the Firebird is based on a conflation of the various Russian legends concerning the young Tsarevich Ivan, who, with the assistance of the Firebird, liberates the Princess from the evil sorcerer Kashchei.

Gabriel Pierné conducted the premiere at the Paris Opera on 25 June 1910, with the choreography by Fokine (who himself danced the part of Ivan Tsarevich) and with Tamara Karsavina as the Firebird. The Romantically-inclined score is filled with the most extraordinary orchestral colours and lavish instrumental effects, outdoing even the master Rimsky-Korsakov himself, and it remains one of Stravinsky’s most popular works.

The Introduction begins deep in the muted lower strings, suggesting an eerie night near the castle of the monster Kashchei. Some of Stravinsky’s most exquisite orchestral writing accompanies the Firebird’s solo, with the fluttering effects on the strings set against the upper registers of the woodwind, suggesting the extravagant gestures of flight and proud display. In the ballet, Ivan captures the Firebird, who, in return for her freedom, gives him one of her feathers as a pledge that she will come to his aid if ever he should be in danger.

The Suite then moves to Kashchei’s daunting fortress, where Ivan has encountered 13 beautiful women, arrayed in such finery and

carrying themselves with such dignity that he assumes them to be princesses. They permit Ivan to join them in the Khorovod, an exquisite, tender and lyrical form of round dance bearing all the hallmarks of Russian folk music.

The evil Kashchei appears and is about to turn Ivan to stone. But Ivan produces the Firebird’s plume and the Firebird herself appears instantly. She casts Kashchei and his subjects into a wild dance (Infernal Dance of King Kashchei) at the end of which they fall exhausted to the ground. The Firebird then moves among the exhausted dancers and with her lullaby (Berceuse) charms them into a profound sleep. Instructed by the Firebird, Ivan finds and destroys the egg that represents Kashchei’s soul, and in the Finale the evil enchantments are dissolved and the princesses’ lovers, who had been turned to stone, are returned to life. The theme on the horn is developed into a majestic hymn of thanksgiving as Ivan and the princess of his choice are married in the final tableau amid great pomp and circumstance – thereby providing the opportunity for Stravinsky to conclude the score with a virtuosic display of rich orchestral sonorities.

Symphony Australia © 2002

The Adelaide Symphony Orchestra first performed the suite from The Firebird on 3-5 May 1951 with conductor Joseph Post, and the complete ballet on 23-24 September 1988 under Jorge Mester. Stravinsky himself conducted the Berceuse and Finale in Sydney during his visit to Australia in November 1961.


Unlike the game, Musical Chair donors walk in unison with the players thereby assisting the artistic vibrancy of the orchestra. If you'd like to support the ASO and enjoy taking part in Musical Chairs, please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]

musical chair players & donors

Concertmaster Natsuko Yoshimoto

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

Associate Principal Cello Ewen Bramble

Supported by Barbara Mellor

Associate Principal Viola Imants Larsens

Supported by Mr & Mrs Simon & Sue Hatcher

Principal 2nd Violin Michael Milton

Supported by The Friends of the ASO

Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Principal 1st Violin Shirin Lim

Supported in the memory of Dr Nandor Ballai

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported by Peter & Pamela McKee

Principal Viola Juris Ezergailis

Supported in the memory of Mrs JJ Holden

Violin Minas Berberyan

Supported by Merry Wickes

Cello Sarah Denbigh

Supported by an anonymous donor

Cello Chris Handley

Supported by Johanna and Terry McGuirk

Cello David Sharp

Supported by Aileen Connon AM

Cello Sherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal Bass David Schilling

Supported by Mrs Maureen Akkermans

Bass Harley Gray

Supported by Bob Croser

Principal Bass Clarinet Mitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Bassoon Leah Stephenson

Supported by Liz Ampt

Principal Tuba Peter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal Clarinet Dean Newcomb

Supported by Royal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr JB Robinson

Harp Suzanne Handel

Supported by Shane Le Plastrier

Principal Piccolo Julia Grenfell

Supported by Chris & Julie Michelmore

Bass David Phillips

Supported for "a great Bass player, with lots of spirit - love Betsy"

Principal Percussion Steven Peterka

Supported by The Friends of the ASO

Is this you?

Violin Janet Anderson

Supported by...

Principal Oboe Celia Craig

Sponsored byPenelope & Geoffrey Hackett-Jones

Principal Bassoon Mark Gaydon

Supported by Pamela Yule

Principal Trumpet Matt Dempsey

Supported by R & P Cheesman

Principal Contra Bassoon Jackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal Trumpet Martin Phillipson

Supported by Rick Allert AO

Principal Trombone Cameron Malouf

Supported byVirginia Weckert & Charles Melton of Charles Melton Wines

Timpani Robert Hutcheson

Supported by an anonymous donor


our inspirational donors

Diamond Patron ($25,000+)

Platinum Patron ($10,000 - $24,999)

Gold Patron ($5,000 - $9,999)

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

Dr Aileen F Connon AM

Plus two anonymous donors

Richard Hugh Allert AOMs Liz AmptMr Donald Scott GeorgeGeoffrey & Penelope Hackett-JonesMr & Mrs Keith & Sue Langley & the Macquarie Group Foundation

Johanna & Terry McGuirkPeter & Pamela McKeeMrs Diana McLaurinSan Remo Macaroni Company Pty LtdMr & Mrs Norman & Carol SchuelerPlus two anonymous donors

Mrs Maureen AkkermansR & P CheesmanMr Ollie Clark AM & Mrs Joan ClarkMr Bob CroserLegh & Helen DavisMr Colin Dunsford AM & Mrs Lib DunsfordNorman Etherington & Peggy BrockMr & Mrs Simon & Sue HatcherMr Robert KenrickShane Le PlastrierMrs Margaret LehmannMrs Barbara MellorMrs Pauline Menz

Mr & Mrs Chris & Julie MichelmoreRobert PontifexDr Ben RobinsonRoyal Overseas League South Australia IncorporatedMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyVirginia Weckert & Charles Melton of Charles Melton Wines

Mrs M W WellsDr Betsy Williams & Mr Oakley DyerMrs Pamela YulePlus two anonymous donors

A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help the ASO continue to provide Adelaide audiences access to world-class music. Your donation makes a difference.

Friends of the Adelaide Symphony OrchestraMr & Mrs Anthony & Margaret GerardMs Merry WickesKim Williams AM

Plus one anonymous donor

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

ASO as winner of Adelaide Critics Circle ACColade

Mr Neil ArnoldDr Margaret ArstallProf Andrew & Mrs Elizabeth Bersten

The Hon D J & Mrs E M BlebyDianne & Felix BochnerDr Ivan CamensMrs Patricia CohenTony & Rachel DavidsonMrs Lorraine DrogemullerRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenDr Robert HeckerDr Douglas & Mrs Tiiu HoileRhys & Vyvyan HorwoodMrs M JanzowMrs Alexandra JarvisDr I KlepperMr Ian Kowalick AM & Mrs Helen Kowalick

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Ms Guila TiverDr D R & Mrs L A TurnerMr J W ValeDr Richard & Mrs Gweneth Willing

Plus seven anonymous donors

Soloist Patron ($500 - $999)

Mr & Mrs David & Elaine Annear

Dr E Atkinson & Mr J HardyMs Dora O'BrienBarbara BahlinMr John BakerMr & Mrs R & SE BartzMrs Susan Bethune

Liz, Mike & Zoe BowenMr Rob BroughtonMr Vincent CiccarelloMrs Josephine CooperMr Bruce Debelle AOFr John DevenportDr Chrstopher DibdenMrs A E DowLady Mary DownerMrs Jane DoyleMr L J EmmettMr & Mrs Jiri & Pamela FialaMr Douglas FidockMr Otto FuchsDr Noel & Mrs Janet GrieveMrs Eleanor HandreckMr & Mrs Michael & Stacy Hill Smith

Dr Wilfrid JaksicMr & Mrs G & L JaunayMs Elizabeth Keam AMMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius

Mr Melvyn MadiganMrs Skye McGregorMrs Caroline MilneDr D G & Mrs K C MorrisMs Jocelyn ParsonsMr Tom F PearceCaptain R S & Mrs J V PearsonMr Martin PenhaleMr & Mrs John & Jenny PikeJ M ProsserMr & Mrs David & Janet RiceMr Mark RinneMrs Janet Ann RoverTrevor & Elizabeth RowanMrs Jill RussellMr A D SaintMs Linda SampsonMr & Mrs W ScharerProf Ivan Shearer AMBeth & John ShepherdMr W & Mrs H StacyThe Honourable Justice Ann Vanstone

Mr Nick WardenMrs Pamela WhittleMs Janet WorthHon David Wotton AM & Mrs Jill Wotton

Plus 10 anonymous donors

Tutti Patron ($250 - $499)

Mr & Mrs Rob & Cathy Anderson

Mr Rob BaillieMr Brenton BarrittMrs Jillian BeareDr Gaby BerceDr Adam BlackMr & Mrs Andrew & Margaret Black

Mrs Betty A BlackwoodMr Mark BlumbergProf & Mrs John & Brenda Bradley

Dr & Mrs J & M BrooksMs Rosie BurnR W & D A ButtroseMr Stephen CourtenayMr Don R R CreedyMr & Mrs Michael & Jennifer Critchley

Mrs Betty CrossGeorge & Ilana CulshawMs Barbara DeedDr Alan DownMrs Margaret DuncanMr & Mrs Stephen & Emma Evans

Dr Laurence J FergusonMs Barbara FergussonMr J H FordMr William FrogleyMr John GazleyMr & Mrs Andrew & Helen Giles

Dr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy

Mr Neil HallidayMrs Jill HayMr John H Heard AMDr Robert & Mrs Margaret Heddle

Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman

Ms Rosemary HuttonMrs Rosemary KeaneMr Angus KennedyMrs Bellena KennedyLodge Thespian, No. 195 IncMr J H LoveMr Colin MacdonaldMrs Beverley MacmahonMr Ian MaitlandRobert MarroneMr & Mrs Rob & Sue MarshallDr Ruth Marshall

Mrs Lee MasonMrs Barbara MayMs Fiona MorganMr Alex NicolDr Kenneth and Dr Glenys O'Brien

Dr John OvertonThe Hon Carolyn PicklesMr D G PittMr & Mrs Michael & Susan Rabbitt

Mr & Mrs Ian & Jen RamsayMr A L ReadMr Richard RowlandMr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMDr W T H & Mrs P M ScalesChris SchachtMr David ScownDr Peter ShaughnessyMr Roger SiegeleMr & Mrs Antony & Mary Lou Simpson

Mr & Mrs Jim & Anne SpikerMr & Mrs Graham & Maureen Storer

Mrs Anne SutcliffeDr Anne Sved WilliamsMrs Verna SymonsDr G M Tallis & Mrs J M Tallis AM

Mr & Mrs R & J TaylorDr Peter TillettDr M G Tingay & Mrs A N Robinson

Mr & Mrs John & Janice Trewartha

Mr David TurnerMrs Neta Diana VickeryProf Robert WarnerMr & Mrs Glen & Robina WeirMrs Ann WellsDr Nicholas WickhamMrs Gretta Willis

Plus 17 anonymous donors

The ASO also thanks the 616 patrons who gave other amounts in the past 12 months.

Donations from 1 Sept 2013 to 24 Sept 2014 (does not include 2015 subscription donations)

As a lover of orchestral music, we invite you to enrich your musical interests, add beautiful low-cost concerts to your musical diary and widen your social network, while assisting in raising valuable funds to help ensure the future of the ASO. Why would you hesitate? Everyone wins!

become a friend

OF THE ASO Benefits of becoming a Friend of the ASO

• Supporting one of South Australia’s most valuable assets

• Opportunities to meet orchestra members

• Receptions to meet local and visiting international artists

• Access to rehearsals and education concerts

Friends of the ASO also receive discounts at the following businesses:

• ABC Shop Myer Centre, Rundle Mall, Adelaide, Phone 8410 0567 (10% on total bill)

• John Davis Music 6 Cinema Place, Adelaide, Phone 8232 8287

• Hilton Adelaide Hotel 233 Victoria Square, Adelaide, Phone 8217 2000 (10% Brasserie)

• Hotel Grand Chancellor - Bistro 65 65 Hindley Street, Adelaide, Phone 8231 5552 (10% on total bill)

• La Trattoria Restaurant 346 King William Street, Adelaide, Phone 8212 3327 (10% on total bill)

• Newman’s Nursery Main North East Road, Phone 8264 2661, Tea Tree Gully (10% plants)

• Rigoni’s Bistro 27 Leigh Street, Adelaide, Phone 8231 5160 (10% on total bill)

Note: Friends must produce Membership Cards as identification for discounts. So join now!

For information about joining, phone (08) 8233 6211. Hours: Wednesday and Friday, 10am to 12 noon.

MEMBERSHIP APPLICATION Please complete and send to: Secretary, Friends of the ASO, GPO Box 2121, Adelaide SA 5001

Name

Address

Postcode

Phone (home) Phone (work)

Mobile E-mail

Payment

Cheque made payable to FASO $ Please charge my credit card for $

Mastercard Visa Expiry: / Card No. _ _ _ _ /_ _ _ _ /_ _ _ _ /_ _ _ _

Name of card holder: Signature:

Please tick membership requirements

$35 - Individual Friend $30 - Individual Country Friend

$20 - Individual Concession Friend $45 - Joint Friends

$40 - Joint Country Friends $35 - Joint Concession Friends

$15 - Student Pension/Student Card Number:

Government Support

57 FilmsAbsorb – Paper Products Australian Education Union – SA Branchcolourthinking – Corporate ConsultantCoopers Brewery Ltd Corporate ConversationHaigh’s Chocolates

Hickinbotham GroupM2 GroupNormetalsNova SystemsPeregrine TravelPoster ImpactThe Playford Adelaide

The ASO receives Commonwealth Government funding through the Australia Council; its arts funding and advisory body. The Orchestra continues to be funded by the Government of South Australia through Arts SA. The Adelaide City Council continues to support the ASO during the 2014–15 financial year.

thank youto our partners

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2012 alone, we backed South Australian community events and organisations to the tune of $6 million.

At Santos, we believe that contributing to the vibrant culture and diverse communities of South Australia is well worth the effort.

Because we’re not just an energy company, we’re a company with energy.

Standing behind our community

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2013, we backed South Australian community events and organisations to the tune of $9 million.

At Santos, we believe that contributing to the vibrant culture and diverse communitiesof South Australia is well worth the effort.

Because we’re not just an energy company,we’re a company with energy.

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