14 Feb 2015FESTIVAL THEATRE
PassionateTchaikovsky
3ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Tonight’s concert will be broadcast live on ABC Classic FM.
14 Feb 2015, Festival Theatre
This concert runs for approximately 120 minutes including interval.
Passionate Tchaikovsky Great Classics 1
aso.com.au
Pre-Concert chat with Annika - one hour prior to the concert in the Piano Bar.
Arvo Volmer Conductor
Ilya Gringolts Violin
Niki Vasilakis Presenter
Wagner Tannhäuser Overture
Tchaikovsky Concerto for Violin in D Major Op 35
Allegro moderato – Moderato assai Canzonetta (Andante) Finale (Allegro vivacissimo)
Ilya Gringolts Violin
Tchaikovsky Symphony No 5 in E Minor Op 64
Andante – Allegro con anima Andante cantabile Valse (Allegro moderato) Andante maestoso – Allegro vivace
Interval
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ACCESSALL AREAS
5ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Welcome Welcome to the opening concert of our 2015
season and the first of four concerts in our ‘new’
Great Classics series.
Over the years, the ASO’s Great Classics series
was very popular with our audiences, and for
good reason: the programs were anchored by
the major, mainstay pieces of the orchestral
repertoire. This is the music that we know and
love, that we probably first heard at an early
age and which is now an integral part of our
musical lives.
And so we thought it was time to bring back the
Great Classics series, lending a greater clarity
and focus to our program overall.
In 2015, all four Great Classics concerts will
be performed in the iconic Festival Theatre,
giving us the opportunity to perform some of the
largest and best-loved works in the orchestral
repertoire.
We are also very excited about being able to
present some of the world’s most distinguished
and exciting artists.
In June, the great American soprano Christine
Brewer will join us to sing the beautifully
poignant Four Last Songs of Richard Strauss.
Christoph König will also conduct the inspirational
Symphony No 1 Titan of Gustav Mahler.
In his first visit to Adelaide, the firebrand
Russian conductor Vasily Petrenko will be with
us in August to conduct a program of Russian
masterpieces – including Tchaikovsky’s timeless
Piano Concerto No 1 played by Simon Trpčeski –
that will leave you breathless.
Great Classics concludes in November with
one of biggest statements (and sounds) in all of
music: Strauss’s Also sprach Zarathustra, with the
unforgettable brass fanfare and timpani strikes,
indelibly etched in our minds by Kubrick’s
2001: A Space Odyssey. That concert will also
feature the legendary American piano virtuoso
Garrick Ohlsson performing Brahms’s epic Piano
Concerto No 1.
That concert will be conducted by our great
friend, our Principal Guest Conductor and
former Music Director of 10 years, Arvo
Volmer, who we welcome back this evening.
He and our spellbinding soloist Ilya Gringolts
have something special in store for you – a
spectacular start to 2015.
Enjoy the concert.
Vincent CiccarelloManaging Director
6 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Arvo Volmer conductor
Estonian conductor Arvo Volmer is widely acclaimed for his powerful performances in both opera and concert. Particularly well-known are his interpretations of Mahler and Sibelius, German, Nordic and Russian composers and contemporary music.
Volmer made his professional debut with the Estonian National Opera at the age of 22 and has been associated with the company ever since. He became Associate Conductor of the Estonian National Symphony Orchestra in 1989 and Music Director from 1993 until 2001. Volmer was Chief Conductor and Artistic Director of Finland’s Oulu Symphony Orchestra between 1994 and 2005.
In 2004, Arvo Volmer became Artistic Director and Chief Conductor at the Estonian National Opera as well as Music Director of the Adelaide Symphony Orchestra – a position he held until the end of 2013. During this time, Volmer led the Orchestra on tours to Los Angeles and New York’s Carnegie Hall and on projects such as the highly acclaimed, five-year long Mahler Cycle. His commitment to the Orchestra continues into upcoming seasons, having been named Principal
Guest Conductor and Artistic Adviser as of January 2014.
Arvo Volmer has been appointed Music Director of the Orchestra Haydn in Italy from the 2014/15 season onwards. Highlights of their first year together will include an exchange programme with the La Verdi Orchestra Milan, tours to Maggio Musicale Fiorentino, Torino Milano Festival Internazionale della Musica and many others. Other upcoming highlights include Volmer’s debut with the NHK Symphony Orchestra Tokyo and returns to the Orchestre National de Belgique and the Orquestra Sinfonica do Estado de São Paulo.
Throughout his career, Arvo Volmer has made an extensive number of recordings, including the complete symphonies of Jean Sibelius for ABC (recorded following a cycle with the Adelaide Symphony Orchestra) and the symphonic works of Eduard Tubin. Arvo Volmer is a graduate of the renowned St. Petersburg Conservatoire’s conducting class, and in 1989 was a prize-winner of the Nikolai Malko Competition in Copenhagen.
7ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
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8 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Ilya Gringolts violin
Ilya Gringolts studied violin and composition in Saint Petersburg with Tatiana Liberova and Jeanna Metallidi, and attended The Juilliard School where he studied with Itzhak Perlman. In 1998 he won the International Violin Competition ‘Premio Paganini’, as the youngest first prize winner in the history of the competition.
He has performed with leading orchestras around the world, such as the Chicago Symphony Orchestra, London Philharmonic Orchestra, Los Angeles Philharmonic, Melbourne Symphony Orchestra, NHK Symphony Orchestra, Mahler Chamber Orchestra, BBC Symphony Orchestra, Israel Philharmonic Orchestra and the Hallé Orchestra. He has premiered compositions by Peter Maxwell Davies, Augusta Read Thomas, Christophe Bertrand and Michael Jarrell.
Highlights of the 2014/15 season include performances at prestigious concert halls such as the Musikverein in Vienna, Concertgebouw in Amsterdam and Wigmore Hall in London. As a soloist he has been invited to perform with the orchestra of the Teatro Comunale di Bologna, City of Birmingham Symphony Orchestra, Copenhagen Philharmonic and Auckland Philharmonia Orchestra, with whom he will record the violin concerto of
New Zealand composer Ross Harris.
Apart from his position as violin professor at the Zurich University of the Arts, Ilya Gringolts is an International Fellow in Violin at the Royal Conservatoire of Scotland. He is also first violinist of the Gringolts Quartet, which he founded in 2008.
His recordings include three releases of the music of Robert Schumann; 24 caprices for solo violin by Paganini; and the Gramophone Award-winning Taneyev: Chamber Music with Mikhail Pletnev, Vadim Repin, Nobuko Imai and Lynn Harrell.
He plays a 1718-1720 Stradivarius.
What do you love about Tchaikovsky’s Violin Concerto?
It is the evergreen quality of mainstream, the openness, the directness. Tchaikovsky’s music like little other (Dvorák is the other example) doesn’t look for detours, goes straight for the heart, no prisoners taken. It’s not ashamed of anything and wears its heart on the sleeve.
Proud Wine Sponsors of the ASO
Proud Wine Sponsors of the ASO
10 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Principal Guest Conductor and Artistic Advisor Arvo Volmer
Artist in Association Nicholas McGegan
Associate Guest Conductor Nicholas Carter
VIOLINSConcertmaster** Natsuko Yoshimoto
Sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford
Lachlan Bramble** (Acting Associate Concertmaster)
Supported in the memory of Deborah Pontifex
Shirin Lim** (Principal 1st Violin)
Supported in the memory of Dr Nandor Ballai
Michael Milton** (Principal 2nd Violin)
Musical Chair supported by The Friends of the ASO
Janet Anderson~ (Acting Associate Principal 2nd Violin)Ann AxelbyErna BerberyanMinas Berberyan
Supported by Merry Wickes
Gillian BraithwaiteJulia Brittain
Hilary Bruer Supported by Marion Wells
Nadia BuckJane CollinsBelinda Gehlert Danielle Jaquillard
Alexis Milton Sponsored by Patricia Cohen
Jennifer Newman Emma Perkins
Supported by Peter & Pamela McKee
Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr
VIOLAS Imants Larsens** (Acting Principal)
Supported by Mr & Mrs Simon & Sue Hatcher
Carolyn Mooz~
(Acting Associate)Martin Butler Lesley Cockram Anna HansenLinda GarrettRosi 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
David Sharp Supported by Dr Aileen F Connon AM
Cameron Waters
BASSES David Schilling**
Supported by Mrs Maureen Akkermans
Hugh Kluger~
Jacky Chang
Harley Gray Supported by Bob Croser
Belinda Kendall-Smith
David Phillips Support for ‘a great bass player with lots of spirit – love Betsy’
FLUTES Geoffrey Collins**
Supported by Pauline Menz
Lisa Gill
PICCOLOJulia Grenfell*
Supported by Chris & Julie Michelmore
OBOES Celia Craig**
Supported by Penelope & Geoffrey Hackett-Jones
Renae Stavely Supported by Roderick Shire & Judy Hargrave
COR ANGLAISPeter Duggan*
Supported by Dr Ben Robinson
CLARINETS Dean Newcomb**
Supported by the Royal Over-Seas League SA Inc
Mitchell Berick Supported by Nigel Stevenson & Glenn Ball
BASSOONS Mark Gaydon**
Supported by Pamela Yule
Leah Stephenson Supported by Liz Ampt
HORNS Adrian Uren**Sarah Barrett~
Supported by Margaret Lehmann
Bryan Griffiths Alex MillerPhilip PaineAlison Harris
TRUMPETS Martin Phillipson**
Supported by Richard Hugh Allert AO
Robin Finlay**Gregory FrickTimothy Keenihan
Adelaide Symphony Orchestra
11ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
ASO BOARD
Colin Dunsford AM (Chair)Jillian AttrillVincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson
ASO MANAGEMENT
EXECUTIVE
Vincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director
ARTISTIC
Simon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator
FINANCE AND HR
Bruce Bettcher - Business and Finance ManagerLouise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant
OPERATIONS
Heikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra ManagerKingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Acting Orchestra Manager
MARKETING AND DEVELOPMENT
Paola Niscioli - General Manager, Marketing and DevelopmentVicky Lekis - Director of DevelopmentAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistTom Bastians - Customer Service ManagerAlexandra Bassett - Marketing and Development Coordinator
FRIENDS OF THE ASO EXECUTIVE COMMITTEE
Alison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsVacancy - Honorary SecretaryJohn Gell - Assistant Secretary MembershipJudy Birze - Treasurer
TROMBONES Cameron Malouf**
Supported by Virginia Weckert & Charles Melton of Charles Melton Wines
Ian Denbigh
BASS TROMBONEHoward Parkinson*
TUBA Peter Whish-Wilson*
Supported by Ollie Clark AM & Joan Clark
TIMPANI Robert Hutcheson*
Supported by an anonymous donor
PERCUSSION Steven Peterka**
Supported by The Friends of the ASO
Gregory RushAmanda Grigg
** denotes Section Leader* denotes Principal Player~ denotes Associate Principal
denotes Musical Chair Support
Correct at time of print.
12 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Tannhäuser (Dresden version, 1845): Overture
Tannhäuser dates from Wagner’s time as Second Kapellmeister in Dresden (1843-49). In his previous opera, The Flying Dutchman, Wagner had already established Redemption as one of his lifelong themes. Tannhäuser continues the idea of a woman, again a soprano, sacrificing herself for the man she loves.
Tannhäuser’s plot is a conflation of several myths. Wagner based his libretto on sources ranging from Ludwig Tieck’s collection of fairytales, Phantasus, to Heinrich Heine’s essay Elementargeister. He also derived another plotline from E.T.A. Hoffmann’s story Der Kampf der Sänger, about a song contest at Wartburg Castle.
Love and death may be opera’s two defining poles. Tannhäuser depicts furthermore a tussle between carnality and spiritual love. The curtain rises on the minstrel Tannhäuser in the Venusberg, the legendary haunt of the goddess of love. Sated with the Venusberg’s delights, he wants to return to the everyday world. Once there, he rediscovers his former love, Elisabeth, and tries to win her back in a song contest. He is expected,
however, to seek repentance for his sins and travels to Rome but is refused forgiveness by the Pope. But all is not lost. At the last, Elisabeth dies and in dying intercedes for him. News is brought of the Pope’s staff in Rome bursting into leaf, signifying Tannhäuser’s salvation.
In the 1840s, when he began Tannhäuser, Wagner had not yet conceived his revolutionary theory of music drama. The version of Tannhäuser premiered in Dresden was still basically a traditional ‘number opera’ with discrete arias, ensembles and choruses. Its overture was in a closed form and could stand alone as a musical item. Franz Liszt described this overture as ‘a poem upon the same subject as the opera’. In its broadly ternary structure it summarised the opera’s philosophical concerns.
Clarinets, trombones and bassoons intone the pilgrims’ chorus in a broad triple time. As Wagner said in a program note, ‘It approaches, swells to a mighty outpouring and finally passes into the distance. – Twilight: … As night falls, magic visions show themselves.’ The music launches into the fast whirling chromaticism of the Venusberg. Tannhäuser’s Hymn to Venus is next heard, before the triumphant return of the pilgrims’ hymn, solidly indicative of virtue’s victory.
Richard Wagner 1813 - 1883
13ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Wagner revised Tannhäuser for Paris in 1861. By that time he had composed the highly chromatic and anguished Tristan und Isolde, and the ‘Paris’ version benefits from Wagner’s advanced harmonic language. It is as if he was being lured to evermore sensual depictions of love.
Gordon Kalton Williams © 2012
The first performance of the Overture from Tannhäuser by the Adelaide Symphony Orchestra was at a War Funds Concert on 18 November 1944 with conductor William Cade. The ASO most recently performed it in June 2007 under Nicholas Braithwaite.
Duration 14 minutes.
Tannhäuser Dresden premiere 1845 Drawing by F. Tischbein
14 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Violin Concerto in D, Op 35Allegro moderato – Moderato assai Canzonetta (Andante) Finale (Allegro vivacissimo)
Ilya Gringolts violin
It was the winter of 1877, and Tchaikovsky was in love. He wrote to his brother Modest about the ‘unimaginable force’ of the passion that had developed; its object was a young violinist and student at the Moscow Conservatorium, Josef Kotek. Tchaikovsky had known ‘this wonderful youth’ for about six years. In 1876 Kotek had also acted as a go-between for Tchaikovsky and his new patron, Nadezhda von Meck, who eschewed any face-to-face contact with the composer. Kotek was a devoted and affectionate but platonic friend to Tchaikovsky, but soon became besotted with a fellow (female) student. The composer’s ardour cooled quickly, and within three weeks of discovering Kotek’s new relationship, Tchaikovsky had made his fateful proposal to Antonina Milyukova, a former Conservatorium student who had fallen in love with him. They married two months later, and as the depth of their cultural and personal differences quickly became
clear, Tchaikovsky left his wife two months after that.
Kotek and Tchaikovsky remained friends, however, and the Violin Concerto seems to have grown out of a promise that the composer made to write a piece for one of Kotek’s upcoming concerts. While Kotek was not, ultimately, the dedicatee or first performer of the work, he was of enormous help to Tchaikovsky in playing through sections of the piece as the composer finished them.
After leaving his wife, Tchaikovsky, accompanied by one or other of his brothers (and at one point Kotek himself), travelled extensively in western Europe. Tchaikovsky worked on the Violin Concerto in Switzerland in early 1878, not long after completing the Fourth Symphony and the opera Eugene Onegin. Commentators are generally agreed that both of those works reflect Tchaikovsky’s emotional reactions to the traumatic events of his marriage, though the composer himself was careful, in a letter to Mme von Meck, to point out that one could only depict such states in retrospect. In any event, it seems likely that, apart from honouring a promise to Kotek, Tchaikovsky found the conventions of the violin concerto offered a way of writing a large-scale work without the personal investment of the opera and symphony.
Peter Ilyich Tchaikovsky 1840-1893
15ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Like the great concertos of Beethoven and Brahms, Tchaikovsky’s is in D major and in three substantial movements. The first develops two characteristic themes within a tracery of brilliant virtuoso writing for the violin, and like Mendelssohn in his concerto, Tchaikovsky places the solo cadenza before the recapitulation of the opening material. As in the slow movement of the Fourth Symphony, the central Canzonetta works its magic by the deceptively simple repetition of its material. The work concludes with a bravura, ‘Slavic’ Finale which is interrupted only by a motif for solo oboe which for one writer recalls, nostalgically, a moment in the ‘Letter Scene’ from Onegin (which itself parallels the relationship between Tchaikovsky and Antonina).
The work was initially dedicated to the virtuoso Leopold Auer, who thought it far too difficult and refused to play it. In 1881 Adolf Brodsky gave the premiere in Vienna, where that city’s most feared
critic, Eduard Hanslick, tore the piece to shreds:
The violin is no longer played; it is pulled, torn, drubbed … We see plainly the savage vulgar faces, we hear curses, we smell vodka … Tchaikovsky’s Violin Concerto gives us for the first time the notion that there can be music that stinks to the ear.
Hanslick, like many a music critic, made a bad call; Tchaikovsky had written one of the best loved works of the concerto repertoire.
Gordon Kerry © 2003
The Adelaide Symphony Orchestra first performed Tchaikovsky’s Violin Concerto on 23 July 1941 with conductor William Cade and soloist Jeanne Gautier. The ASO performed it most recently in October 2012 with Garry Walker and Nicola Benedetti.
Duration 33 minutes.
Tchaikovsky (r) with Kotek
16 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Symphony No 5 in E minor, Op 64Andante – Allegro con anima Andante cantabile Valse (Allegro moderato) Andante maestoso – Allegro vivace
After completing his Fourth Symphony (1877), Tchaikovsky wrote to his former pupil Sergey Taneyev: ‘I should be sorry if symphonies that mean nothing should flow from my pen.’ He insisted that the Fourth definitely followed a ‘program’, even though, like Beethoven’s Fifth Symphony on which he had partly modelled the work, it could not be expressed in words. Circumstantial evidence suggests that Tchaikovsky’s own Fifth Symphony, composed in summer 1888, likewise could not ‘mean nothing’, and even if a precise meaning will probably never emerge, Tchaikovsky did leave clues as to the direction of his thoughts.
Fate and providence were certainly on his mind, having in mid-1887 spent two distressing months at the bedside of a dying friend. Later in his sketchbook he verbally outlined a first movement whose slow introduction began with ‘total submission to fate’, followed by an Allegro that introduced ‘murmurs, doubts,
laments, reproaches’ before considering succumbing to ‘the embrace of faith’. He described this as ‘a wonderful program, if only it can be fulfilled’. Although no irrefutable evidence links this plan directly with the 1888 symphony, the Fifth’s main theme does lend itself to a musical personification of grim fate (in its minor form) and of beneficent providence (in its major form), and a journey from the first to the second is a plausible program, if not for the opening movement (which ends in the minor), then for the whole work.
The main theme (played at the outset by solo clarinet) also pays homage to the man Tchaikovsky called ‘the father of Russian music’, Mikhail Glinka. He borrowed the germinal first eight-note phrase from Glinka’s opera A Life for the Czar, where it opens the second half of a melody sung in succession by all three principal characters in the First Act trio. But Tchaikovsky develops Glinka’s melodic fragment (first sung to the words ‘Do not turn to sorrow’) into an entirely new motto theme whose subliminal transformations and literal reprises bind the symphony’s four movements together. The first transformation is into the dance-like theme of the Allegro con anima announced by clarinet and bassoon.
The horn melody in the second movement
Peter Ilyich Tchaikovsky 1840-1893
17ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
is one of the most beautiful in all of Tchaikovsky’s music. He actually scribbled on a sketch of this melody (in French): ‘I love you, my love!’ But it is more than just a love theme; it, too, is subtly related to the motto (of the motto’s first eight notes, it is a varied reworking of the last five). This connection is made explicit when the undisguised motto returns, portentously with trumpets and kettledrums, just before the reprise of the love theme.
Tchaikovsky called the third movement a ‘waltz’, a modestly understated example compared with his great ballet waltzes, but one whose easy mood makes it a perfect structural foil to the slow movement’s passionate intensity. It may well be significant that he crafted the tune out of snippets of a Tuscan folksong, called La Pimpinella, that he heard in Florence in 1877, sung by (as he noted) a ‘positively beautiful’ young (male) street-singer. Certainly significant, the waltz tune also audibly echoes the rhythm of the preceding movement’s soulful horn theme, of which it is essentially a faster, lighter reworking. The same rhythm also reappears in the sinuously exotic subsidiary tune introduced by the bassoon. But only once does the motto itself intrude on this pleasant reverie, from clarinets and bassoons, right at the movement’s close.
The motto returns fully, in major mode, as a solemn march, introducing the fourth movement, sumptuously scored with all the violins playing down low in unison with the cellos, passing next to the woodwinds, before trumpets and
kettledrum signal the imminent Allegro vivace. Tchaikovsky energises the motto’s second, falling-scale element to create a new minor-key theme that launches further transformations and combinations of germinal fragments, underpinned by the quick tick-tock of bassoons, kettledrums and basses, plateauing out on a brilliantly shrill major-key woodwind chorus. Winding down and then up again through more furious returns of the minor-key theme, a massive climax builds, breaking back into the now almost unbearably splendid march, the motto’s apotheosis capped at the last possible moment by a trumpet reprise of the first movement’s allegro theme.
© Graeme Skinner 2014
The Adelaide Symphony Orchestra first performed Tchaikovsky’s Symphony No 5 in October 1940 with Bernard Heinze conducting, and most recently in May 2011 with Olari Elts.
Duration 50 minutes.
Concertmaster Natsuko Yoshimoto
Sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford
Associat Principal Cello Ewen Bramble
Supported by Barbara Mellor
Principal Viola Juris Ezergailis
Supported in the memory of Mrs JJ Holden
Principal 2nd Violin Michael Milton
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
For more information please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]
Violin Hilary Bruer
Supported by Marion Wells
Violin Emma Perkins
Supported by Peter & Pamela McKee
Violin Minas Berberyan
Supported by Merry Wickes
Violin Alexis Milton
Supported by Patricia Cohen
Associate Principal Viola Imants Larsens
Supported by Mr & Mrs Simon & Sue Hatcher
Principal Cello Simon Cobcroft
Supported by Andrew & Gayle Robertson
Cello Chris Handley
Supported by Johanna and Terry McGuirk
Cello David Sharp
Supported by Dr Aileen F Connon AM
Cello Sherrilyn Handley
Supported Johanna and Terry McGuirk
Principal Bass David Shilling
Supported by Mrs Maureen Akkermans
Bass David Phillips
Supported for ‘a great bass player with lots of spirit - love Betsy’
Bass Harley Gray
Supported by Bob Croser
Musical chair players and donors
Oboe Renae Stavely
Supported by Roderick Shire & Judy Hargrave
Principal Bass Clarinet Mitchell Berick
Supported by Nigel Stevenson & Glenn Ball
Principal Bassoon Mark Gaydon
Supported by Pamela Yule
Principal Tuba Peter Whish-Wilson
Supported by Ollie Clark AM & Joan Clark
Principal Timpani Robert Hutcheson
Supported by an anonymous donor
Principal Clarinet Dean Newcomb
Supported by Royal Over-Seas League SA Inc
Principal Flute Geoffrey Collins
Supported by Pauline Menz
Principal Cor Anglais Peter Duggan
Supported by Dr JB Robinson
Principal Trumpet Matt Dempsey
Supported by R & P Cheesman
Bassoon Leah Stephenson
Supported by Liz Ampt
Principal Piccolo Julia Grenfell
Supported by Chris & Julie Michelmore
Principal Contra Bassoon Jackie Hansen
Supported by Norman Etherington & Peggy Brock
Associate Principal Trumpet Martin Phillipson
Supported by Richard Hugh Allert AO
Principal Percussion Steven Peterka
Supported by The Friends of the ASO
Principal Harp Suzanne Handel
Supported byShane Le Plastrier
Principal Percussion Sarah Barrett
Supported by Margaret Lehmann
Principal Trombone Cameron Malouf
Supported by Virginia Weckert & Charles Melton of Charles Melton Wines
Principal Oboe Celia Craig
Sponsored byPenelope & Geoffrey Hackett-Jones
20 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
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A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help to sustain and expand the ASO. Your donation makes a difference.
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Tutti Patron ($250 - $499)
Mr & Mrs David & Elaine AnnearMr Rob BaillieMr Brenton BarrittMrs Jillian BeareDr Gaby BerceDr Adam BlackMr & Mrs Andrew & Margaret BlackMrs Betty A BlackwoodMr Mark BlumbergLiz, Mike & Zoe BowenProf & Mrs John & Brenda Bradley
Ms Rosie BurnDr John CombeMr Stephen CourtenayMr Don R R CreedyMr & Mrs Michael & Jennifer CritchleyMrs Betty CrossMrs M D Daniel OAMMs Barbara DeedMr L J EmmettMr & Mrs Stephen & Emma Evans
Mrs Etiennette FennellMs Barbara FergussonMr Douglas FidockMr J H FordMr John GazleyMr & Mrs Andrew & Helen Giles
Dr David & Mrs Kay GillThe Hon R & Mrs L GoldsworthyMr Neil HallidayMrs Jill HayProf Robert & Mrs Margaret Heddle
Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman
Mr & Mrs Michael & Stacey Hill Smith
Mr John HoldenMrs Rosemary KeaneMr Angus KennedyKerry & Barbara KirkeLodge Thespian, No. 195 Inc
Mr Colin MacdonaldMrs Beverley MacmahonMr Ian MaitlandRobert MarroneDr Ruth MarshallMrs Lee MasonMrs Barbara May
Mrs Caroline MilneMr & Mrs D & M MolyneuxMr Alex NicolDr John OvertonThe Hon Carolyn PicklesKrystyna PindralMr Frank PrezMr & Mrs Michael & Susan Rabbitt
Mr & Mrs Ian & Jen RamsayMr A L ReadMrs Jill RussellMr Frank and Mrs Judy Sanders
Mrs Meredyth Sarah AMDr W T H & Mrs P M ScalesChris SchachtMr David ScownMs Gweneth ShaughnessyBeth & John ShepherdR & L SiegeleMrs Elizabeth P SimpsonMr & Mrs Jim & Anne Spiker
Eric StaakMr & Mrs Graham & Maureen StorerMrs Anne SutcliffeDr Anne Sved WilliamsDr G M Tallis & Mrs J M Tallis AM
Mr & Mrs R & J TaylorThe Richard Wagner Society of South Australia IncDr Peter TillettAnita Robinson & Michael Tingay
Mr & Mrs John & Janice Trewartha
Mr David TurnerKeith and Neta VickeryMr & Mrs Glen & Robina Weir
Mrs Ann WellsMr & Mrs Peter & Dawn Yeatman
Plus 16 anonymous donors The ASO also thanks the 607 patrons who gave other amounts in the last 12 months.
22 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS
Principal Partner
Major Partners
World Artist Partners
Corporate Partners
Media Partners
Corporate Club
Industry collaborators
Friends
Government Support
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 Director of Development, Vicky Lekis on 8233 6260 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.
The ASO receives Commonwealth Government funding through the Australia Council, it arts funding and advisory body. The Orchestra is funded by the Government of South Australia through Arts SA. The Adelaide City Council supports the ASO during the 2014-15 financial year.
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 FilmsAbsorb – Paper ProductsBoylen – Website Design & Developmentcolourthinking – corporate consultantCoopers Brewery LtdCorporate ConversationHaigh’s Chocolates
Hickinbotham GroupM2 GroupNormetalsNova SystemsPeregrine TravelPoster ImpactThe Playford Adelaide
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
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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