Transcript
Page 1: Passionate Tchaikovsky - Adelaide Symphony Orchestra · PDF filePassionate Tchaikovsky Great Classics 1 ... Christoph König will also conduct the inspirational ... David Schilling**

14 Feb 2015FESTIVAL THEATRE

PassionateTchaikovsky

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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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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

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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.

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7ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS

Adelaide’s No.1

kwp!

SA

S10

255

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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

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Proud Wine Sponsors of the ASO

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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

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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.

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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

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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

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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

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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

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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

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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.

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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

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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

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20 ADELAIDE SYMPHONY ORCHESTRA GREAT CLASSICS

Our inspirational donors

Diamond Patron ($25,000+)

Mr & Mrs Anthony & Margaret GerardAndrew Thyne Reid Charitable TrustKim Williams AM

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

Dr Aileen F Connon AMThe Friends of the Adelaide Symphony OrchestraEstate of the late David Malcolm Haines QCEstate of the late Winifred J. LongbottomMs Merry WickesPlus two anonymous donors

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

Mr Donald Scott GeorgeMr & Mrs Simon & Sue HatcherMr & Mrs Keith & Sue Langley & the Macquarie Group FoundationPeter & Pamela McKeeMrs Diana McLaurinMr Norman Schueler OAM and Mrs Carol SchuelerPlus two anonymous donors

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

Mrs Maureen AkkermansRichard Hugh Allert AOMs Liz AmptR & P CheesmanMr Ollie Clark AM & Mrs Joan ClarkMrs Patricia CohenMr Bob CroserLegh & Helen DavisMr Colin Dunsford AM & Mrs Lib DunsfordNorman Etherington & Peggy BrockGeoffrey & Penelope Hackett-JonesMr Robert KenrickShane Le PlastrierMrs Margaret LehmannMrs Joan LyonsJohanna & Terry McGuirk

Mrs Barbara MellorMrs Pauline MenzMr & Mrs Chris & Julie MichelmoreRobert PontifexMs Marietta ResekMr & Mrs Andrew & Gayle RobertsonDr Ben RobinsonRoyal Over-Seas League South Australia IncorporatedMr Ian SmailesMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyMrs M W WellsDr Betsy Williams & Mr Oakley DyerMrs Pamela YulePlus one anonymous donor

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

Mr Neil ArnoldDr Margaret ArstallAustralasian Double Reed Society SA

Prof Andrew & Mrs Elizabeth Bersten

The Hon D J & Mrs E M Bleby

Dianne & Felix BochnerDr Ivan CamensTony & Rachel DavidsonDr Christopher DibdenMrs Lorraine DrogemullerJiri & Pamela FialaIn Memory of Jim FrostRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenDr Robert HeckerMrs Alexandra JarvisDr I KlepperIan Kowalick AM & Helen Kowalick

Dr & Mrs Neil & Fay McIntosh

Captain R S Pearson CSC and Mrs J V Pearson

Mrs Christine & The Late Dr Donald Perriam

Mr Mark RinneMr Roger SalkeldPhilip Satchell AM & Cecily Satchell

Larry & Maria ScottRoderick ShireMr & Mrs H W ShortDr & Mrs Nigel & Chris Steele-Scott OAM

Ms Guila TiverDavid & Linnett TurnerMr J W ValeMrs Margaret VerranDr Richard & Mrs Gweneth Willing

Plus five anonymous donors

Soloist Patron ($500 - $999)

Dr E Atkinson & Mr J HardyMs Dora O’BrienBarbara BahlinMr John BakerMr & Mrs R & SE BartzGraeme & Susan BethuneDr & Mrs J & M BrooksMrs J L BrooksRob & Denise Buttrose

Mrs Josephine CooperMr Bruce Debelle AOFr John DevenportMrs A E DowDr Alan Down & Hon Catherine Branson

Mr William FrogleyMr Otto FuchsDr Noel & Mrs Janet GrieveMrs Eleanor HandreckMr John H Heard AMDr Douglas & Mrs Tiiu Hoile

Rhys & Vyvyan HorwoodMrs M JanzowMr & Mrs G & L JaunayMrs Elizabeth Keam AMMrs Bellena KennedyMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius

Mr J H LoveMr Melvyn MadiganMrs Skye McGregorMr Grant M MorganDr D G & Mrs K C MorrisMs Jocelyn ParsonsMr & Mrs John & Jenny Pike

J M ProsserMr & Mrs David & Janet Rice

Mrs Janet Ann RoverMr & Mrs Trevor & Elizabeth Rowan

Mr A D SaintMs Linda SampsonMr & Mrs W ScharerProfessor Ivan Shearer, AMMr & Mrs Antony & Mary Lou Simpson

Mr Martin PenhaleMr W & Mrs H StacyChristopher StoneMrs Verna SymonsThe Honourable Justice Ann Vanstone

Mr Nick WardenProf Robert WarnerMrs Pamela WhittleDr Nicholas WickhamMrs Gretta WillisMs Janet WorthHon David Wotton AM & Mrs Jill Wotton

Plus eight anonymous donors

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.

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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.

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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

Page 24: Passionate Tchaikovsky - Adelaide Symphony Orchestra · PDF filePassionate Tchaikovsky Great Classics 1 ... Christoph König will also conduct the inspirational ... David Schilling**

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

kwp!

SA

N10

540


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