ADELAIDE SYMPHONY ORCHESTRA SEASON 2019

MASTER SERIES 9 Zukerman’s Elgar

October Thu 31, 11.30am November Fri 1, 8pm Sat 2, 6.30pm

Adelaide Town Hall

MASTER SERIES 9 Zukerman’s Elgar October Pinchas Zukerman Conductor/Violin Thu 31, 11.30am November Fri 1, 8pm Sat 2, 6.30pm Adelaide Town Hall

Beethoven Egmont: Overture Op.84

Mozart Violin Concerto No.5 in A, K219 Turkish Allegro aperto Adagio Rondo (Tempo di Menuetto)

Interval

Variations on an Original Theme, Op.36 Enigma Elgar I (C.A.E.) – Caroline Alice Elgar, the IX (Nimrod) – August Johannes composer’s wife Jaeger, reader for the publisher Novello & Co II (H.D.S-P) – Hew David Steuart- Powell, pianist in Elgar’s trio X (Dorabella) Intermezzo – Dora Penny, later Mrs Richard Powell III (R.B.T.) – Richard Baxter Townshend, author XI (G.R.S.) – Dr G.R. Sinclair, organist of Hereford Cathedral IV (W.M.B.) – William Meath Baker, nicknamed ‘the Squire’ XII (B.G.N.) – Basil G. Nevinson, cellist in Elgar’s trio V (R.P.A.) – Richard Penrose Arnold, son of Matthew Arnold XIII (***) Romanza – Lady Mary Lygon, later Trefusis VI (Ysobel) – Isabel Fitton, viola player XIV (E.D.U.) Finale – Elgar himself VII (Troyte) – Arthur Troyte Griffith, (‘Edu’ being his nickname) architect VIII (W.N.) – Winifred Norbury

Duration Broadcast This concert runs for approximately 1 hour This concert will be broadcast on ABC Classic and 40 minutes including a 20 minute interval. on 17 November, 3pm and Dec 31, 1pm.

Classical Conversation One hour prior to Master Series concerts in the Meeting Hall. Explore iconic masterworks by Beethoven, Mozart, and Elgar with educator and conductor Graham Abbott and Head of Strings at the Elder Conservatorium, violinist Elizabeth Layton (Shirin Lim, Principal First Violin on 31 Oct).

The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 3 Vincent Ciccarello Managing Director

Welcome. The next, and obvious, element of this strategy was for the entire orchestra I write this message just over two weeks to perform once again in China and before the orchestra embarks on its first South Korea. visit to China and South Korea in more than 20 years. That you’re reading this By and large, the ASO only ever gets to suggests we’ve arrived home, safe, sound present a concert program twice; to be and, hopefully, triumphant! able to present a program eight times (if we include these concerts in Adelaide) is I’ve written previously about the an all-too-rare opportunity to constantly opportunities that international touring develop and refine an interpretation of presents for cultural diplomacy and the repertoire. In doing so, the musicians’ cultivating people-to-people connections. antennae are highly attuned to, among But there are other compelling reasons to other things, many nuances of dynamics, tour: the benefits to the ASO’s reputation, timbre, colour and phrasing; all the while, and its artistic and organisational health. they bring a keen sense of ensemble and Over the past five years, the ASO commitment to a unified artistic goal. has endeavoured to foster strategic Just as important, however, is the bonding relationships with counterparts and and camaraderie that develop between colleagues in both China and South Korea. the players, the conductor and the During that time, we’ve rekindled our wider ASO team in the high-pressure connection with colleagues in Shandong environment of touring. That is something Province, South Australia’s sister state of that can’t easily be replicated at home. more than 30 years; we’ve commissioned I hope you’ll notice and enjoy the product and performed a special fanfare at the of that today. Jiangwan Stadium in Shanghai before the I take this opportunity to thank, once first ever AFL match in China; we’ve also again, the Government of South Australia, presented our specially-commissioned Premier Steven Marshall, our many private children’s piece, The Bush Concert – in donors and BHP for their support; it’s their Mandarin, no less – with an ensemble of generosity and vision that made the ASO players in Harbin. (We’ll present the tour possible. full orchestral version as part of our Family series in 2020.) And, with our colleagues at the Adelaide Festival Centre, we’ve presented two spectacular Chinese New Year concerts.

4

Pinchas Zukerman Conductor/Violin

With a celebrated career encompassing “You could have blindfolded an five decades, Pinchas Zukerman reigns experienced listener, put him in a different as one of today’s most sought after room where he could scarcely hear the and versatile musicians - violin and sounds, and he’d still recognize that viola soloist, conductor, and chamber liquid, Zukerman tone. There is no other musician. He is renowned as a virtuoso, like it....His sound is utterly inimitable - as admired for the expressive lyricism of it has been for more than 30 years - from his playing, singular beauty of tone, and its intense sweetness on high to its throaty impeccable musicianship, which can be richness at the depths of the instrument.... heard throughout his discography of over And the molten gold that streams from 100 albums. the instrument is completely breathtaking. Fabulous playing.” The 2018-2019 season marks Mr. Pinchas Zukerman’s tenth season as - The Herald (Glasgow) Principal Guest Conductor of the Royal Philharmonic Orchestra and his fourth as the Adelaide Symphony Orchestra’s Artist-in-Association and includes over 100 concerts worldwide. Highlights of the season include two European tours with the Royal Philharmonic and Rotterdam Philharmonic Orchestras, and concerto appearances with the Los Angeles Philharmonic Orchestra, Pittsburgh, Colorado, New World Symphonies and Gulbenkian Orchestra. Serving as both soloist and conductor, Mr. Zukerman leads the Royal Philharmonic Orchestra, National Arts Centre Orchestra, Toronto and Indianapolis Symphony Orchestras. In chamber music, he travels with the Zukerman Trio and joins the Jerusalem Quartet as guest artist on tour in Chicago, Houston, Atlanta, Vancouver, Berkeley, CA and Ann Arbor, MI.

6 CHINA & SOUTH KOREA TOUR

Pinchas Zukerman plays Mozart’s Violin Concerto No.5 at Shanghai Symphony Hall

Premier Steven Marshall welcomes the ASO at Kathy Vitkovsky, Dr Sing Ping Ting and Managing the Australian Embassy in Beijing Director Vincent Ciccarello at Beijing Airport

THANK YOU TO OUR SUPPORTERS

Didy McLaurin Anonymous

Robert Kenrick Joan Lyons Peter and Pamela McKee Anonymous

Vincent and Sandra Ciccarello Nunn Dimos Foundation Roderick Shire & Judy Hargrave

Thank you to all other supporters of this tour The ASO Board and Management also express their gratitude to all other donors who have contributed to this tour. Additionally we thank the many people behind-the-scenes who have played their part in getting the ASO to China. ADELAIDE SYMPHONY ORCHESTRA

Principal Guest Artist in Association Conductor Pinchas Zukerman Mark Wigglesworth

VIOLINS CELLOS HORNS Natsuko Yoshimoto** Simon Cobcroft** Sarah Barrett**(Acting (Concertmaster) Ewen Bramble~ Principal) Cameron Hill** Christopher Handley Sebastian Dunne (Associate Emma Gregan Concertmaster) Sherrilyn Handley Philip Paine* Shirin Lim* (Principal Gemma Phillips 1st Violin) David Sharp Lachlan Bramble** Cameron Waters TRUMPETS (Acting Principal 2nd Martin Phillipson** Violin) (Acting Principal) DOUBLE BASSES Emma Perkins ~ (Acting David Khafagi~ (Guest Associate Principal 2nd David Schilling** Associate) Violin) Jonathon Coco~ Timothy Keenihan Janet Anderson Jacky Chang

Ann Axelby Harley Gray TROMBONES Erna Berberyan David Phillips Colin Prichard** Gillian Braithwaite Ian Denbigh Julia Brittain FLUTES

Hilary Bruer Geoffrey Collins** BASS TROMBONE Judith Coombe Lisa Gill Colin Burrows* (Guest Belinda Gehlert Principal) Danielle Jaquillard PICCOLO Zsuzsa Leon Lisa Gill*(Acting TUBA Alexis Milton Principal) Karina FIlipi*(Guest Jennifer Newman Principal) Julie Newman OBOES Susannah Ng Rachel Bullen** (Guest TIMPANI Principal) Lynette Rayner Andrew Penrose* Renae Stavely~ (Guest Principal) Kemeri Spurr

CLARINETS PERCUSSION VIOLAS In tonight’s program, Dean Newcomb** Steven Peterka** Adelaide Symphony Caleb Wright** Mitchell Berick Jamie Adam Orchestra Concertmaster Linda Garrett~(Guest Natsuko Yoshimoto will Associate) Amanda Grigg be playing ‘The Adelaide’ violin. Crafted in Milan in Martin Butler BASSOONS 1753-7 by Giovanni Batista Mark Gaydon** Guadagnini. Natsuko is the Anna Hansen current custodian of ‘The Rosi McGowran Leah Stephenson Adelaide’ which is held in trust by UKARIA. Carolyn Mooz Michael Robertson CONTRA BASSOON Heidi von Bernewitz Jackie Newcomb* Flowers supplied by

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9 Ludwig van Beethoven (1770-1827)

Egmont: Overture, Op.84 When new music was required for a portrayed over sustained soft chords. revival of Goethe’s drama Egmont at The flame of open uprising is kindled by the Burgtheater in Vienna in 1810, the hero’s death. Within a few bars the Beethoven wrote not just an overture but music swells into a powerful outburst nine incidental movements – his major as the ‘Victory Symphony’ (which ends contribution to the dramatic stage after the drama as well as the overture) his opera Fidelio. Like Fidelio, Egmont graphically portrays a nation in revolt. is a drama of political oppression and the struggle for liberty. Although Anthony Cane © 1994 Beethoven wrote warmly to Goethe of ‘this wonderful Egmont’ it was clearly the political aspect that inspired him rather than any human drama. Egmont, historical hero of the Low Countries’ deliverance from French invasion in the 16th century, subsequently leads the people in resistance to Spanish domination, resistance which ends in his own tragedy and ultimate death at the instigation of his enemy, the Spanish Duke of Alba. For Beethoven it is the principle of liberation and martyrdom that fires his genius rather than any depth of individual character as portrayed by Goethe.

A portentous introduction presages impending doom. The overture’s stately sarabande rhythm is possibly intended The Adelaide Symphony Orchestra first to represent the implacable Spanish performed the Overture from Egmont on 8 August 1942 under conductor Percy duke. Code, and most recently in July 2011 with Andreas Delfs. The main allegro theme evokes the Flemish drive for liberty, but the Spanish theme reappears in a codetta where the death of Egmont by public execution is Duration: 9 minutes

10

Wolfgang Amadeus Mozart (1756-1791)

Violin Concerto No.5 in A, K219 Turkish

Allegro aperto The violin writing in all the concertos is highly idiomatic and displays Mozart’s Adagio deep knowledge of the instrument’s Rondo (Tempo di Menuetto) capabilities. In the final two concertos, considerable use is made of the violin’s During the mid-1770s Mozart composed high register (exploited to a much greater a number of works in quick succession degree than in earlier violin concertos that feature the solo violin prominently. by Bach and Haydn, for example). This Apart from the five violin concertos, puts the soloist in clear textural relief most of the serenades and ensemble against the orchestra and helps the divertimenti he wrote at this time contain projection of the violin tone. The virtuosic movements where the concertmaster passagework found in the solo part is assumes a leading concertante role. not for ostentatious display, but is rather These works were composed during an inspired and florid growth out of the Mozart’s employment at the Salzburg music’s melodic material. court, where one of his chief duties was to lead the court orchestra from the violin. The Violin Concerto No.5 is perhaps the Although it is highly probable that he most substantial of the group and is performed the solo part himself in many one of the high points of the composer’s of these works, there are reports (through early maturity. The opening movement the letters of Mozart’s father Leopold) is marked with the unusual tempo of other Salzburg-based violinists indication Allegro aperto: to be played performing the concertos. The Italian in a lively and open manner. After the virtuoso Antonio Brunetti (who succeeded customary orchestral exposition, the Mozart as the court orchestra’s violinist enters unexpectedly with a concertmaster) was one of these. He short and introspective Adagio. Upon certainly performed the Violin Concerto resumption of the quicker tempo, a No.5 soon after it was completed on 20 striking new theme is launched boldly by December 1775, for the following year the soloist; this traverses a wide register Mozart provided an alternative slow above the orchestra’s initial material. movement – the Adagio, K261 – after Formal surprises such as these, as well as Brunetti remarked that the original was the exploration of the dramatic interplay too ‘artificial’. between soloist and orchestra, would become salient features of Mozart’s

piano concertos.

12 The second-movement Adagio, although cast in the bright key of E major, possesses a dark emotional undercurrent that surfaces in the movement’s development section. The rondo finale commences with an amiable theme in a minuet character. However, the music takes a startling turn to the minor key in a central episode when the sound of a Turkish band is vividly imitated. Turkey was considered an exotic culture for Europeans in the 18th century and Mozart used elements from Turkish music to add an oriental flavour in several works, including the Alla turca from his Piano Sonata, K331 and his opera The Abduction from the Seraglio. The cellos and basses here reverse their bows to hit the strings percussively with the wood, and the soloist plays an energetic figuration that winds up and down in a folk style. The music soon returns to its original genial mood and, as in the two preceding violin concertos, ends gracefully in quiet simplicity.

James Cuddeford © 2019

The Adelaide Symphony Orchestra first performed this concerto in August 1944 with conductor Eugene Ormandy and soloist Dorcas McClean, and most recently in April 2013 with Gérard Korsten and Chloë Hanslip.

Duration: 31 minutes Edward Elgar (1857-1934)

Variations on an Original Theme, Op.36 Enigma

I (C.A.E.) – Caroline Alice Elgar, In middle age, Elgar loathed having to earn the bulk of his income as a humble the composer’s wife rural music teacher. Nevertheless, despite II (H.D.S-P) – Hew David Steuart-Powell, his obvious talent as a composer, his pianist in Elgar’s trio career during his 20s and 30s had been a series of disappointments. He had III (R.B.T.) – Richard Baxter Townshend, gravitated toward London, but Elgar and author the big city never got on. And so, at a time when Schoenberg was emerging IV (W.M.B.) – William Meath Baker, in Austria and Debussy was writing his nicknamed ‘the Squire’ Nocturnes in France, poor Elgar found V (R.P.A.) – Richard Penrose Arnold, himself back in his native Malvern region, son of Matthew Arnold eking out a living as best he could. He took in students, made instrumental VI (Ysobel) – Isabel Fitton, viola player arrangements, played in an occasional performance and continually threatened VII (Troyte) – Arthur Troyte Griffith, to give away music altogether. architect But one evening in October 1898, Elgar VIII (W.N.) – Winifred Norbury began to doodle at the piano. Chancing IX (Nimrod) – August Johannes Jaeger, upon a brief theme that pleased him, he reader for the publisher Novello & Co started imagining his friends confronting the same theme, or he would try to catch X (Dorabella) Intermezzo – Dora Penny, another’s character in a variation. This later Mrs Richard Powell harmless bit of fun would single-handedly turn around the composer’s career and XI (G.R.S.) – Dr G.R. Sinclair, by February 1899 the work had grown organist of Hereford Cathedral into what would become one of England’s XII (B.G.N.) – Basil G. Nevinson, greatest orchestral masterpieces, Elgar’s cellist in Elgar’s trio Variations on an Original Theme, Op.36. XIII (***) Romanza – Lady Mary Lygon, Where the word ‘Theme’ should have later Trefusis appeared in the score, however, Elgar wrote ‘Enigma’. He stated that the XIV (E.D.U.) Finale – Elgar himself theme was a variation on a well-known (‘Edu’ being his nickname) tune which he refused to identify. It’s

14 a conundrum which has occupied compositions. In memory of that concertgoers and scholars alike ever conversation, Elgar made those opening since. The second enigma was the bars of Nimrod quote the slow movement identity of the characters depicted within from Beethoven’s Pathétique Sonata. each variation, who were identified at Variation 10 depicts a young woman first only by their initials in the score. called Dora Penny, whose soubriquet This enigma has proved much easier ‘Dorabella’ comes from Mozart’s opera to solve. Following the main theme, Così fan tutte. And then Variation 11 goes Variation 1 depicts Elgar’s wife, Caroline beyond the human species, depicting Alice (‘Carice’). The second variation the organist G.R. Sinclair’s bulldog Dan, brings the first hint of actual imitation. falling down the steep bank of the river Pianist H.D. Steuart-Powell was one of Wye, paddling upstream, coming to land Elgar’s chamber music collaborators, and then barking. who characteristically played a diatonic run over the keyboard as a warm-up. The cello features prominently in Variation 3 depicts the ham actor R.B. Variation 12 – a tribute to cellist Basil Townshend whose drastic variation in Nevinson. Mendelssohn’s Calm Sea and vocal pitch is mocked here. Prosperous Voyage is quoted in Variation 13, said to depict Lady Mary Lygon’s The Cotswold squire W. Meath Baker departure by ship to Australia. Finally we is the subject of Variation 4, while hear ‘E.D.U.’ where the composer depicts the mixture of seriousness and wit himself (his wife’s nickname for him was displayed by the poet Matthew Arnold’s Edoo), cocking a snook at all those who son Richard is captured in the fifth said he’d never make it as a composer. variation. The next two variations The Enigma Variations, performed for parody the technical inadequacies of the first time in London on 19 June 1899 Elgar’s chamber music acquaintances. under Hans Richter, were the conclusive Violist Isabel Fitton (Variation 6) had evidence that he had. trouble performing music where the Abridged from a note © Martin Buzacott strings had to be crossed, while Arthur Troyte Griffith (Variation 7) was a pianist whose vigorous style sounded more like drumming! Poor Winifred Norbury is actually represented in Variation 8 by a musical depiction of her country house, ‘Sherridge’.

The most famous variation is Nimrod (No.9). Nimrod (the ‘mighty hunter before the Lord’ of Genesis chapter 10) was Elgar’s publisher, A.J. Jaeger (German The Adelaide Symphony Orchestra first for ‘hunter’). Apparently the idea for this performed the Enigma Variations on 9 particular variation came when Elgar August 1946 under conductor Bernard was going through one of his regular Heinze, and most recently in August 2017 with Matthew Halls. slumps. Jaeger took Elgar on a long walk during which he said that whenever Beethoven was troubled by the turbulent life of a creative artist, he simply poured Duration: 29 minutes his frustrations into still more beautiful Support Us Philanthropy makes a difference to everything we do at the ASO. Our donors and sponsors are a highly valued part of the orchestra and integral to our success. Thanks to your generous support, we can continue to share the music, perform the works you love and bring world class performances to South Australia. We invite you to be part of our story.

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16 Philanthropic Partners

We gratefully acknowledge Friends of the Adelaide Symphony Orchestra the support of the following FWH Foundation foundations, trusts and private Lang Foundation ancillary funds, whose generous Thyne Reid Foundation support of the orchestra has Dr Sing Ping Ting been transformative.

Artistic Leadership Team Mark Wigglesworth Pinchas Zukerman Principal Guest Conductor Artist in Association

Supported by Conductors’ Circle donors Graeme & Susan Bethune Diana McLaurin The Friends of the ASO Pauline Menz Anthea Heal Robert Pontifex AM, in memory of Deborah Pontifex Robert Kenrick Andrew & Gayle Robertson Joan Lyons 1 anonymous donor

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17 Musical Chairs

Musical Chair donors form a deeper engagement with the artists performing Concertmaster Associate the music they love. Chair Natsuko Yoshimoto Concertmaster support starts at $2500, Colin Dunsford AM Cameron Hill & Lib Dunsford renewed annually. The Baska Family

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