Actewagl Llewellyn Three

SEASON 2018

ACTEWAGL LLEWELLYN THREE

The CSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body New Combination “Bean” Lorry No.341 commissioned 31st December 1925.

117 YEARS OF POWERING PROGRESS TOGETHER

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Photograph courtesy of The University of Melbourne Archives 2008.0045.0601

SHA3112_CSO_245x172.indd 1 19/01/2018 11:11 AM ACTEWAGL LLEWELLYN THREE

Wednesday 18 July Thursday 19 July, 2018 Estimated Durations: Llewellyn Hall, ANU, 7.30pm BRAHMS 10 minutes, Pre-concert talk 6.45pm BEETHOVEN 33 minutes, 20 minute interval, Nicholas Milton AM Conductor ELGAR 29 minutes Artistic patronage ActewAGL Dimity Hall Violin Julian Smiles Cello Julian Smiles is 2018 CSO Artist-in-Focus Piers Lane AO Piano

BRAHMS Academic Festival Overture, Op.80 Allegro moderato Adagio New Combination “Bean” Lorry No.341 commissioned 31st December 1925. Allegro moderato BEETHOVEN Concerto in C for piano, violin and cello, Op.56 Allegro Largo – 117 YEARS OF POWERING Rondo alla Polacca INTERVAL

PROGRESS TOGETHER ELGAR Variations on an Original Theme, Op.36 Enigma

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Photograph courtesy of The University of Melbourne Archives 2008.0045.0601

SHA3112_CSO_245x172.indd 1 19/01/2018 11:11 AM SAVE THE DATE!

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While it is cold outdoors, with Dimity Hall was a close and interactive we will warm our hearts afternoon with patrons. On 30 August, tonight with inspiring Julian will lead the second CSO Australian music and artistry in Series concert with Bernadette Harvey this third ActewAGL on piano. This hour-long concert at the Llewellyn Series concert National Portrait Gallery will feature two for 2018. This flagship world premiere works, one written by local series is presented by composer Leanne Bear. We thank the NPG ActewAGL and we thank and Singapore Airlines for supporting this CEO Michael Costello AO unique and important series of Australian and ActewAGL, for their music. commitment to the culture of our city. Away from the concert hall, your CSO has How fortunate we are to be sharing this been busy taking music education concerts beautiful music together this evening. to over 2000 students and teachers at Bringing you this experience has taken primary schools in Canberra, Queanbeyan months of planning, expertise, and sheer and Yass. In the community, we have hard work on the part of Nicholas and engaged with people in aged care facilities the fantastic CSO administrative team. and Painting with Parkinson's, as well as The outstanding CSO musicians you hear students and teachers in Canberra’s special tonight bring years of artistic endeavour to schools. Music is for everyone and we are this performance. CSO corporate partners, committed to creating more opportunities donors, artsACT and the Australia Council for more people to benefit from music in share our vision and bring the financial their lives. support to make it happen. And you, our Coming up next, the CSO launches its 2019 fellow music lovers, connect everything Season on 14 August. To be among the first together through your joy in music. Thank to find out what we have planned next year, you all for playing your part in this concert please join our mailing list where you will event. also be the first to receive CSO news and Tonight we welcome back our esteemed special offers. If you have purchased a CSO Chief Conductor and Artistic Director, ticket recently, you will also receive the Nicholas Milton AM, to lead us in this 2019 Season brochure in the post. Tickets superb program which also brings the 2018 for the CSO 2019 Season go on sale on Artist-in-Focus, Julian Smiles, to the stage. 15 August. Please visit cso.org.au to join Tonight’s Triple Concerto will be a highlight our mailing list. of the season with Julian on cello, and For tonight, thank you fellow music lovers, Dimity Hall (violin) and Piers Lane (piano) for including the CSO in your lives. We are creating trio perfection. honoured to share these joyful experiences As the inaugural CSO Artist-in-Focus, with you. Julian will be engaging with CSO musicians and audiences across a variety of performances this year. In addition to this Sarah Kimball evening’s concerto, last Sunday’s Recital Chief Executive Officer

NICHOLAS MILTON CONDUCTOR

Dr Nicholas Milton AM is the Grieg & Moszkowski: Piano Concertos. Chief Conductor and Artistic Despite the international accolades, when Director of the Canberra asked what he loves the most, he says: “The Symphony Orchestra, and CSO’s education and community outreach has been the musical force programs are particularly close to my heart behind an extraordinary and watching the impact of our musicians period of growth and performing for young children, people with success in the CSO’s history. Parkinson’s or for students at special schools Since 2007, Milton’s direction has changed my ideas and thoughts about has seen the orchestra what an orchestra means to its community break all previous box office and the profound force for good that an records and establish itself orchestra like the CSO represents.” as one of the most successful and dynamic In 2001 Nicholas Milton was awarded the orchestras in the nation. In addition to his Australian Centenary Medal for Service to work with the CSO, Nicholas has just stepped Australian Society and the Advancement down from his position as General Music of Music. At the invitation of the Australian Director and Chief Conductor of the State Prime Minister, he has served in 2015 as the Opera House in Saarbrücken, Germany, cultural consultant to the Australia-Germany where he conducted fifty performances each Advisory Group. season. He is also the Chief Conductor of the Willoughby Symphony Orchestra in Sydney. Prior to joining the Canberra Symphony Orchestra, Nicholas was appointed as In 2016, he was appointed a Member of the the youngest ever concertmaster of one Order of Australia for his significant service of Australia’s major orchestras, where he to the arts, particularly to classical orchestral enjoyed an exceptional career as a violinist music performance, as a musician, conductor and chamber musician before dedicating and artistic director. himself exclusively to conducting. Renowned “I feel deeply honoured to have been for his dynamic conducting style, energy and recognised in this way, but stress that this compelling musical integrity, the immediacy award belongs to the musicians, management of Milton’s rapport with musicians continues and board of the exceptional Canberra to thrill orchestras and audiences alike. Symphony Orchestra, who have so stunningly Nicholas studied at the Sydney transformed this organisation. The CSO Conservatorium of Music, Michigan State has established itself as the backbone of University, Mannes College of Music and professional orchestral performance in the the Juilliard School. He holds four Master’s nation’s capital. I am so proud of the work we degrees (Violin, Conducting, Music Theory do, and I never would have been considered and Philosophy) and a Doctoral degree in for this award were it not for the positive Music from the City University of New York; influence that the CSO and its musicians he was mentored at the Sibelius Academy in make on so many levels in our society.” Helsinki by Jorma Panula. Nicholas Milton AM. Nicholas Milton’s artistic patronage is Just two months before being awarded the gratefully received from ActewAGL. AM, Nicholas was nominated for a Grammy Award for his work on Joseph Moog’s album

When in Canberra, Artistic Patronage of Nicholas Milton AM Nicholas Milton AM chooses to stay at courtesy of ActewAGL Ovolo Nishi CONNECTING CANBERRA TO THE WORLD PROUD TO BE THE PRESENTING PARTNER OF THE CANBERRA SYMPHONY ORCHESTRA’S AUSTRALIAN SERIES CONCERTS

SAL0921_245x172_CanberraOrchestra_v3.indd 1 6/2/18 3:43 pm DIMITY HALL VIOLIN

Dimity is well known to performed in recitals and as a casual member national and international of the Royal Concertgebouw Orchestra for CONNECTING audiences as a member of concert tours and recordings. both the Goldner String Formerly Principal Second Violin of the Quartet and the Australia Australian Chamber Orchestra, she has Ensemble@UNSW with CANBERRA TO also appeared with them as guest Leader whom she has performed, and with the Sydney Symphony as guest toured and recorded Principal. Dimity has performed as guest extensively. THE WORLD Concertmaster with the Australian Opera and Dimity made her solo debut Ballet Orchestra and with the Adelaide and PROUD TO BE THE with the Sydney Symphony Melbourne Symphony Orchestras. in 2002 performing Vaughan PRESENTING PARTNER OF Dimity was a juror for the 2003 Melbourne Williams’ The Lark Ascending, later recording International Chamber Music Competition, THE CANBERRA SYMPHONY the work for ABC Classics. She has also and has coached young chamber musicians been soloist with the Australian Chamber ORCHESTRA’S AUSTRALIAN for Musica Viva, the Sydney Conservatorium Orchestra, Canberra Symphony Orchestra, and the Australian Youth Orchestra. Since SERIES CONCERTS Brisbane's Camerata of St John and the 2008 Dimity has combined with semi-finalists Sydney Youth Orchestra. in their chamber music performances as After studying with Alice Waten in Sydney, part of the Sydney International Piano Dimity undertook postgraduate studies Competition of Australia. with Herman Krebbers in Amsterdam on a Dimity plays a Nicolo Gagliano violin, kindly Netherlands Government Scholarship, where on long-term loan from the Olding family. she won the Concertgebouw's Zilveren Vriendenkrans Award for young soloists. She

SAL0921_245x172_CanberraOrchestra_v3.indd 1 6/2/18 3:43 pm Inspiring a journey of musical exploration and discovery

Ginninderry is proud to be the lead partner of the Canberra Symphony Orchestra’s Music in MY School Program. ginninderry.com

Exclusive to the National Gallery of Australia Inspiring a journey of musical JULIAN SMILES CELLO 2018 ARTIST IN FOCUS Julian Smiles has been In 2007 Julian was a member of the a central figure in cello international jury for the Melbourne exploration performance and teaching International Chamber Music Competition, in Australia for over and has since 2004 played as a guest and discovery 25 years. He began his musician performing chamber works with professional career when semi-finalists in the Sydney International he was appointed principal Piano Competition of Australia. cellist with the Australian Since his years with the Australian Chamber Chamber Orchestra at the Orchestra he has also remained in demand age of 19 and rapidly gained as a guest principal cellist, performing in prominence as a chamber that role with the Sydney, Canberra and musician in performances for Tasmanian Symphony Orchestras and with Musica Viva, Kathryn Selby the Australian Opera and Ballet Orchestra. Ginninderry is proud to be the lead partner and Friends and at the Huntington Estate of the Canberra Symphony Orchestra’s Music Festival. Julian grew up in Canberra, studying with Music in MY School Program. Nelson Cooke at the Canberra School of In 1991 he was invited to join the Australia ginninderry.com Music. He also benefited during this time Ensemble@UNSW, and in 1995 formed the from mentoring by such luminaries as Goldner String Quartet with colleagues Charmian Gadd, Richard Goldner and John Dene Olding, Dimity Hall and Irina Morozova. Painter. Following completion of his degree With these two groups he has performed to he undertook post graduate studies with critical acclaim at major venues and festivals renowned teacher Janos Starker at Indiana throughout the world, made over 30 CDs on University. leading labels, and premiered many works by Australian and international composers. As a product of his studies and experience as a performer Julian has developed a school of He is also active as a soloist, having cello playing based on thorough and ongoing performed with such orchestras as the analysis of musical and technical issues Sydney, Melbourne and Canberra Symphony that sees him sought after as a teacher and Orchestras, the Australian Chamber chamber music coach. He has held teaching Orchestra, the Willoughby Symphony and positions at the Australian Institute of Music the Australian, Sydney and Canberra Youth and Canberra School of Music, and in 2013 Orchestras. Recent artistic collaborations was appointed as Lecturer in Cello at the include such musicians as Piers Lane, Daniel Sydney Conservatorium of Music. de Borah, Bernadette Harvey, Dimity Hall and James Crabb and he appears regularly as a Julian plays on a Lorenzo Ventapane cello guest artist with Selby and Friends. made in 1827. These musicians are passionate about excellence. So are we.

Supporting the Canberra Symphony Orchestra for over 20 years to bring world class music to the ACT’s vibrant arts community.

minterellison.com PIERS LANE AO PIANO

London-based Australian Piers is the Artistic Director of the Sydney pianist Piers Lane stands out International Piano Competition of Australia, as an engaging and highly and for ten years was also the Artistic These musicians are versatile performer, at home Director of the Australian Festival of Chamber passionate about equally in solo, chamber Music, finishing in 2017. In the Queen’s and concerto repertoire. In Diamond Jubilee Honours, he was made an excellence. great demand as a soloist Officer in the Order of Australia for services and collaborative artist, to music. recent highlights include So are we. In the 2017/18 season Piers’ concerto performances of Busoni’s appearances include Rachmaninov’s Piano mighty piano concerto, Concerto No. 3 under Brett Dean at Sydney Frank Bridge’s Phantasm Supporting the Canberra Symphony Orchestra Opera House with the Sydney Symphony, and Ferdinand Ries’s eighth for over 20 years to bring world class music Brahms piano concerto No.2 with the to the ACT’s vibrant arts community. concerto at Carnegie Hall with the newly Auckland Philharmonia, and the world formed Orchestra Now; premieres of Carl premiere of a newly commissioned piano Vine’s second Piano Concerto, written for concerto by Carl Vine with Kathryn Stott, also minterellison.com him, with the Sydney Symphony and the in Australia. Piers visits the USA on several London Philharmonic, and several sold-out occasions, gives a solo recital at Wigmore Hall solo recitals at Wigmore Hall. He also gave in January, and plays throughout the UK as over thirty performances in Australia, and well as in Canada, Dubai, Portugal, Norway performed throughout the UK, and in France and Russia. and Belgium. Please visit www.pierslane.com for more Five times soloist at the BBC Proms in information. London’s Royal Albert Hall, Piers Lane’s concerto repertoire exceeds ninety works and has led to engagements with many of the world’s great orchestras and conductors. He has recorded over sixty CDs on major labels, primarily with Hyperion Records. Awaiting release are another Piers Goes to Town recital disc, concertos by Ferdinand Ries, and a sonata disc with violinist Tasmin Little. Recent releases include concertos by the Australians Alfred Hill and George Boyle, a Franck, Fauré and Szymanowski disc with Tasmin Little and works by Borodin, the ninth disc he has recorded with the Goldner String Quartet.

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JOHANNES BRAHMS (1833-1897) ACADEMIC FESTIVAL OVERTURE, OP.80

Allegro moderato The four songs on which the work is based Adagio are Wir hatten gebauet ein stattliches Allegro moderato Haus (We had built a stately house), which is introduced in chorale-like fashion by the brass; Der Landesvater (The father Brahms had never been a formally enrolled of our country), heard first on the second university student, but during the spring violins; the undergraduate initiation song and summer of 1853 he’d had a rattling Was kommt dort von der Hoh, introduced good time leading a student-style existence by bassoons over pizzicato figures in the in Göttingen. He’d particularly enjoyed violas and cellos; and finally, a full orchestral gathering with the local student population version of Gaudeamus igitur, a medieval for a beer and schnapps, and to sing student song that Suppé had also used drinking songs. in Flotte Bursch. Given its grand sense of Many years later, when at the prompting occasion and rousing spirit, it’s the kind of of the Breslau Orchestral Society Brahms piece which suggests that Brahms may have was awarded an Honorary Doctorate at written a terrific opera had he ever felt so the University of Breslau, the by-now- inclined. famous composer responded with a concert The fun starts right at the beginning, with overture in honour of the occasion. But a pompously-solemn opening in C minor, rather than writing an ‘academic’ work rapidly giving way to the high spirits which based on dry contrapuntal principles characterise the piece as a whole. With or scholastic formulae, Brahms set out rushing scales in the strings, brass chorales, to complete a jovial piece based on the and cymbals, triangle and drum pounding convivial aspects of student life which he away, Brahms parodies the Wagner of the had known first-hand. Mastersingers Overture, and towards the In 1880, the year following the award of his end it seems Schumann’s Spring Symphony doctorate, Brahms took four of his favourite comes in for the same treatment. student drinking songs and worked them The work was first performed in Breslau’s into a free sonata structure using the largest Konzerthaus in January 1881 with the and most percussion-dominated orchestra composer conducting an all-Brahms that he had ever employed. His working program including the Second Symphony title had been Viadrina (the Latin name and the Tragic Overture. According to for the University of Breslau), but he soon one report, the Breslau students were changed it to the title by which it is known so impressed by the Academic Festival today, noting that it was ‘a very boisterous Overture, they began singing their own potpourri of student songs à la Suppé’ – a obscene versions of the words during the reference to Suppé’s opera Flotte Bursch of premiere. 1863, which is constructed in the same way. Martin Buzacott Symphony Australia © 1997 Reprinted with permission LUDWIG VAN BEETHOVEN (1770-1827) CONCERTO IN C FOR PIANO, VIOLIN AND CELLO, OP.56

Allegro more than an intermezzo, penetrates to a Largo – touching depth. Rondo alla Polacca Beethoven wrote this concerto for the In August 1804, Beethoven wrote to the Archduke Rudolph, who had in his private Leipzig publishers Breitkopf and Härtel orchestra an excellent violinist by the offering them ‘something of a novelty’, name of Ferdinand August Seidler, and as this concerto for piano, violin, cello and principal cellist Anton Kraft, who had been orchestra. One may wonder how novel this Haydn’s cellist at Eszterháza. The existence work may have been in the 18th century of such a group of fine players no doubt when unusual combinations were often influenced Beethoven’s decision to write a brought together in the sinfonia concertante work incorporating a piano trio, but that was form. Stranger combinations were written also a medium in which he had won early by people known to Beethoven – Leopold success, and to which he was later to return Kozeluch once wrote a sinfonia concertante in, for example, the Archduke Trio, also for piano, mandolin, trumpet and bass, dedicated to Rudolph. and Beethoven’s teacher Albrechtsberger Rudolph was no mean pianist. He eventually wrote two concertos for jew’s harp and got the Emperor Concerto under his fingers, mandora! Beethoven’s concerto was no more although it is the cello which has the lion’s outrageous than a combined orchestral share of the work in this concerto. It was piece and the standard ensemble of piano really to compensate for the solo cello’s trio. disadvantages in being heard above the Sinfonie concertanti were meant to ensemble that it is here assigned the be melodic and virtuosic (indeed they principal melodic role. It is often set in the were meant to bring together groups treble register where its voice will be most of virtuosos), with a dose of bravura, a penetrating. minimum of symphonic argument, and We could read into the march-like tempo even less soul-searching. Beethoven’s work of the first movement a reminder of the lacks the symphonic argument we normally Napoleonic era. Beethoven was an early associate with him and may explain why admirer of the French general, but Napoleon he designated the work ‘Grand concerto proclaimed himself Emperor in May 1804, concertant’ (a description that appears midway through this work’s composition. on the instrumental parts), avoiding any Though we know Beethoven was infuriated mention of anything ‘symphonic’ since by this action (he tore up the dedication on such a word was coming to mean, to the the title page of the Eroica Symphony), it is composer of the Eroica, a substantial possible that Beethoven’s utter repudiation degree of elaborate argument. But the Triple of Napoleon did not take place until the Concerto defies ‘concertante’ convention actual December coronation. in its tendency to seriousness rather than showiness, and particularly in its second The work begins softly, gradually building movement, which, though arguably little in volume – a crescendo effect popular MUSIC NOTES

with the Mannheim school of composers. work. At any rate, the five-minute Largo Following this build-up, there is a new, perfectly balances the 18 or so minutes sunny theme in the violins. At the end of of the first movement. Beethoven here the exposition, the cello enters – first (as introduces an idyllic melody which paves in the other movements) against reiterated the way for the spirited polonaise final middle Cs in the violins and slightly movement. discordant touches in the violas, a finely It is perhaps strange that at a time when pitched effect. The orchestra foreshadows many composers were churning out piano a new impassioned theme but the cello trios, no one followed Beethoven’s lead immediately takes it over and up into its with this piece. They must have known how higher, most eloquent register. Much of the difficult a feat he achieved. Certainly there development and the rest of the movement was no multi-soloist concerto to equal it has a chamber music quality, as it is the until Brahms’ Double Concerto of 1887, and soloists who develop the material. even then, it was not surpassed. It has been suggested that it was the success of the concise 28-bar second movement of the newly completed Abridged from a note by GK Williams Waldstein Sonata which prompted © Symphony Australia Reprinted with permission Beethoven to do something similar in this

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EDWARD ELGAR (1857-1934) VARIATIONS ON AN ORIGINAL THEME, OP.36 ENIGMA

I (C.A.E.) – Caroline Alice Elgar, the region, eking out a living as best he could. composer’s wife He took in students, made instrumental II (H.D.S.-P) – Hew David Steuart-Powell, arrangements, played in an occasional pianist in Elgar’s trio performance and continually threatened to give away music altogether. III (R.B.T.) – Richard Baxter Townshend, author But one evening in October 1898, Elgar IV (W.M.B.) – William Meath Baker, began to doodle at the piano. Chancing nicknamed ‘the Squire’ upon a brief theme that pleased him, he started imagining his friends confronting V (R.P.A.) – Richard Penrose Arnold, son of the same theme, or he would try to catch Matthew Arnold another’s character in a variation. This VI (Ysobel) – Isabel Fitton, viola player harmless bit of fun, initiated accidentally, VII (Troyte) – Arthur Troyte Griffith, would single-handedly turn around the architect composer’s career and by February 1899 VIII (W.N.) – Winifred Norbury the work had grown into what would become one of England’s greatest orchestral IX (Nimrod) – August Johannes Jaeger, masterpieces, Elgar’s Variations on an reader for the publisher Novello & Co Original Theme, Op.36. X (Dorabella) Intermezzo – Dora Penny, later Mrs Richard Powell Where the word ‘Theme’ should have appeared in the score, however, Elgar wrote XI (G.R.S.) – Dr G.R. Sinclair, organist of ‘Enigma’. He stated that the theme itself was Hereford Cathedral a variation on a well-known tune which he XII (B.G.N.) – Basil G. Nevinson, cellist in refused to identify. It’s a conundrum which Elgar’s trio has occupied concertgoers and scholars XIII (***) Romanza – Lady Mary Lygon, later alike ever since. Over the years there have Trefusis been many attempts to identify the mystery XIV (E.D.U.) Finale – Elgar himself (‘Edu’ theme which, according to Elgar, goes in being his nickname) counterpoint with the one we actually hear. Elgar himself rejected suggestions of God In middle age, Elgar loathed having to earn Save the King and Auld Lang Syne. Other the bulk of his income as a humble rural suggestions have included Rule, Britannia!, music teacher. Nevertheless, in spite of his various nursery rhymes, a theme from obvious talent as a composer, his career Beethoven’s late quartets, an extract from during his 20s and 30s had been a series of Wagner’s Parsifal, and even Ta-ra-ra-boom- disappointments. He had gravitated toward de-ay. Elgar biographer Michael Kennedy London, but Elgar and the big city never has proposed that it could be Elgar himself, got on. And so, at a time when Schoenberg with the famous motif on which the entire was emerging in Austria and Debussy was work is based capturing the natural speech writing his Nocturnes in France, poor Elgar rhythm of the name ‘Edward Elgar’. But, found himself back in his native Malvern Fresh from the tap Drink tap water – better for Bottled water is about 500 times more expensive than tap water. your health, the environment Tap water is typically less and your wallet. than $0.01 a litre.

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Variations on an Original Theme, Op.36 Enigma, cont. mischief-maker that he was, Elgar went to Jaeger took Elgar on a long walk during his grave without revealing the truth and no which he said that whenever Beethoven was one since has come up with the definitive troubled by the turbulent life of a creative answer. artist, he simply poured his frustrations into still more beautiful compositions. In memory The second enigma was the identity of the of that conversation, Elgar made those characters depicted within each variation, opening bars of Nimrod quote the slow who were represented at first only by their movement from Beethoven’s Pathétique initials in the score. Fortunately this enigma Sonata. has proved to be much easier to solve. Variation 10 depicts a young woman called The main theme is given to the violins, who Dora Penny, whose soubriquet ‘Dorabella’ state it immediately. Variation 1 depicts comes from Mozart’s Così fan tutte. And Elgar’s wife, Caroline Alice (‘Carice’). The then Variation 11 goes beyond the human second variation brings the first hint species, depicting the organist G.R. Sinclair’s of actual imitation. Pianist HD Steuart- bulldog Dan, falling down the steep bank of Powell was one of Elgar’s chamber music the river Wye, paddling upstream, coming to collaborators, who characteristically played land and then barking. a diatonic run over the keyboard as a warm- up. Variation 3 depicts the ham actor RB The cello features prominently in Variation Townshend whose drastic variation in vocal 12 – a tribute to the cellist Basil Nevinson pitch is mocked here. who later served as the inspiration for Elgar’s Cello Concerto. Mendelssohn’s Calm The Cotswold squire W Meath Baker is the Sea and Prosperous Voyage is quoted in subject of Variation 4, while the mixture Variation 13, thought to allude to Lady Mary of seriousness and wit displayed by the Lygon’s departure by ship to Australia. great poet Matthew Arnold’s son Richard is And then finally we hear ‘E.D.U.’ where captured in the fifth variation. The next two the composer depicts himself (his wife’s variations parody the technical inadequacies nickname for him was Edoo) cocking a of Elgar’s chamber music acquaintances. snook at all those who said he’d never make Violist Isabel Fitton (Variation 6) had trouble it as a composer. performing music where the strings had to be crossed, while Arthur Troyte Griffith The Enigma Variations, premiered in London (Variation 7) was a pianist whose vigorous on 19 June 1899 under Hans Richter, were style sounded more like drumming! Winifred the conclusive evidence that he had. Norbury is represented in Variation 8 by a musical depiction of her 18th-century country house, ‘Sherridge’. Abridged from a note © Martin Buzacott Reprinted by permission of Symphony Services International The most famous variation of course is Nimrod (No.9). Nimrod (the ‘mighty hunter before the Lord’ of Genesis chapter 10) was Elgar’s publisher, AJ Jaeger (German for ‘hunter’). Apparently the idea for this particular variation came when Elgar was going through one of his regular slumps. CSO Development

One4One Campaign—thank you Thanks to all CSO supporters from households and businesses across Canberra who have helped us reach our fundraising goals so far this year. Your outstanding response to the One4One campaign means that our community programs will continue to reach people in need.

Kingsland Resident Artists At this concert tonight we’re delighted to welcome the inaugural Kingsland Resident Artists to the stage—Julia Janiszewski cello and Alina Zamfir viola. The Residency program has been made possible by the extraordinary contribution from the Kingsland family, additional donations and a collective will to build a sustainable CSO. We wish them the very best for this exciting phase of their careers.

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THE ORCHESTRA ACTEWAGL LLEWELLYN THREE

Violin Viola Flute Trumpet Maria Lindsay Tor Frømyhr Virginia Taylor John Foster Doreen Cumming Lucy Carrigy Ryan Vernon Hill Greg Stenning Leanne Bear Ben Carvalho Teresa Rabe Julie Watson Catherine Bucknell Robert Harris Oboe Trombone Jack Chenoweth Iska Sampson Megan Pampling Nigel Crocker Philippa Collins Caroline Suthers Caitlin McAnulty Christopher Retter Lauren Davis Alina Zamfir Jenny Higgs Clarinet Bass Trombone Cello Michelle Higgs Alan Vivian Michael Bailey Patrick Suthers Valerie Jackson James Beck Tuba Jocelyn James Julia Janiszewski Bassoon Bjorn Pfeiffer Doug Macnicol Samuel Payne Richard McIntyre Erin Patrick Timpani Lindy Reksten Jordan London Madeleine Retter Andrew Heron Alex Voorhoeve Kristen Sutcliffe Dan Russell Percussion French Horn Pip Thompson Double Bass Veronica Bailey Dianna Gaetjens Donica Tran Kyle Ramsay-Daniel Stephen Fitzgerald Victoria Chatterely Tim Wickham Isabella Brown John Dewhurst Matthew Witney David Flynn Rafael Salgado Hanna Yu Ethan Ireland Carly Brown Caroline Renn please note: strings seating is rotational

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CSO BOARD Chair Air Chief Marshal Sir Angus Houston AK, AFC (Retd) Deputy Chair Melanie Kontze Company Secretary Bob Clark Members Chris Faulks LETTERPRESS Lucille Halloran PRINTING & DESIGN John Kalokerinos Paul Lindwall Elizabeth McGrath CORPORATE AND WEDDING STATIONERY John Painter AM CUSTOM PACKAGING Annabelle Pegrum AM Christine Worth (02) 6162 1258 #42LINES_LETTERPRESS

PART OF THE QOTE GROUP CSO ARTISTIC Chief Conductor & Artistic Director Dr Nicholas Milton AM Artistic patronage ActewAGL Australian Series Curator Prof Matthew Hindson AM

CSO ADMINISTRATION Chief Executive Officer Sarah Kimball Communications Rachel Thomas Communications Coordinator CONTACT US Geordie Cullen Level One Join Tim Shaw Education & Ensembles* Eloise Fisher 11 London Circuit Events & Logistics* Julie Seaton (entrance off Farrell Place) for Breakfast on Finance* Lou Malfone Canberra City Finance Assistant* Sam McCrohan GPO Box 1919 1206 2CC Orchestra & Operations Andrew Heron Partnerships* Frances Corkhill Canberra ACT 2601 Philanthropy* Tim Langford CSO Direct (ticketing) Residents Coordinator* Lindy Reksten 02 6262 6772 weekdays 10am–3pm Ticketing & Administration* David Flynn Administration 02 6247 9191 *Indicates part-time position cso.org.au

CSO VOLUNTEERS /canberrasymphonyorchestra /canberrasymphonyorchestra Alison Gates, David Howard, Dianna Laska, Vicki Murn, John & Anne Rundle, Gail Tregear @cbrsymphony For the Opera lover

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FLAWLESSLY CONDUCTING YOUR IT SOLUTIONS

Our Managed Service Solution means that we're constantly working away in the background so that your IT is always in tune.

blue-arc.com.au DON'T MISS! ACTEWAGL LLEWELLYN FOUR Wednesday 5 September, Thursday 6 September STRINGS IN THE SALON: WINTER Llewellyn Hall, ANU, 7.30pm Sunday 22 July Pre-concert talk 6.45pm Monster Salon and Dining Rooms, NewActon, 1pm Nicholas Milton AM Conductor Artistic patronage ActewAGL Nick Russoniello Saxophone AUGUST COPLAND: Fanfare for the Common Man LAUNCH OF 2019 SEASON DEBUSSY: Rhapsody for Alto Saxophone and Orchestra Tuesday 14 August MILHAUD: Scaramouche: Suite for saxophone Renew subscription for same seats by 5 October and orchestra, op. 165c RAVEL: Bolero BERLIOZ: Symphonie fantastique, op. 14 AUSTRALIAN SERIES Supported by Singapore Airlines Reimaginings FLAWLESSLY Thursday 30 August CONDUCTING Gordon Darling Hall, National Portrait Gallery, 6.30pm STRINGS IN THE SALON: SPRING Sunday 16 September Julian Smiles Cello YOUR IT CSO 2018 Artist-in-Focus Monster Salon and Dining Rooms, NewActon, 1pm SOLUTIONS Bernadette Harvey Piano OCTOBER CANBERRA WEEKLY MATINEE MAGIC Our Managed Service Solution means SEPTEMBER Divas and Crooners Saturday 20 October that we're constantly working away RECITAL FOUR Llewellyn Hall, ANU, 2pm in the background so that your NICK RUSSONIELLO (SAXOPHONE) Marc Taddei Conductor IT is always in tune. Sunday 2 September Jacqueline Hamilton and Rod Gilbert Soloists Wesley Music Centre, 3.00pm

TELEMANN: Fantasia No.1 in A major Tickets RUSSONIELLO: Dawn Searching The New South CSO Direct 6262 6772 or cso.org.au C.P.E BACH: Sonata In A minor Complete repertoire and 2018 events RUSSONIELLO: Megalania (The Lizard Monster) cso.org.au/events blue-arc.com.au BRITTEN: Six Metamorphoses After Ovid RUSSONIELLO: Fox (A tribute to Jimi Hendrix) “ActewAGL’s partnership with the Canberra Symphony Orchestra began in 2001, and we have continued to proudly support the talented musicians and creative team who provide exceptional musical experiences for the Canberra region. We are honoured to be the artistic patron of CSO Chief Conductor and Artistic Director, Nicholas Milton AM, and we are especially proud of our involvement with the CSO’s innovative education and community programs which connect people of all ages and backgrounds through music.” Michael Costello, Chief Executive Officer, ActewAGL

PARTNERSHIPS We thank our government, corporate and community partners

GOVERNMENT PARTNERS

Department of Communications and the Arts

POWERHOUSE PARTNER YARRAMUNDI PARTNER CULTURAL PARTNER

HONORARY SOLICITORS MURRUMBIDGEE PARTNERS The CSO is all about connecting our partners with the community through music. We believe that life is better with music and our collaborative partnerships support a diverse range of concerts from the mainstage to the extensive CSO Education and Community Outreach programs. Frances Corkhill—Partnerships [email protected] M: 0428 272 817

AUSTRALIAN SERIES VENUE PARTNER

WINE AUTOMOBILE IT SUPPORT PRINT ESTATES PLANNING

ACCOMMODATION SIDE BY SIDE ORCHESTRA PARTNER

COTTER PARTNERS

Martin Ollman kitchen witchery catering Photography

MEDIA PARTNERS CSO PRIVATE GIVING We thank all supporters for their commitment and generosity.

The Kingsland Fellowship Maestro Membership Raymond Macourt OAM Program $4000-$9999 Garth Mansfield OAM Founding Donors RA David Campbell AM Margaret Mansfield OAM The late Sir Richard & Sue Daw OAM David & Sheila Middleton Lady Kingsland & Family Ross & Sue Kingsland Simon Mitchell Marjorie Lindenmayer Marjorie Lindenmayer Elizabeth Morrison Anonymous 1 Noela McDonald Teresa Neeman David McDonald Margaret Oates Gifts and Bequests Anonymous 5 Carolyn Philpot Betty Beaver AM Peter & Asha Clarke Dr Pamela Rothwell Education Giving Circle Ursula Reid Anonymous 2 Virginia Berger Margaret Reid AO Joan Boston Robyn Robertson In Memoriam Fay Cull Don Beazley Penelope Layland In Memoriam Geoffrey White OAM & Janice Beveridge Prof John Mulvaney Peter Cianchi Sally White OAM Alan Richardson Sam & Heather Whittle Heather Eastwood Anonymous 1 Ann & Liam Kearns Muriel Wilkinson Nancy Shackell Principal Member Anonymous 12 $1000-$3999 Instrument Fund Associate Member $500-$999 Prof Brian Anderson AC Neil Batty Prof Brian Anderson AC & Dianne Anderson AM & Dianne Anderson AM Virginia Berger Halina Barrett Joan Boston Shane Baker & Virginia Berger Linda Pearson Miles & Ann Burgess Joanne Blackburn Anne Burhop Boronia Gift Max & Lynne Booth Joan Boston Dr Jane Cook Joan Boston AK & JE Cooper Prof Robert Crompton Dr Chris Bourke & Helen Crompton Catherine Drummond Anne Caine & Jim Lumbers John Fitzgerald The Flynn Family Peter Carrigy-Ryan Anthony Hedley AM Phil & Julie Greenwood Dudley & Mrs Helen Creagh Isobel Griffin Geoffrey White OAM Helen Douglas Sally White OAM Tony Hayward Sue Dyer Malcolm & Rhondda Hazell In Memoriam Chris Faulks Leonie Voorhoeve Dr Marian Hill Raydon & Alison Gates John & Ros Jackson Vanguard Member $25000 + Joanne Frederiksen Patricia Jones Prof Brian Anderson AC & Paul Lindwall John Kalokerinos & Dianne Anderson James Grieve Melanie Kontze Tall Foundation Beatrice Guppy N Landau Allan Hall AM Anne & John Moten Virtuosi Member Barbara Hall OAM Above $10000 Marie & Peter Nicholson Donald Harris AM & J Norman Kenyon Foundation Glenys M Harris Mandy Westende & Lou John & Libby Oliver Anthony Hedley AM Margaret Payne Westende OAM Paddy & Louise Hodgman Anonymous 2 Carolyn Philpot Colin & Enid Holmes Katharine Pierce David Howard Emma Purnell Stephanie & Mike Hutchinson Paris '99 Paul & Jan Kriedemann David Shelmerdine Henry & Dianna Laska Haddon Spurgeon Jim & Heather Leedman Robert Stewart Kerry Truelove Elizabeth Grant AM Helen Pampling Muriel Wilkinson Rosemary Greaves Sue Pidgeon Dr Margot Woods & Arn Sprogis Carol Grout-Smith Paul & Mary Pollard Anonymous 9 Marlene Hall Anna Prosser B Hammond S Purser Supporting Member Colin Harmer Peter Randall $100–$499 Janet Hayes B & P Rhemrev Judith Andrews Tony Hayward Meg Richens Margaret Aston Heather Henderson Wayne & Linda Roberts Dr John Azoury Elizabeth Hewson Clive & Lynlea Rodger Pamela Weiss & Trevor Maureen Hickman Jennifer Rowland Bainbridge Kathleen Holtzapffel John & Anne Rundle Norman & Sarah Bakker Catherine Hook & Paul Carmen Isher & Norah Sekhon Allan Baxter June Howard Adrian Burton & Divya Sharma Tim Beckett William & Rosemary Huff- Daryl Sheppard Brenda Bernasconi Johnston Joy Sobell Daryl & Hermina Blaxland Mary Elspeth Humphries John Sutton Robyn Boyd Rod Hurley & Chris Bates Andrea Szabo Stephen Brand Ian Ingle Pamela & Graham Thomas Mary Brennan Margaret & Peter Janssens Virginia Torrens C & R Brock GA Joseph Leonard Tuohy Dr Peter Brown AM Frank Kelly Suzanne Vaisutis-White Pauline & Kevin Bryant David & Rosemary Kennemore Brenton Warren Ann Buller Helga Klippan Mike & Ros Welch Louise Butler Susanne Koerber June Westmacott Dorothy Cameron Bjarne Kragh Don Whitbread OAM Bev Carfrae Denise Kraus Helen White & Bob Richardson Andrew Chalklen Paul & Jan Kriedemann Rosslyn Wiley Faith Chegwyn N Landau Ernst & Mary Louise Willheim Hugh & Natalie Collis Dr Frederick & Dr Anthony Willis Elizabeth Anne Coupland Mrs Penelope Lilley Diane Wright Don Coutts & Julie Campbell Judith Lindgren Anonymous 12 Merrilyn Crawford Richard & Penny Lloyd Jones Vicky Cullen John & Jinnie Lovett The CSO would like to Maria Damo Sue Ludwig acknowledge all donations Yole & Bill Daniels AM Patricia Makeham from Contributing Members John Dearn Slawomir Makula of up to $99 Wendy Dodd Paul & Betty Meyer Margaret Duncan Diana Mildern Vicki Dunne MLA Dr Louise Moran Judi Edwards Anne & John Moten The 2018 & 2019 CSO M N Falk Penelope Moyes Recital Series supported by Dr Miriam Fischer Louise Muir Brian and Dianne Anderson T & W Fitzgerald Margaret Myers Bill & Margo Geering Heather Nash Greg George Bruce Neindorf Dr Ann Gibson Kate Nockels Ian & Shirley Gollings Ann Northcote Geoff & Lynette Gorrie Marie Oakes Goyne Family Pamela O'Keeffe Gillian & Ian Graham Rex N Oram Dr John Grant WE’LL ALWAYS WORK IN HARMONY WITH OUR ORCHESTRA.

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