ADELAIDE SYMPHONY ORCHESTRA SEASON 2019

SPECIAL EVENT Beethoven: The Piano Concertos

June Wed 5 – Sat 15 7pm Elder Hall CONTENTS

ARTIST BIOGRAPHIES 3 Nicholas Carter Conductor Jayson Gillham Piano

CONCERT ONE 5 June Wed 5, 7pm

CONCERT TWO 11 June Sat 8, 7pm

CONCERT THREE 16 June Wed 12, 7pm

CONCERT FOUR 21 June Sat 15, 7pm

ABC Classic is recording the concertos for CD release in early 2020 – the 250th anniversary of Beethoven’s birth.

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. 2 ARTIST BIOGRAPHY

Nicholas Carter Conductor

Newly appointed as Chief Conductor of the In Australia, he collaborates regularly with Stadttheater Klagenfurt and the Kärntner many of the country’s leading orchestras Sinfonieorchester, Nicholas Carter will lead and ensembles and led the 2018 Adelaide three new productions per season and Festival’s acclaimed full staging of Brett appear regularly in the orchestra’s concert Dean’s Hamlet. Past engagements have series. In his first season, he conducts included the Melbourne, Sydney, West Rusalka, La Clemenza di Tito and Pelléas Australian, Queensland and Tasmanian et Mélisande, and concert programmes Symphony Orchestras with soloists such include Haydn’s Die Schöpfung and Mahler’s as Michelle de Young, Simon O’Neill, Alina Symphony No. 1. Ibragimova, Alexander Gavrylyuk and James Ehnes; also galas with Maxim Vengerov Since his appointment as Principal (Queensland Symphony) and Anne Sofie von Conductor of the Adelaide Symphony Otter (Sydney Symphony). Orchestra in 2016, Nicholas has established a reputation as a conductor of exceptional The 2019/2020 season concert includes versatility, equally at home in the concert performances with the Rundfunk hall and opera house, and fluent in a diverse Sinfonieorchester Berlin (concert debut, repertoire. Indeed his appointment was including Brett Dean’s Pastoral Symphony significant, as he became the first Australian and Vaughan Williams A Sea Symphony) to be chosen as Principal Conductor of and returns to BBC Scottish Symphony an Australian orchestra in over 30 years. Orchestra and Deutsche Oper am Rhein Between 2011 and 2014, he served as (Don Carlo). He also returns to the orchestra Kapellmeister to Simone Young in Hamburg, of the Australian National Academy of before moving on to a 2 year engagement Music Melbourne and to the West Australian as Kapellmeister and Musical Assistant to Symphony Orchestra. The 2021/22 season Donald Runnicles at the Deutsche Oper sees his Metropolitan Opera debut with Berlin, a house where he enjoys a rewarding Brett Dean’s Hamlet. ongoing association.

Highlights of recent seasons include debuts with Orchestre Métropolitain (Montreal), Bochumer Symphoniker, MDR Leipzig, Oregon Symphony, Florida Orchestra, BBC Scottish Symphony Orchestra, BBC National Orchestra of Wales, Orchestre National de Lille, Deutsche Oper am Rhein (Don Pasquale), Santa Fe Opera (Die Fledermaus, summer 2017). He also returned to Hong Kong Philharmonic, and to Deutsche Oper Berlin (The Love for Three Oranges, Le nozze di Figaro, La bohème, La Traviata and Hansel und Gretel). 3 ARTIST BIOGRAPHY

Jayson Gillham Piano

"He plays Beethoven in a very open, honest, ARIA charts. This first release was soon secure way – with a sort of ‘glow’… always followed by Jayson’s highly acclaimed live a lovely sound – gorgeous." recording of Beethoven Piano Concerto No 4 with the Sydney Symphony Orchestra under – Sir Mark Elder the baton of Vladimir Ashkenazy. Jayson’s Australian-British pianist Jayson Gillham most recent CD album recorded in 2017 has emerged as one of the finest pianists of works by Medtner and Rachmaninoff of his generation. Internationally praised with the Melbourne Symphony Orchestra for his compelling performances, Jayson and Benjamin Northey received unanimous has received numerous awards and prizes, praise and was Recording of the Month at reaching the finals of some of the world’s the Limelight Magazine. leading piano competitions including the Leeds, Van Cliburn and Chopin Competitions.

Jayson now performs across the globe, collaborating with the world’s leading orchestras and conductors and performing on the stages of prestigious concert halls. Recent and future concerto highlights include engagements with the London Philharmonic Orchestra, Royal Philharmonic, Hallé Orchestra, Bournemouth Symphony, Orchestre Symphonique de Montréal, Sydney, Melbourne and Tasmania Symphony Orchestras with such distinguished conductors as the late Sir Jeffrey Tate, Vladimir Ashkenazy, Sir Mark Elder, Asher Fisch, Eivand Aadland, Nicholas Carter, Joshua Weilerstein and Giancarlo Guerrero among others.

Recital highlights include the Wigmore Hall and Louvre Auditorium, Montreal Pollack Hall, Sydney City Recital Hall, Melbourne Recital Centre and the Queensland Performing Arts Centre. Jayson records for ABC Classics and his debut recital album featuring works by Bach, Schubert and Chopin was released in October 2016 and immediately reached the No.1 spot in both the Core Classical and Classical Crossover

4 Beethoven: The Piano Concertos CONCERT ONE

June Nicholas Carter Conductor Wed 5, 7pm Jayson Gillham Piano Elder Hall

Haydn The Creation: The Representation of Chaos

Beethoven Piano Concerto No.1 in C, Op.15

Allegro con brio Largo Rondo: Allegro scherzando

Interval

Mozart Symphony No. 39 in E flat, K.543

Adagio – Allegro Andante con moto Menuetto (Allegretto) – Trio – Menuetto Allegro

Duration Listen Later This concert runs for approximately 1 hour This concert will be recorded for delayed and 45 minutes, including 20 minute interval broadcast on ABC Classic. You can hear it again on 13 June, 7.30pm.

5 WELCOME

Jayson Gillham Piano To perform all five Beethoven piano concertos humour, and this is strong in the earlier as a cycle is one of the ultimate dreams concertos and particularly No. 1 in the of any pianist; I am so lucky to experience sunlit key of C major. this here in Adelaide with my ‘Aussie dream This is such an interesting program because team’ of Nicholas Carter and the ASO, and to Haydn’s The Representation of Chaos feels share this moment with you, both here in the so ahead of its time, the unresolved concert hall and in recording. harmonic tensions eerily foreshadowing Also part of my ‘Aussie dream team’ are as far ahead as Wagner. One tends to the supremely talented recording producer associate Beethoven more with his stern Virginia Read, our star piano technicians Ara side and Haydn as jocular, but here we Vartoukian, and Ken Hatfield – you all have have the opposite – serious, mature Haydn such amazing ears! followed by sunny, youthful Beethoven. In an ever-changing world, Beethoven’s Mozart’s Symphony No. 39 is a lovely choice music remains at the core of the piano for this program, at times foreshadowing and symphonic repertoire. The journey the drama of Beethoven’s later works before across the five Beethoven piano concertos taking us right back to Haydn with the is not only Beethoven’s personal journey famous rollicking finale. as a pianist and composer, but it tells Thank you for welcoming me so warmly other stories, notably the technological to Adelaide and for joining me on this advancement of the piano as an instrument, exciting journey. and the social and political upheaval of the French revolution and subsequent Napoleonic wars that not only caused enormous bloodshed across the continent of Europe but gave rise to the modern western liberal values of individual freedoms, equality and human rights. Today the way we see the world and the values we care about the most are still very closely aligned. I can hear in Beethoven’s music the struggle of the individual to reach beyond himself to make the world a better place. There is a universalism to his music and an honesty that speaks directly. To me, Beethoven’s music is an agent for good; it is incredibly powerful without being explicitly political. And in the case of the concertos, the soloist is the personification of the individual, who toils and struggles and celebrates and loves deeply. Of course there are also times of lightness and

6 Joseph Haydn (1732-1809)

The Creation: The Representation in German in Vienna in 1798, in English in of Chaos London in 1800.

During the course of Haydn’s oratorio three The sweep of the heavens Joseph Haydn archangels recount the six days of creation. viewed through the world’s biggest telescope, Before the Beginning was Chaos. A unison C towering over the town of Slough, near played by the full orchestra conjures up the Windsor, surely engraved itself in his memory. vastness and the darkness of infinitely empty If this was a living vision of eternity, it still lived space. Harmonies are intangible. Strings are with Haydn when he came to evoke in music ominously muted. Bassoons, violas, flutes the endless primordial emptiness from which and clarinets are exposed as they venture a world was to emerge – the ‘Representation tentatively, inconclusively, into the eerie void. of Chaos’ which forms the extraordinary Amid the deepening anxiety of the introduction to his masterpiece, The Creation. Napoleonic Wars, The Creation provided It was in June 1792, during the first of a beacon of cultural and spiritual sanity, Haydn’s two extended visits to England, reaching throughout Europe, touching people that the greatest living composer visited the of all faiths. It was at a performance of The most eminent explorer of space, the King’s Creation honouring Haydn’s 76th birthday in Astronomer, William Herschel. Upon the death 1808 – his last public appearance – that the of his employer, Prince Nikolaus Esterházy, once-rebellious Beethoven graciously made in 1790, Haydn settled in Vienna, and was public peace with his former teacher. And promptly engaged by the impresario Johann it was from The Creation, just days before Peter Salomon to go with him to London. Haydn’s death, that an admiring officer of the The twelve symphonies (Nos 93–104) that French occupation forces in Vienna sang for Haydn composed for London set the seal on him the aria ‘In native worth’. He was Haydn’s his reputation as the ‘Father’ of the symphony. last visitor. But knowing that the former Viennese Adapted from a note by Anthony Cane © 2011 choirboy had been moved to tears on seeing thousands in Westminster Abbey rise with the King for Handel’s ‘Hallelujah!’ chorus, Salomon gave him as a parting gift the text of The Creation, possibly once intended for Handel himself.

In Vienna, Gottfried van Swieten, eminent Adelaide Symphony Orchestra first performed promoter of oratorio, converted Salomon’s The Creation in August 1952 under the direction English book (based on the biblical books of Norman Chinner, and most recently in May of Genesis and the Psalms, and on Milton’s 1984 with Henry Krips. poem Paradise Lost) into parallel English and German texts, making himself godfather Duration: 6 minutes of the first bilingual oratorio – performed

7 Ludwig van Beethoven (1770-1827)

Piano Concerto No.1 in C, Op.15 bear in mind he was soloist at the concerto’s premiere) was feeding his audience Allegro con brio something simple and straightforward at first Largo (just a few doodles around a few common Rondo: Allegro scherzando chords) before shortly revealing the full extent of his showmanship. And when that arrives, If we had to sum up this concerto in one it comes in great, brilliant waves: tumbling word, that word would be brilliant. Here is broken chords, quick-fire figuration and twentysomething Beethoven, still a relative lightning-fast scale passages. Of course, he newcomer to Vienna, setting out to prove to ratchets up the brilliance still further in the the Viennese that he was a supremely gifted cadenza, towards the end of the movement. pianist-composer who was confident enough, While Beethoven himself would have talented enough (and possibly arrogant improvised the cadenza, he wrote out three in enough) to take on the very genre – the piano full in 1809, leaving it up to the performer to concerto – that the Viennese knew backwards, select one. thanks to the superlative examples unveiled by Mozart in that same city the previous The second movement takes us to an decade. Dating from 1795, by which time intimate, private space. Trumpets, timpani Mozart was interred in an unmarked grave and oboes are momentarily banished and in Vienna’s St Marx cemetery, Beethoven’s the key, A flat major, sets a mellow, dreamy C Major Piano Concerto takes some of its backdrop (we’re a long way from the glare cues from Mozart’s concertos – notably the of C major). The opening theme passes grand symphonic style and by-no-means- through a number of iterations as the perfunctory writing for woodwind instruments movement progresses, signalling, once again, – while at the same time demonstrates Beethoven’s talent for improvisation. attributes, both large and small, which are C major returns for the boisterous finale unmistakably Beethovenian. and in the closing moments we’re startled, as First up, he offers the element of surprise. C we were at the opening of the concerto, by a major was the key of choice for military-style sudden outburst, a fortissimo statement which music at this time (it goes well with trumpets appears to come from nowhere. And with and drums) yet Beethoven commences the that, the curtain comes down on this most concerto with a few unremarkable phrases brilliant of concertos. Beethoven’s career in which are barely audible, until – boom! – he Vienna had just taken a great repeats them at full volume, with trumpets leap forward. and timpani blazing. We’re off and running! Robert Gibson © 2019 But no sooner does Beethoven present us with C major in all its military glory when he leads us to quite a different place, the The Adelaide Symphony Orchestra gave its surprising key of E flat (at this point ushering first complete performance of Beethoven’s in an important new theme). We wend our Piano Concerto No.1 on 19 October 1950 with way back to the home key of C and the piano conductor Henry Krips and soloist Audrey White. enters but, in another surprise, it’s a restrained The Orchestra most recently performed it in 2014 and unassuming entrance. Why? The answer with Nicholas McGegan and pianist Robert Levin. might lie in Beethoven’s incomparable (and renowned) skills in improvisation. It is as Duration: 36 minutes though Beethoven, sitting at the piano (and

8 Wolfgang Amadeus Mozart (1756-1791) Symphony No.39 in E flat, K.543 It is possible that the Symphony in E flat was played in concerts in Vienna on 16 and 17 Adagio – Allegro April 1791, when a large orchestra under Andante con moto Salieri performed a ‘grand symphony’ by Menuetto (Allegretto) – Trio – Menuetto Mozart. Mozart’s friends, the clarinettists Allegro Johann and Anton Stadler, were in the Musicologist Neal Zaslaw has questioned orchestra and this symphony omits oboes and two of the three most common assumptions gives prominent parts to the clarinets. about Mozart’s last three symphonies. The After the slow introduction – only the third of assumptions are: that we do not know these Haydn-inspired introductions in a Mozart for what orchestra or occasion they were symphony, and the last – the first movement composed; that they were intended as an is a ‘singing Allegro’, with ‘strong ideas interrelated trilogy; and that they were presented in a deliberately understated way’, never performed during Mozart’s lifetime, according to Zaslaw. showing how unappreciated he was by his contemporaries. The slow movement is in the (for Mozart) unusual key of A flat major. It is a long Zaslaw suggests that the symphonies were movement – basically serene in mood, despite written for subscription concerts Mozart a passionate episode in F minor. scheduled for June and July 1788, of which only the first took place owing to insufficient The Menuetto has courtly poise and subscribers. The grouping of the three pomp, and in the Trio the world of the symphonies may have been designed to wind serenades is recalled in an Austrian appeal to publishers who liked to put out such Ländler, with the second clarinet gurgling its works in groups of three or six. Mozart was accompaniment to the first. also trying to arrange a trip to London, for The monothematic Finale may be a deliberate which good new symphonies were an essential tribute to Haydn who used this method of requirement. These symphonies may have construction so often. It is made witty by been among the unidentified symphonies interruptions from the bassoon and flute. Mozart is known to have performed on a German tour in 1789. Adapted from a note © David Garrett

So only the first statement remains unquestioned, that we don’t know the exact occasion or orchestra. For, even though Mozart may not have had a particular Adelaide Symphony Orchestra first performed occasion in mind, he can hardly have been Mozart’s Symphony No.39 on 6 June 1942 under said to have composed purely as a result of conductor William Cade and most recently in an inner artistic stimulus: this would be foreign June 2013 with Yan Pascal Tortelier. to what we know, both of his own practice and of the late 18th-century musical world. Duration: 29 minutes

9 10 Beethoven: The Piano Concertos CONCERT TWO

June Nicholas Carter Conductor Sat 8, 7pm Jayson Gillham Piano Elder Hall

Mozart La clemenza di Tito: Overture

Schoenberg Chamber Symphony No.1 in E, Op.9

Interval

Beethoven Piano Concerto No.4 in G, Op.58

Allegro moderato Andante con moto – Rondo: Vivace

Duration Listen Later This concert runs for approximately 1 hour This concert will be recorded for delayed and 45 minutes, including 20 minute interval broadcast on ABC Classic. You can hear it again on 14 June, 7.30pm.

11 WELCOME

Vincent Ciccarello Managing Director

Mindful as I am of the dangers of point as part of a process of evolution, perpetuating the “Great Man” view of via some arch-Romanticism of his own. history, I think even the most impartial Conductor and pianist, Daniel Barenboim, observer would concede that each of the argues for programming Schoenberg three composers on tonight’s program is with Beethoven by drawing on their a colossus in his own way. similarities: Wolfgang Amadeus Mozart, Ludwig van “Only a handful of composers in the Beethoven and Arnold Schoenberg, each history of classical music have had uniquely represent three important, if the capacity to summarize and even fundamentally different pillars of the culminate the development of an history of Western music. entire era of composition, while at the same time pointing the way toward a The sheer prodigiousness of Mozart’s radically different new paradigm or style, output, in terms of the amount of music and Beethoven and Schoenberg are he composed in almost every conceivable undoubtedly among these few.” genre, is all the more remarkable when one considers the quality, and often the And, of course, our three heroes are also breathtaking beauty, of it. Oh, and that united by place – each spent some of the he was dead at 35. most vital years of their lives in Vienna, where each of three works we will hear It is easy to forget that Beethoven, the tonight were composed. There must be hero of our little cycle of concerts, was something in the water. only 14 years Mozart’s junior. While he’s often bundled up with Mozart as the I hope you enjoy the concert. crowning achievement of High Classicism, it is really as disruptor, in whose works we can chart the rise of musical Romanticism, that we really celebrate Beethoven. It’s as if Mozart and Beethoven are from entirely different times. They’re not, of course. It just sounds that way. Schoenberg, who lived a century later, is possibly the most maligned composer in all of history. He’s credited with having caused the ultimate disruption of the system of tonality that guided the music of the previous 150 years. But, as you will hear in the Chamber Symphony No 1, Schoenberg got this

12 Wolfgang Amadeus Mozart (1756-1791)

La Clemenza di Tito: Overture Mozart travelled to Prague for the opera’s premiere (quite successful, despite the In the last year of his life Mozart was working Empress’ comments), taking with him his simultaneously on two operas of very different colleague and friend Anton Stadler, for whom types. The Magic Flute, an entertainment he had written brilliant obbligato parts in two rather like a modern musical, mixing low of the opera’s arias, one for clarinet and one comedy with high-minded Masonic symbolism, for basset horn, a Stadler speciality. was still delighting audiences at a suburban Vienna theatre, in their own language, David Garrett © 2017 as Mozart lay dying. The other opera was for Prague, where a few years earlier The Marriage of Figaro and Don Giovanni had been such hits.

La clemenza di Tito was composed hurriedly for an Imperial ceremonial occasion in Prague, where it was performed in September 1791. The libretto puts the Roman Emperor Titus (and by extension all emperors) in the best possible light – Titus’ clemency extends to everyone, including those who conspire against him. The Emperor is even shown as a generous contributor to the Mount Vesuvius Eruption Relief Fund. Although the opera was a throwback to old-fashioned opera seria in Italian, the Empress called it ‘German rubbish’.

The grand ceremony of the overture has affinities with the Jupiter Symphony (No.41) and the overture to The Magic Flute. It begins with a sustained exploration of the key of C major. In the development this flourish swings adventurously through a variety of harmonies, leading to the return, not of the first, but of the second subject. Departing thus from the usual order enables Mozart to end with the Adelaide Symphony Orchestra first performed same sequences that made the opening the Overture to La clemenza di Tito in August so effective. 1953 with conductor Hans Schmidt-Isserstedt, and most recently in June 2006 with Graham Abbott.

Duration: 5 minutes

13 Arnold Schoenberg (1874-1951)

Chamber Symphony No.1 in E, Op.9 Schoenberg also flags the new approach to harmony right at the beginning of the Schoenberg’s First Chamber Symphony Chamber Symphony. He builds up a chord (1906) appeared after the hyper-Romantic of superimposed fourths – the characteristic Transfigured Night and the gargantuan interval of horncalls and fanfares, rather than Gurrelieder, and between his first two string the thirds which make up major/minor chords quartets. The Op.7 Quartet rethinks Classical – that form by interpolating distinct movements ‘spread architectonically over the entire work, – Scherzo, slow movement and Finale – as and leave their imprint on all that occurs’. In episodes in an extended ‘first movement’ other words, the distinction between melody structure. The second quartet (Op.10) is a and harmony is blurred, a necessary condition watershed: it begins in F sharp minor, but by for the development of atonal, and later of the end Schoenberg has dispensed with any twelve-note serial music. But it should be sense of traditional diatonic, or major/minor, remembered that Schoenberg always thought harmony. Not only did Schoenberg inaugurate of himself as ‘a natural continuer of a properly atonal music in this work, he added a soprano understood, good, old tradition’. solo who sings settings of Stefan George poems – most tellingly the famous line, Not that early audiences in Vienna always appreciated this. One reviewer wrote during ‘I feel the air from another planet’. the pre-Lent carnival season that ‘so as not to The Chamber Symphony for 15 instruments lose touch completely with the spirit of Eternal forms a link between the two quartets. Like Foolery, [he] had listened to Mr Schoenberg’s Op.7, it is in one continuous span, but falls into Chamber Symphony’ while members of the five clearly defined sections which correspond audience simply walked out. One listener to traditional free-standing movements. Its confessed, ‘I do not understand his music, use of a large mixed ensemble makes for the but he is young; perhaps he is right,’ but nonetheless confronted and silenced other clear presentation of often complex textures, noisily protesting patrons. His name was as well as a palette of sound which would Gustav Mahler. dominate much music in the first half of the 20th century. Alban Berg, Schoenberg’s pupil, Abridged from a note by Gordon Kerry analysed the piece as: Symphony Australia © 2004 1. Sonata exposition, corresponding to the opening section of a symphonic first movement 2. Scherzo 3. Development of thematic material in The only previous performance of this work by section 1 the Adelaide Symphony Orchestra was in July 4. Quasi adagio, or slow movement 1974 under the direction of Walter Susskind. 5. Finale, in which elements from section Duration: 21 minutes 1 are recapitulated.

14 Ludwig van Beethoven (1770-1827)

Piano Concerto No.4 in G Op.58 the solo piano cajoles, caresses and teases out the seemingly endless decorative possibilities Allegro moderato of the thematic material. A word has to be said Andante con moto – on Beethoven’s tonal adventurousness. His key Rondo: Vivace choices are often surprising, beginning with B Of Beethoven’s five piano concertos, the major in bar six (the orchestra’s initial entry). Concerto No.4, which was completed in 1806, Elsewhere, we encounter important themes is the most experimental. It is as though presented in keys some distance from our Beethoven had decided to take the concerto home base of G: B flat major, E flat major and, apart and put it back together a different way. strangest of all, C sharp minor. Conventions are overturned. Expectations are Beethoven’s experimental quest reaches thwarted. its apotheosis in the middle movement. Take, for instance, the way it opens – with a The mood is operatic. Specifically, the high brief meditation for the solo instrument. This drama of recitative obligé, where voice and was a first. Seemingly simple, the opening five accompaniment stand in sharp contrast – the bars offer rich interpretative possibilities. A full string accompaniment severe and emphatic, G major chord in the piano’s middle register the voice (or, in this case, the piano) cantabile (marked soft and ‘dolce’, sweetly) is followed and expressive. To accentuate further the by a further series of chords which harmonise difference between the two, Beethoven a stepwise melody (which will soon be given instructs the pianist to utilise the soft pedal fuller treatment in the orchestra) leading to a (una corda) throughout. rhythmic ‘bump’ (an unexpected accent on the The middle movement segues into the very second beat of the bar) which in turn leads to fast rondo finale, Vivace, which opens with a a decorated, but unemphatic, cadence on the soft, drumming gesture on the strings building dominant. Thus ends the brief opening solo, to a ten-bar theme. Taken up and elaborated and the piano now disappears for the better by the piano, the theme then assumes its full part of 70 bars. But the opening solo with its military colours when trumpets and timpani odd, five-bar shape and rhythmic quirks proves (silent in the first two movements) ring out in to be the geminating seed of the movement’s the fortissimo orchestral tutti. A secondary principal theme, and one of the motifs derived theme offers a moment of hymn-like stasis from it – a two-note falling figure, traditionally but the mood is overwhelmingly joyous with held to be a musical ‘sigh’ – pervades much scintillating piano figuration and a race to the of the musical argument. The piano makes its finish for soloist and orchestra. second entry almost as an aside. It arrives with none of the fanfare and dramatic preparation Robert Gibson © 2019 traditionally afforded the solo instrument but, rather, softly makes its presence known with Adelaide Symphony Orchestra first performed some gentle musings on the principal theme. In Beethoven’s Piano Concerto No.4 on 1 October fact, the piano exerts a light touch throughout 1940 with conductor Bernard Heinze and much of the movement and partakes in a soloist Sigrid Sundgren, and most recently remarkable amount of surface decoration. This in September 2017 with Nicholas Carter and is not a concerto where the soloist seeks to pianist Jean-Efflam Bavouzet. bend the orchestra to its will; on the contrary, Duration: 34 minutes 15 Beethoven: The Piano Concertos CONCERT THREE

June Nicholas Carter Conductor Wed 12, 7pm Jayson Gillham Piano Elder Hall

Brahms Tragic Overture, Op.81

Beethoven Piano Concerto No.2 in B flat, Op.19

Allegro con brio Adagio Rondo: Molto allegro

Interval

Beethoven Piano Concerto No.3 in C minor, Op.37

Allegro con brio Largo Rondo: Allegro

Duration ABC Broadcast This concert runs for approximately 1 hour This concert will be broadcast live and 45 minutes, including 20 minute interval. on ABC Classic.

16 WELCOME

Simon Lord Director, Artistic Planning

Vienna. City of dreams. Fifth Symphony. This is the first concerto of the cycle in which we recognize the mature In the south of Vienna, on the banks of Beethoven. Here is the early voice of a the River Danube, there lies a sleepy little revolutionary, prescient of the composer’s suburb called Simmering. It is home to the growing audacity. It provides a glimpse city’s largest cemetery, the Zentralfriedhof. into a new expressive sphere: the German A magical, peaceful place, it is here, where, Romantic world. amongst the roses and the edelweiss, Ludwig van Beethoven is buried. His grave is located It is a bright but cloudy day in March 1827 in Section 32A, Plot 29. Walk just around the and around 20,000 people have gathered corner and you’ll discover Plot 26 which is the for Beethoven’s funeral in Vienna. Such is resting place for Johannes Brahms. the love for this composer, this dreamer of dreams. Even Franz Schubert is there Brahms worshipped Beethoven. When in the crowd. Fast-forward a century or so Brahms composed, it was under the and T.S. Eliot is writing his Four Quartets. watchful gaze of his hero’s bust. So, perhaps He also dreams, ‘…to get beyond poetry, as there is a musical and spiritual solidarity to Beethoven, in his later works, strove to get be found as these two very different, yet beyond music.' That is Beethoven’s legacy. equally titanic composers now rest closely That is his genius. together in Vienna? I hope you enjoy the concert. Famously, Brahms once described his two concert overtures, the Academic Festive Overture and the Tragic Overture, which we’ll hear tonight, as two Commedia dell’Arte masks where ‘one weeps and the other laughs.’ Beethoven’s Second and Third Piano Concertos seem to represent a similar duality. The Second Piano Concerto in B-flat major opens and closes all fizzy con brio and wit. Stylistically, it inhabits the elegant, Classical world of Haydn and Mozart. This is music which smiles often.

The Third Piano Concerto is in the dark key of C-minor. It occupies the same turbulent harmonic world as Brahms’s Tragic Overture. Beethoven now dons the mask which weeps. This concerto dates from around 1800, written some thirteen years after the Second Piano Concerto but just before the

17 Johannes Brahms (1833-1897)

Tragic Overture, Op.81 In a loose sonata form, with three main subjects, the Overture justifies its ‘Tragic’ In 1880, Brahms spent the summer in the title from the outset with its arresting resort town of Ischl, where Vienna’s rich opening chords, strident main theme, and and famous usually repaired in the warmer continued use throughout of hammer blows months to enjoy the rural scenery, the local to underscore the drama. Some have likened spa, and the opportunity to rub shoulders with it to a mini-symphony, particularly in a middle holidaying royalty. But Brahms had work to do, passage where the horns play a distinctively needing to write an orchestral piece, the light- Brahmsian call of longing over shimmering hearted Academic Festival Overture based string chords, and in its characteristically on student songs, as thanks for an Honorary turbulent returns of the main themes and Doctorate soon to be conferred on him by emphatic coda. Breslau University. One of Brahms’ very few purely orchestral But during the same summer he also works outside his four symphonies, it was composed a very different companion piece, premiered by the Vienna Philharmonic some of it based on sketches dating back to under Hans Richter in December 1880. In the 1860s, and which he had trouble naming. several performances early in the following ‘You may include a dramatic or tragic or year – some conducted by Brahms himself Tragedy Overture in your program for January – it appears to have baffled its audiences 6,’ he wrote to the Breslau concert organisers. and didn’t gain immediate acceptance. But ‘I cannot find a proper title for it.’ Brahms enjoyed it enough to make various Eventually he settled on Tragic Overture, but piano transcriptions of it that he played with no one could say exactly what, if any, the Clara Schumann and other friends, another ‘tragic’ programmatic elements were. Some indication that this avowedly ‘tragic’ work had thought it might bear hallmarks of incidental been composed, as he himself said, simply for music originally intended for an abandoned his own pleasure. stage production of Goethe’s Faust. Others pointed toward Brahms’ fascination with Martin Buzacott © 2012 Shakespeare, still others suggested that the juxtaposition of comedy and tragedy in the Greek theatre tradition had inspired a ‘Tragic Overture’ to accompany a ‘Festival’ one. For his part, all Brahms would say was that ‘I could not refuse my melancholy nature the Adelaide Symphony Orchestra first performed pleasure of writing a Tragic Overture as well Brahms’ Tragic Overture in November 1946 [as the Academic Festival Overture]. One under conductor Joseph Post, and most recently laughs, the other weeps.’ on 4 April 2007 with David Sharp.

Duration: 13 minutes

18 Ludwig van Beethoven (1770-1827)

Piano Concerto No.2 in Bb Op.19 territory, sitting in the register around and above middle C. If Beethoven’s treatment of Allegro con brio the piano sounds delicate, bear in mind that Adagio the instrument at this time was delicate. The Rondo: Molto allegro Viennese piano had a light, responsive action Predating Beethoven’s Symphony No.1 (by and was far more compact than the concert many years), and even Beethoven’s Piano grand that we know today. Beethoven arrived Concerto No.1, the Second Piano Concerto in Vienna in 1792 as a pianist renowned for is fascinating for all sorts of reasons; among his skills in improvisation. Accordingly, the them, the glimpse it offers of Beethoven cadenza which appears at the end of the first before he became Beethoven-the-robust- movement would have been an opportunity trailblazer. This is as close as we get to for him to extemporise. Many years later, in Beethoven in a powdered wig. The orchestra, 1809, he wrote out a cadenza for the first for instance, doesn’t sound like the orchestra movement in full. we typically associate with Beethoven’s The second movement, Adagio, presents music. It is small by the standards of Haydn’s us with a very early example of what would symphonies from around the same time: no become one of Beethoven’s signature timpani, no trumpets and no clarinets. Even achievements – the ability to write music Mozart, in his piano concertos of the mid- which invites the listener to turn inwards and 1780s, used larger orchestral forces. Although to contemplate human subjectivity through the Piano Concerto No.2 was premiered in the medium of pure sound. Beethoven doesn’t 1795 – most likely in March of that year at need to resort to complex ‘tricks’ to achieve Beethoven’s first public appearance in Vienna this. In fact, quite the opposite. In the closing as a pianist-composer – it would seem that bars of the Adagio the piano soloist dispenses Beethoven had been preoccupied with the with the left hand entirely and, using the right work for quite some time, with jottings for it hand alone, presents us with soft, shadowy dating from the late 1780s, long before he phrases (marked ‘con gran espressione’, arrived in Vienna from Bonn. with great expression) which are as poignant The spirit of Haydn and Mozart is evident from as they are enigmatic. The spell is broken the start of the concerto, which commences straightaway with the energetic, syncopated with two brief, contrasting phrases: the Rondo, but this is a useful reminder that first summons gestures of the hunt, with its concertos were as much about entertainment bouncy, dotted rhythms; the second, which as anything else. is smooth and expressive, is in the singing Robert Gibson © 2019 style. Both were part of the stock-in-trade of Classical music and both permeate the entire movement (when the second subject arrives, Adelaide Symphony Orchestra first performed for instance, we discover it is an extension of this concerto on 2 March 1945 with conductor the singing-style phrase). The piano enters Bernard Heinze and soloist Jessica Dix, with a variant of the hunt theme. Added to and most recently in May 2013 with Michał the transparency of the orchestration is the pellucid piano writing throughout. Right and Dworzyński and pianist Yevgeny Sudbin. left hand tend to lie close together, with the left frequently migrating into the right’s Duration: 28 minutes

19 Ludwig van Beethoven (1770-1827)

Piano Concerto No.3 in C Minor Op. 37 said, the temperature reaches fever pitch in the first-movement cadenza, written out by Allegro con brio Beethoven in 1809. Largo Rondo: Allegro As soloist at the 1803 premiere, Beethoven would have improvised the cadenza. Beethoven worked on the Piano Concerto No.3 According to the page-turner on that in the early years of the new century. By the occasion, Beethoven largely performed the time it was premiered – in Vienna in 1803 at slow movement, Largo, from notes he had in a concert which included his First and Second his head but had not fully committed to paper symphonies (the latter a premiere) together (bear in mind he had two symphonies and an with the oratorio Christus am Ölberge (also a oratorio to prepare for the same concert!). premiere) – Beethoven had been living in the The terrified page-turner stared at page after Austrian capital for more than a decade. He page of barely notated dots and dashes. In arrived in Vienna from the small Rhineland city the rather surprising key of E major, the gentle of Bonn as a pianist of repute and a composer middle movement embraces a range of piano of promise. Ten years on, his skills at the piano textures, from chords in the chorale style to remained formidable and he had developed filigree passages in double thirds to arpeggios into a composer of epoch-making potential. that swirl up through the registers. By now, Beethoven’s proficiency in We return to C minor, a brisk tempo and orchestration had attained a new level bravura piano writing for the last movement. of sophistication (listen, in the opening While less intense than the opening movement minute of this concerto, to the interactive (as befits a concerto finale), the piano remains exchanges between strings, winds, brass brilliant and transparent throughout. (Note and timpani), and his talent for wringing how Beethoven momentarily shines a spotlight every drop of potential from themes and on the solo clarinet in one of the contrasting, motifs was becoming a hallmark of his style lyrical episodes.) As the movement comes to a (again, listen to the ways in which the short, close, the shackles of C minor are cast off and simple idea enunciated by the strings right we enter the realm of the opera buffa stretta at the start pervades so much of the first with a still faster tempo, breathless surface movement). Added to that, the Allegro con rhythm, and jolly back-and-forth between brio demonstrates Beethoven’s tremendous piano and orchestra. Our drama closes on a flair for bringing drama to instrumental music. comic note, with high-spirited antics in the key There are no words in this drama but, rather, of C major. dramatic tension is created through the sheer force of music’s constituent parts – melody, Robert Gibson © 2019 harmony, key, rhythm, form, dynamics and

texture. As you would expect, the solo piano is The Adelaide Symphony Orchestra first a crucial player in the drama, creating much performed this concerto in March 1945 with of the momentum through brilliant passages conductor Bernard Heinze and soloist Raymond (forceful scales, decisive octaves, dazzling Lambert, and most recently in October 2016 ornamentation) but also by pulling back and with Jeffrey Tate and Jayson Gillham. lowering the temperature as required. That Duration: 34 minutes 20 Beethoven: The Piano Concertos CONCERT FOUR

June Nicholas Carter Conductor Sat 15, 7pm Jayson Gillham Piano Elder Hall

Schubert Symphony No.5 in B flat, D.485

Allegro Andante con moto Menuetto: Allegro molto Allegro vivace

Interval

Beethoven Piano Concerto No.5 in E flat, Op.73, ‘Emperor’

Allegro Adagio un poco mosso – Rondo: Allegro

Duration ABC Broadcast This concert runs for approximately 1 hour This concert will be broadcast live and 45 minutes, including 20 minute interval on ABC Classic.

21 WELCOME

Natsuko Yoshimoto Concertmaster To Ludwig van Beethoven by his Worshipper For their many stark aesthetic differences, and Admirer Franz Schubert. Schubert and Beethoven’s works are not worlds apart. Although often seen as Schubert’s dedication to Beethoven for his heralding the evolution of the piano concerto, Variations on a French Song reflects the Beethoven does not whole-heartedly reject powerful link between these two titans of the past. The economy of Schubert’s Fifth is the Western musical canon. It remains folded into the drama of Beethoven’s style, arguable as to whether this was the humble and there is an effortless beauty enshrined praise of a devotee or Schubert’s hastily in the second movement of the Emperor. penned response to praise from his hero. Regardless, this represents a dialogue Thank you for joining us on this incredible between the two composers. journey. As Jayson Gillham noted in his welcome “in an ever-changing world, The cycle of musical invention never rests, Beethoven’s music remains at the core”. and so it is fitting that in this last concert This music speaks across the ages: Two we hear music which reflects the stylistic antithetical but ultimately intertwined ideals: evolution of the early 19th Century. Schubert and Beethoven, nostalgia and Schubert’s Symphony No. 5 harks back to the revolution, the old and the new, at odds elegant economy of Mozart, whose music yet related. Schubert was infatuated with at the time. Just as revolutionaries are needed to propel The grace of the sighing woodwinds in the us forward, so too are the devotees of opening movement, to Schubert’s choice of our past. orchestration identical to Mozart’s original Symphony No. 40; this is music fuelled by almost a century of style galant.

Beethoven’s Piano Concerto No. 5 was written some five years earlier and although Beethoven protested, his publisher gave it the soubriquet Emperor. This concerto epitomises Beethoven the revolutionary. From the opening piano flourishes we finally grasp the hints and suggestions of the previous concerti. The romantic ideals of revolution and equality are embraced, perhaps appropriate given its birth during Vienna’s occupation by the French. The piano is placed on a truly equal footing to the orchestra; the introspective spirit of Piano Concerto No. 4 now at odds with a bold, at times even confrontational, soloist.

22 Franz Schubert (1797-1828)

Symphony No 5 in Bb D 485 another supreme lyricist, Schubert avoids too lengthy a development of his material. Allegro Andante con moto The main theme of the slow movement comes Menuetto: Allegro molto close to quoting that of the rondo movement Allegro vivace of Mozart’s Violin Sonata K377, but leaves At 19 years of age, Schubert had composed Mozart behind in its distinctively Schubertian six of his nine symphonies. At this stage, approach to supple harmonic movement, and very little of his music had been performed its alternation of fully scored passages with publicly, and, indeed, Schubert would not those of great delicacy. live to witness a public concert of any of The Menuetto is in G minor, inviting further his symphonies. However the works were comparison with two of Mozart’s symphonies, all performed by an enthusiastic ‘pro-am’ with a central, bucolic trio episode in G orchestra that had grown up around the major. The finale is a sonata-allegro with a regular performances of chamber music in symmetrical pair of seemingly simple themes. the Schubert household. The Fifth Symphony, written during September 1816, was If the work is a perfect assimilation of Classical performed later that year in the home of form and manner, it is also a turning-point in Schubert’s friend Otto Hatwig, concertmaster Schubert’s development, paralleling a change of the Burgtheater orchestra. The symphony in his life. It was at the time of its premiere omits clarinets, trumpets and drums, and that he left his father’s house to live a more requires only one flute, so must reflect the metropolitan existence in inner-city Vienna, available musical personnel, but Schubert’s beginning his short adulthood. deployment of his resources shows that it The Symphony had to wait until 1841 for its must have been a fine ensemble. The string first public performance, which was given section was relatively sizeable, and Schubert at the Josefstadt Theatre under Michael himself often played violin or viola. Leitermayer, who had championed Schubert’s The scoring also, of course, recalls that of church music. numerous works from the late 18th century, Abridged note by Gordon Kerry © 2019 and, similarly, the symphony’s musical manners show a grateful assimilation on Schubert’s part of the lessons of Mozart and Haydn.

As if making a virtue of necessity, Schubert The Adelaide Symphony Orchestra first begins the symphony with four introductory performed this symphony on 15 October bars from his depleted woodwind section, 1938 under the direction of Malcolm Sargent, before launching his disarmingly simple first and most recently in September 2016 with subject, with its skipping sequence of rising Toby Thatcher. arpeggios. By contrast, the second subject theme is a lyrical, slower-moving tune that Duration: 27 minutes moves more often by step. Like Mozart, 23 Ludwig van Beethoven (1770-1827)

Piano Concerto No.5 in E flat, Op.73, ‘Emperor’ mosso. Soft, muted strings set the scene and the piano (marked pianissimo, espressivo) Allegro presents a descending ornamental line of Adagio un poco mosso – simple and tender beauty, falling droplets Rondo: Allegro of tranquil abandon. Here, the listener is Allegro vivace invited to turn inwards and contemplate the Beethoven’s five piano concertos were written ineffable. The key, B major, is an unexpected over a period of 15 years, from around 1794 one and requires some harmonic side- to 1809. This was precisely the time that stepping to return us, without a break, to the Vienna-built pianos were transformed on a heroic key of E flat for the Rondo finale. An number of fronts: they became larger and ebullient mood immediately takes hold with a heavier and sustained ever greater tension; powerfully articulated, joyous theme pushed levers were replaced by pedals; double along by a strong, two-in-a-bar dance metre. stringing gave way to tripallle stringing, and The piano reaches stratospheric heights the strings themselves became sturdier. By the in places (maybe not the top of a modern time we arrive at the Piano Concerto No.5, we piano but right at the limit of Beethoven’s encounter an instrument considerably more instrument) and indulges in playful repartee robust and broader in compass – it has a with the orchestra, eventually handing the six-octave range – than the piano Beethoven reins over to the orchestra after a final dash started out with. Against this background, up the keyboard. we might better understand the virtuosic, Alone among Beethoven’s piano concertos, wide-ranging flourishes at the opening of the Fifth was premiered with a pianist other the Fifth. Think of the opening cadenza as than the composer. Beethoven’s performing Beethoven test-driving a Ferrari, putting this career was effectively over by this stage, magnificent, new machine (and a piano, with given his extensive hearing loss. Also alone its thousands of moving parts is, after all, a among Beethoven’s piano concertos, the Fifth machine) through its paces. During the course was not premiered in Vienna but, rather, in of the Allegro we traverse the entire compass Leipzig, with the Gewandhaus Orchestra and of the now enlarged keyboard (the piano was pianist Friedrich Schneider, in 1811. Finally, extended into the upper range in particular) a word on the nickname, ‘Emperor’. It was and are left in no doubt as to the instrument’s not Beethoven’s doing but was cooked up brilliance and versatility with full, powerful by his London publisher. Essentially, it was a chords in both hands, double octaves, broken marketing strategy: attach the word octaves, scales moving in contrary directions ‘Emperor’ and it will be assumed to be and delicate trills right at the top of the range. king among concertos. Not only is the instrument grand, so too is the movement’s principal thematic material, Robert Gibson © 2019 which finds its perfect home in the key of E flat, Beethoven’s ‘heroic’ key since the epic The Adelaide Symphony Orchestra first performed Symphony No.3, Eroica, of 1805. this concerto in April 1944 with conductor Bernard Heinze and Jascha Spivakovsky, and most recently But it is amazing how Beethoven can so easily in September 2014 with Nicholas McGegan and cast his muscular swagger to one side and pianist Stephen Hough. produce something as sensitive and dreamy as the slow movement, Adagio un poco Duration: 38 minutes 24 SUBSCRIBER STORY

Richard Willing ASO Subscriber

ASO Subscriber Richard Willing tells us how Beethoven inspired his love of music and the start of his relationship with the ASO

88 year old ASO subscriber Richard Willing Beethoven as he matured and made his own was just 14 years old when he attended the musical imprint of the day. Beethoven Festival in 1945 with his birthday As an ASO subscriber how many concerts do money and has been attending ASO concerts you attend each year? And what do you love ever since. Here he tells us about his passion about the orchestra? for music, his love of the ASO, that first experience at the Beethoven Festival and I attend all 10 of the Master Series concerts how excited he is about Beethoven: The with a few extra concerts thrown in. The ASO Piano Concertos all this time after that has been such a big part of my life for many first performance. decades and I love coming to a concert and seeing all of the familiar faces in the Tell us how you came to attend the orchestra. They are like life long friends and I Beethoven Festival in 1945? Who did you love seeing them working hard and enjoying attend the concert with, where was it held? themselves. My dear late wife Gwen and I How much was the ticket? regularly subscribed all of our married life and I was a Beethoven nut at quite an early age. orchestral music was there with us right from It was my 14th birthday and it was still the start. My first date was when I took Gwen wartime and it was easier for extended family to see a piano recital by Daniel Barenboim to give money rather than buy a present. who was only 15 years old at the time. I had about 15 pounds and splurged most What are you most looking forward to about of it on the ticket to the Beethoven Festival. seeing the Beethoven Concertos 74 years I attended the concerts on my own as I went later? to boarding school at 8 years of age and I always attended concerts with the school, so Revisiting the orchestra as a much larger and it wasn’t unusual for me to go to a concert on much more professional outfit from when I my own. However it was the first time I had saw them as a 14 year old. I still love to hear subscribed to a concert on my own. an early Beethoven work and I’m sure it will bring back memories of seeing the Beethoven Describe attending the concert? Festival so long ago. It was such a memorable occasion - over In your 74 year history of attending 4 weeks there were 6 concerts. I found it performances, what has been the most exciting to watch the orchestra at work and memorable? hearing all of the music that Beethoven had written was very exciting for a 14 year old. It was a special occasion concert at the Adelaide Town Hall in the late 40s and at What do you love most about Beethoven’s the start of the concert the conductor Otto music? Klemperer announced the death of Richard He was one of my favourite composers at Strauss. It was a very impressive evening, as the time. I guess I love the development from he changed the program to include a tribute the music of Haydn and Mozart, and then to Strauss.

25 ADELAIDE SYMPHONY ORCHESTRA

Principal Conductor Principal Guest Artist in Association Nicholas Carter Conductor Pinchas Zukerman Mark Wigglesworth

VIOLINS CELLOS Mark Gaydon** * Denotes Principal Natsuko Yoshimoto** Simon Cobcroft** Jackie Newcomb1 Player 1 2 3 4 (Concertmaster Ewen Bramble~1 2 3 Leah Stephenson3 4 Denotes concert number. Players without Cameron Hill** 1 4 Sarah Denbigh ~(Acting number will play all four (Associate Associate) Concertmaster CONTRA BASSOON concerts. 2 3 4 Christopher Handley 2 Shirin Lim* (Principal 1st Jackie Newcomb* 1 2 3 Violin Sherrilyn Handley 1 4 Michael Milton** Gemma Phillips HORNS (Principal 2nd Violin 1 3 David Sharp Adrian Uren** Lachlan Bramble 3 4 Cameron Waters Sarah Barrett~ ~(Associate Principal 2nd Violin) Emma Gregan DOUBLE BASSES 3 Ann Axelby1 2 3 Benjamin Messenger David Schilling**2 3 Minas Berberyan Jonathon Coco~ Gillian Braithwaite1 2 3 TRUMPETS 3 1** 4**(Acting Principal) 3 4 Julia Brittain1 2 3 Owen Morris** Jacky Chang2 3 Hilary Bruer 1 2 Martin Phillipson~ David Phillips ~ (Acting 1 **2**(Acting Principal) Nadia Buck1 3 4 Associate) Gregory Frick1 2 4 Elizabeth Collins1 2 3 Harley Gray1 4 Timothy Keenihan3 Jane Collins1 2 Belinda Kendall-Smith3 4 Judith Coombe TROMBONES Belinda Gehlert3 FLUTES Colin Prichard**1 3 Alison Heike Geoffrey Collins** Ian Denbigh1 3 Caroline Hopson3 4 Lisa Gill Danielle Jaquillard3 4 BASS TROMBONE Ji Won Kim2 4 PICCOLO Howard Parkinson*1 3 Alexis Milton Sabine Daniels*3 Jennifer Newman3 4 TUBA Julie Newman OBOES Peter Whish-Wilson*3 Emma Perkins3 4 Ceila Craig** (Guest Alexander Permezel3 4 Principal 1 2 Renae Stavely~1 2 4 TIMPANI Ben Tjoa In tonight’s program, Peter Duggan3 Andrew Penrose (Guest Adelaide Symphony Principal)* Orchestra Concertmaster VIOLAS Natsuko Yoshimoto will Caleb Wright** CLARINETS be playing ‘The Adelaide’ PIANO TECHNICIANS violin. Crafted in Milan in Cecily Satchell~(Acting Dean Newcomb** Ara Vartoukian 1753-7 by Giovanni Batista Associate) Darren Skelton1 2 3 Guadagnini. Natsuko is the 2 3 4 Ken Hatfield current custodian of ‘The Martin Butler Mitchell Berick Adelaide’ which is held in Lesley Cockram1 4 trust by UKARIA.

1 2 Linda Garrett Eb CLARINET Anna Hansen1 2 3 Darren Skelton2 Flowers supplied by Rosi McGowran2 3 4

1 3 Carolyn Mooz BASS CLARINET ** Denotes Section Michael Robertson3 4 Mitchell Berick*2 Principal ~ Denotes Associate Heidi von Bernewitz2 3 BASSOONS Principal

26 ASO MANAGEMENT

ASO BOARD OPERATIONS Kate Gould Chair Karen Frost Orchestra Manager Vincent Ciccarello Janet Carey Orchestra Coordinator Geoffrey Collins Bruce Stewart Orchestral Librarian Andrew Daniels Declan Smith Production & Venue Coordinator Elizabeth Davis William Jarman Production & Venue Coordinator Byron Gregory David Leon FRIENDS OF THE ASO EXECUTIVE COMMITTEE Karen Limb Michael Critchley President Andrew Robertson John Pike Past President Hon. David Wotton AM & John Terpelle Vice Presidents EXECUTIVE Judy Birze Treasurer / Public Officer Vincent Ciccarello Managing Director John Gell Membership Secretary Sarah Bleby Director, Commercial & Special Programs Ruth Bloch Secretary Simon Lord Director, Artistic Planning Shivani Marx Director, People & Culture Paola Niscioli Director, Marketing & Development Shelley Woodward Senior Accountant Shecky Kennedy Executive Administrator

ARTISTIC Andrew Groch Artistic Coordinator Vicki McGregor Learning and Community Engagement Coordinator Kane Moroney Audience Development Coordinator Nadia Paine Artist Liaison

DEVELOPMENT Alexandra Bassett Donor Relations Manager Rae O’Connell Corporate Partnerships Manager Hannah Truth Development & Events Coordinator

FINANCE, PEOPLE & CULTURE Nicole Mathee Accountant Karin Juhl Accounts Coordinator Sarah McBride Payroll and People Coordinator

MARKETING Tom Bastians Customer Service Manager Renato Capoccia Marketing Manager Cheree McEwin Publicist Ashleigh McManus Marketing Coordinator Sharmonie Cockayne Marketing Assistant Georgie Phillips Marketing Assistant Emma Wight Administrative Assistant/Receptionist Leigh Mack Box Office Assistant Jemma Matthews Box Office Assistant

27 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.

Vincent Ciccarello Managing Director

Annual Giving Grainger Circle

Our Annual Giving program is the backbone A lasting way to support the ASO is to leave of philanthropy at the ASO, providing a gift to the orchestra in your will. It is a the resources to make our orchestra the unique way to honour your love of music and exceptional ensemble you see on stage the part it has played in your life. each night. If you are leaving a bequest to the ASO, we Donations can be made year round and encourage you to contact us so that we can gifts of any size are welcome, and much thank you for your gift during your lifetime. Of appreciated. There are many ways to course, your bequest can remain anonymous support the orchestra, including joining and we will acknowledge your gift privately. our Conductors’ Circle or Musical Chair In appreciation of your support, you will programs which we acknolwedge on the be invited to join our Grainger Circle and following pages. meet like-minded music lovers at events A list of our generous donors can be found throughout the year. on page 32. Please use the contact details below for more details on making a gift.

Corporate Partnerships Contact Us

A partnership with the ASO is a wonderful For more information please contact: way for businesses to engage with and Donations support live orchestral music in South Alexandra Bassett Australia. We offer unique corporate Donor Relations Manager networking opportunities, brand awareness, 8233 6221 | [email protected] community engagement and education programs, as well as employee and client Corporate Partnerships rewards. Please contact us to find out more Rae O’Connell about the levels and benefits of becoming Corporate Partnerships Manager a Corporate Sponsor. 8233 6231 | [email protected]

28 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 Nicholas Carter Mark Wigglesworth Pinchas Zukerman Principal Conductor 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

Cathy Milliken Grace Clifford Composer in Association Emerging Artist in Association Supported by Mary Louise Simpson, Supported by in honour of her mother, Boileau Family Trust Grace Margaret McArthur

29 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

Violin Principal 1st Violin Hilary Bruer Principal Cello Shirin Lim John & Jenny Simon Cobcroft Bob Croser Pike An anonymous donor

Principal 2nd Violin Michael Milton Violin The Friends of the Judith Coombe Cello ASO in memory of In memory of Sarah Denbigh Ann Belmont OAM Don Creedy An anonymous donor

Associate Principal 2nd Violin Cello Lachlan Bramble Violin Chris Handley In memory of Danielle Jaquillard Bruce & Pam Deborah Pontifex K & K Palmer Debelle

Violin Violin Cello Janet Anderson Julie Newman Sherrilyn Handley In memory of Graeme & Johanna & Gweneth Willing Susan Bethune Terry McGuirk

Violin Violin Cello Ann Axelby Emma Perkins Gemma Phillips David & Peter & An anonymous Linnett Turner Pamela McKee donor

Principal Viola Cello Violin Caleb Wright David Sharp Minas Berberyan In memory of Dr Aileen F Merry Wickes Mrs JJ Holden Connon AM

Viola Cello Violin Martin Butler Cameron Waters Gillian Braithwaite John & Peter & Mary Dawes BEM Emmanuelle Pratt Pamela McKee

30 Principal Clarinet Bass Dean Newcomb Principal Trumpet Owen Morris Harley Gray Hon David Wotton Bob Croser AM & Jill Wotton David Leon

Bass Belinda Kendall- Section Principal Smith Clarinet Trombone In memory of Darren Skelton Colin Prichard Drs Nandor Ballai & In memory of Keith Andrew & Georgette Straznicky & Susie Langley Barbara Fergusson

Bass Principal David Phillips Bass Clarinet ‘a great bass player Mitchell Berick Trombone with lots of spirit - Nigel Stevenson & Ian Denbigh love Betsy’ Glenn Ball An anonymous donor

Principal Bass Trombone Principal Flute Principal Bassoon Howard Parkinson Geoffrey Collins Mark Gaydon Ian Kowalick AM Pauline Menz Pamela Yule & Helen Kowalick

Flute Principal Tuba Bassoon Lisa Gill Peter Whish-Wilson Leah Stephenson Dr Tom & Ollie Clark AM Liz Ampt Sharron Stubbs & Joan Clark

Principal Contra Principal Piccolo Bassoon Principal Timpani Julia Grenfell Jackie Newcomb Vacant Chris & Norman Etherington Drs Kristine Gebbie Julie Michelmore AM & Peggy Brock & Lester Wight

Principal Percussion Principal Horn Steven Peterka Principal Oboe Adrian Uren The Friends of Vacant Roderick Shire & the ASO in memory Matthew Norton Judy Hargrave of Bev McMahon

Associate Principal Oboe Associate Renae Stavely Principal Horn Sarah Barrett Roderick Shire & Judy Hargrave Margaret Lehmann

Horn Principal Emma Gregan Associate Principal Cello Cor Anglais The Richard Wagner Ewen Bramble Peter Duggan Society of South Dr Ben Robinson Australia Inc. Could this be you? 31 ASO Annual Giving The Annual Giving program supports the Adelaide Symphony Orchestra’s main activities and helps keep us on the stage. Thank you to all of our generous donors.

Diamond Patron ($25,000+) Silver Patron ($2,500 - $4,999) The Friends of the Adelaide Symphony Orchestra Liz Ampt FWH Foundation The Baska Family Lang Foundation Vincent & Sandra Ciccarello Peter & Pamela McKee Joan & Ollie Clark AM Diana McLaurin Patricia Cohen Roger & Helen Salkeld Dr Aileen Connon AM Mary Louise Simpson Ruth Creedy Dr Sing Ping Ting Dr M Crotty Anonymous (2) Jan & Peter Davis Legh & Helen Davis Margaret Davis Platinum Patron ($10,000 - $24,999) Mary Dawes BEM R & M Champion De Crespigny Foundation Bruce & Pam Debelle Graeme & Susan Bethune Norman Etherington AM & Peggy Brock Boileau Family Trust Andrew & Barbara Fergusson Coopers Brewery Ltd Drs Kristine Gebbie & Lester Wright Rodney Crewther & Galina Podgoretsky In memory of Keith & Susie Langley Bruce Debelle AO, QC David Leon Colin Dunsford AM & Lib Dunsford David & Ann Matison Anthea Heal Johanna & Terry McGuirk Robert Kenrick Chris & Julie Michelmore Joan Lyons K & K Palmer Pauline Menz Christine Perriam Robert Pontifex AM John & Jenny Pike Andrew & Gayle Robertson John & Emmanuelle Pratt Pamela Yule Dr J B Robinson Anonymous Nigel Stevenson & Glenn Ball Dr Nora Straznicky Gold Patron ($5,000 - $9,999) Dr Tom & Sharron Stubbs Bob Croser The Richard Wagner Society of South Australia Inc Ian Kowalick AM & Helen Kowalick David & Linnett Turner Margaret Lehmann Merry Wickes Hugh & Fiona MacLachlan Dr Betsy Williams David & Pam McKee Dr Richard Willing Perpetual Foundation – The Henry and Patricia Dean Jane Wilson Endowment Fund Hon David Wotton AM & Jill Wotton Linda Sampson Anonymous (2) Norman Schueler OAM & Carol Schueler Roderick Shire & Judy Hargrave Nick Warden Anonymous (3)

Correct as at 30 May 2019 32 Maestro Patron Garry Roberts & Lynn Pamela Fiala, in memory Frank & Judy Sanders ($1,000 - $2,499) Charlesworth of Jiri Robin Sanderson Neil Arnold David Robinson Otto Fuchs David Scown A. Prof Margaret Arstall Richard Ryan AO & Trish Dr Peter Goldsworthy AM Gwennyth Shaughnessy Rob Baillie Ryan & Lisa Temple Tony & Cathy Smith Peggy Barker Philip Satchell AM & Sally Gordon & Gary Jim & Anne Spiker Cecily Satchell Smith Judy Bayly W & H Stacy Warren & Margaret Byron Gregory Prof Andrew & Prof Katherine Stanley-Murray Scharer Dieter & Eva Groening Elizabeth Bersten Anne Sutcliffe Larry & Maria Scott Eleanor Handreck The Hon D J & E M Bleby Geoffrey Syme Professor Ivan Shearer Liz Bowen Dr Tony Hobby AM Verna Symons Gillian Brocklesby D G W Howard Beth & John Shepherd John & Annette Terpelle Kathleen & Richard Carter Don Howell Dorothy Short Lynn & Christine In memory of Emeritus Diana Jaquillard Trenorden Nigel Steele Scott Professor Brian Coghlan Gregory & Lynette Jaunay Leonard Turner Christopher Stone Josephine Cooper Rosemary Keane Dr Robert Waltham Stephanie Thomson Graham Crooks Bellena Kennedy Robert Warner Guila Tiver Tony & Rachel Davidson Professor Graeme Koehne G C & R Weir Anne Tonkin AO & Melinda Parent Von Davis Janet Worth Jenny & Mark Tummel Pat Lescius & Michael Anne Eleanor Dow Dawn Yeatman James W Vale McClaren Deborah Down Anonymous (17) Ann Wells Mark Lloyd & Libby Dr Alan Down & The Hon Raupach Catherine Branson AC Dr Richard Willis AM QC Anonymous (9) Susan Lonie Tutti Patron Sheryn Foord John H Love ($250 - $499) Donald Scott George Margaret Lyall 117 Donors. A complete Soloist Patron Don Manifold Kate Gould list of these donors can Melvyn Madigan RJ, LL & SJ Greenslade ($500 - $999) be found at aso.com.au/ Peter R Griffiths Rick Allert AO Ruth Marshall and Tim aso-donors Muecke Donald Growden Charles & Catherine Lee Mason Penelope Hackett-Jones Bagot Peter McBride In memory of Geoffrey Barbara Bahlin Donor Jacqueline McEvoy Hackett-Jones Liz Baines ($2 - $249) Janet & Ian McLachlan Daniel & Sue Hains John Baker The ASO would like to Michael & Janet Hayes Lesley Baker Joanna McLachlan thank the 659 donors who Robert Hecker R & SE Bartz Rory & Sally Mooney gave other amounts. Margo Hill-Smith Ruth Bloch Dr Craig Mudge AO & Clayton & Susan Hunt Dianne & Felix Bochner Maureen Mudge Alexandra Jarvis Stephen Bone Dora Avella-O'Brien Elizabeth Keam AM Dr James & M Brooks Dr Kenneth O'Brien Dr Ian Klepper Elizabeth & Max Bull Christine L Odgers Hon Diana Laidlaw AM Rob & Denise Buttrose Dr Oseka Onuma & Sonja Latzel Brett Dixon John & Flavia Caporn Captain R. S. Pearson, Dr Scott C Y Ma R Corney CSC & Jan Pearson Frank Markus Stephen Courtenay Martin Penhale Bob Maynard Suzette Crees Donald G Pitt Melissa Bochner Michael Critchley Josephine M Prosser Skye McGregor John Daenke & Janet Mark Rinne Dr Neil & Fay McIntosh Hawkes Drs I C & K F Roberts- Drs Ruth & David Davey David Minns Thomson Mark de Raad & Adrian Kerrell & David Morris Teresa Robinson Bennett Matthew Norton Trevor & Tanya Rogers Jocelyn Parsons Duncan Hugh Dean & Judith Peta Fradd David & Anne Rohrsheim Tom F Pearce Fr John Devenport Lee Ross-Solomon Ann Piper Kay Dowling Jill Russell David & Janet Rice Correct as at 30 May 2019 Jane Doyle Arnold D Saint AM 33 THANK YOU TO OUR PARTNERS

GOVERNMENT PARTNERS

The ASO receives Commonwealth funding through the Australia Council; its arts funding and advisory body

PLATINUM PARTNER

MAJOR PARTNERS

PHILANTHROPIC PARTNERS & PAFS

FWH Foundation Dr Sing Ping Ting

WORLD ARTIST PARTNERS

CORPORATE PARTNERS

MEDIA PARTNERS COMMUNITY PARTNER

CORPORATE CLUB

Haigh’s Chocolates Hickinbotham Group Isentia Normetals SEA Gas Size Music

INDUSTRY COLLABORATORS

Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 Fax (08) 8233 6222 | Email [email protected] | aso.com.au

34 Sweet symphony! The Advertiser is a proud supporter of the arts in South Australia. Bringing you closer to the Adelaide Symphony Orchestra than ever before!

MASTER SERIES 4 Winter Fire

Pinchas Zukerman Director/Violin June Amanda Forsyth Cello Benjamin Northey Conductor Thu 27, 11.30am Elgar Chanson de matin Fri 28, 8pm Elgar Chanson de nuit Sat 29, 6.30pm Avner Dorman Double Concerto* Tchaikovsky Symphony No.5 Adelaide Town Hall Presenting Partner *World Premiere PRESENTING PARTNER