ADELAIDE SYMPHONY ORCHESTRA SEASON 2019

MASTER SERIES 10 Magical Tchaikovsky

November Fri 29, 8pm Sat 30, 6.30pm Adelaide Town Hall Beehive Corner ● Adelaide Arcade ● Central Market Arcade

Visitor Centre, Parkside ● Burnside Village ● Glenelg ● Golden Grove

Or shop online at haighschocolates.com MASTER SERIES 10 Magical Tchaikovsky

November Mark Wigglesworth Conductor Fri 29, 8pm Sat 30, 6.30pm Adelaide Town Hall

Wagner Die Feen: Overture

Mozart Sinfonia concertante in E flat, K297b Allegro Adagio Andantino con variazioni

Celia Craig Oboe Dean Newcomb Clarinet Adrian Uren French Horn Mark Gaydon Bassoon

Interval

Tchaikovsky The Nutcracker Act II

Duration Broadcast This concert runs for approximately 2 hours This concert will recorded for delayed broadcast including a 20 minute interval. on ABC Classic. You can hear it again at 12pm on 8 December.

Classical Conversation These free events take place one hour prior to the concerts in the Meeting Hall located just behind the Adelaide Town Hall. Join Principal Guest Conductor Mark Wigglesworth, and ASO’s Director of Artistic Planning Simon Lord, as they examine fantasy and fairy tales in works by Wagner, Mozart, and Tchaikovsky.

Book Sales Mark Wigglesworth’s book, The Silent Musician: Why Conducting Matters, will be for sale in Beehive Corner ● Adelaide Arcade ● Central Market Arcade the Adelaide Town Hall. Mark will be available for signing during interval. Visitor Centre, Parkside ● Burnside Village ● Glenelg ● Golden Grove

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

Good evening and welcome to our final We shift into Christmas mode the Master Series program for 2019. Yet following week when Guy Noble presents another year’s flown by and I hope Classics Unwrapped 4, ‘Tis the Season you’ve enjoyed the music we’ve (6.30pm, Wednesday 11 December). presented for you. And we cap off the year with not For me, there are far too many highlights one but two sing-a-longs: Christmas to list, but I confess to having been Favourites with your ASO, conducted extremely moved by our performance of by Graham Abbott, which features the Bach’s St. John Passion. It will stay with delightful Desiree Frahn, who’ll lead the me for a long time. carols! (Elder Hall, 7.30pm, Thursday 12 December; and 11am, Friday 13 We have much more great music on December). offer next year. I’m pleased to report that subscriptions to our 2020 season are very For full details and to book, please visit strong – indeed, we are on track to sell our website. more tickets to more subscribers for 2020 I’d like to thank you for your support than for any of the previous five years. during 2019. Your love of music, your love Single tickets go on sale on Monday 2 of our music is palpable at every concert; December and so, if you haven’t already but your love of the ASO is spread far done so, this weekend remains your last and wide, through your enthusiasm and chance to secure the best available seats advocacy. by subscribing to three or more concerts. I wish you and your loved ones a safe, But this year is not quite over, and we happy and peaceful Christmas, and look still have a wonderful variety of concerts forward to seeing you for more great over the next two weeks; they are a lovely music-making in 2020. way to usher in the festive season, and possible gift ideas, too! Our fourth and final Mozart at Elder concert (11.30am, Wednesday 4 December) features Natsuko Yoshimoto directing the orchestra and as soloist in Mozart’s Adagio for violin and orchestra. And for something entirely different, in that same week (at 6pm on Saturday 7 December) we present Disney’s The Little Mermaid in Concert Live to Film in the Adelaide Entertainment Centre – perfect for the young and the young at heart!

4 Mark Wigglesworth Principal Guest Conductor

Internationally renowned and Olivier Philadelphia Orchestra, Chicago Award-winning conductor Mark Symphony, Los Angeles Philharmonic, Wigglesworth is one of the outstanding Cleveland Orchestra, Tokyo Symphony, musicians of his generation, as much and the Sydney Symphony. His recordings at home in the opera house as the include a critically acclaimed complete concert hall. Recognised for his cycle of the Shostakovich symphonies masterly interpretations, his highly with the BBC National Orchestra of Wales detailed performances combine a finely and the Netherlands Radio Philharmonic, considered architectural structure with Mahler’s Sixth and Tenth symphonies, great sophistication and rare beauty. with the Melbourne Symphony, a disc of Through a broad repertoire ranging from English music with the Sydney Symphony, Mozart to Boulez, he has forged enduring Britten’s Peter Grimes with Glyndebourne, relationships with many orchestras and and the Brahms Piano Concertos with opera houses throughout the world. Stephen Hough. Mark has enjoyed a long relationship with He has written articles for The Guardian English National Opera (Lady Macbeth and The Independent, made a six-part TV of Mtsensk, Cosi fan Tutti, Falstaff, Katya series for the BBC entitled Everything to Kabanova, Parsifal, The Force of Destiny, Play For, and held positions as Associate The Magic Flute, Jenufa, Don Giovanni Conductor of the BBC Symphony, Principal and Lulu), and operatic engagements Guest Conductor of the Swedish Radio elsewhere include The Royal Opera Symphony, Music Director of the BBC House, Covent Garden (Die Meistersinger National Orchestra of Wales, and most von Nürnberg, The Rise and Fall of the recently Music Director of English National City of Mahagonny), The Metropolitan Opera. He is currently Principal Guest Opera, New York (The Marriage of Figaro) Conductor of the Adelaide Symphony as well as at The Bavarian State Opera, Orchestra. His book, The Silent Musician, Semperoper Dresden, Teatro Real, The was published by Faber & Faber at the Netherlands Opera, La Monnaie, Welsh end of 2018. National Opera, Glyndebourne, and Opera Australia. In 2017 he received the Oliver Award for Outstanding Achievement in Opera. On the concert platform, highlights include performances with the Berlin Philharmonic, Royal Concertgebouw, London Symphony, London Philharmonic, Boston Symphony, New York Philharmonic,

5 Celia Craig Dean Newcomb Oboe Clarinet

Dedicatee of Master of The Queens Dean Newcomb is currently the Music, Judith Weir CBE’s first Oboe Principal Clarinettist with the Adelaide Concerto, Celia Craig has performed Symphony Orchestra, a position he for the Royal Family, recorded has held since 2008. and toured extensively, working Dean has performed as guest Principal with Bernstein, Boulez, Haitink, Clarinet with various orchestras in Ashkenazy, Rattle, Gergiev and Australia and overseas, including the the London Symphony Orchestra, Australia World Orchestra, Australian among others. Chamber Orchestra, Sydney Symphony Principal Oboe of the Adelaide Orchestra, Queensland Symphony Symphony Orchestra until 2018 and Orchestra, Auckland Philharmonia an appointed Associate of the Royal and was offered the Principal Clarinet Academy of Music, Celia runs her position with The Macau Orchestra own multimedia recording company before deciding to settle in Adelaide. ARTARIA, whose Direct Stream Digital His solo concerto performances have debut recording has been awarded been met with critical acclaim, with a five-star rating by The Weekend reviewers praising his “musical gifts, Australian, several Album of The technical finesse and outstanding Week Awards, national television ability” (The Advertiser). airplay and screenings in Palace Dean regularly performs as a recital Nova Cinema. and chamber musician with Australia’s Celia was recently appointed Music leading ensembles including the Curator for the National Trust of Australian String Quartet, the Australia South Australia; for the Trust, she Ensemble, Southern Cross Soloists, curates concerts in unique heritage the Hamer String Quartet for the properties and runs her own opening of the Melbourne Recital ‘Signature’ Concert Series in The Centre and the world premiere State Dining Room, Ayers House. of Arthur Benjamin’s century-old Clarinet Quintet with the Goldner Celia is a Faculty Resident Artist at String Quartet. His active involvement the annual TALIS Festival in Sarajevo, in music education includes giving and also coaches oboes in Sao masterclasses, lecturing and tutoring Paolo for the largest youth music at the Elder Conservatorium of Music, event in South America: Campos de tutoring for the Australian Youth Jordao Winter Festival. Orchestra’s orchestral and chamber music seasons and adjudicating at the Lisbon International Clarinet Competition in Portugal. Dean Newcomb is a D’Addario Woodwinds artist. 6 Adrian Uren Mark Gaydon French Horn Bassoon

Adrian was born in 1984 in Worcester, Mark has been Principal Bassoonist UK and lived all his childhood in with the Adelaide Symphony Orchestra Malvern. He read Biological Sciences since 2003. He has appeared as soloist at Oxford University, where he also performing works by Mozart, Weber, gained valuable orchestral experience Zwilich, Strauss and others. He has as Principal Horn of the OU Orchestra. also appeared as guest principal Afterwards he won a scholarship for bassoon with the Sydney, Queensland, postgraduate French Horn study at the Tasmanian and New Zealand Guildhall School of Music and Drama, symphony orchestras. where he studied with Hugh Seenan, As a chamber musician he has Richard Bissill and Jeff Bryant. He then performed with Elision Ensemble, built up a successful freelance career the Southern Cross Soloists, the New in London and around the UK, and has London Chamber Ensemble, the played as Guest Principal Horn with Tancibudek Wind Quintet and his own most of the UK’s orchestras. His playing group Ensemble Le Monde. has taken him all over the world, with highlights including tours with the An avid teacher, Mark has been London Philharmonic Orchestra to Associate Instructor at the Indiana China, the Canary Islands, Germany, University School of Music, a guest USA and Australia. He took part in a artist at the Australian National Mahler cycle with the Philharmonia Academy of Music (ANAM), bassoon Orchestra, culminating in a tour tutor for the Australian Youth around the major cities in the Far East. Orchestra, AYO National Music Camp and Young Symphonists programs, His solo repertoire ranges from the and Bassoon Instructor at the Elder works of Haydn and Mozart to those Conservatorium since 2005. of leading contemporary composers and he has made recital and concerto Mark has a PhD in music from the appearances in prestigious venues University of Adelaide and was throughout the UK. Since moving to awarded a Dean of Graduate Studies Adelaide for his appointment in 2015 Special Commendation for Thesis as Principal Horn of the Adelaide Excellence. In 2005 he won the ABC Symphony Orchestra, he has been Young Performer of the Year wind, invited to play Guest Principal with the brass and percussion section. Mark Tasmanian Symphony Orchestra and is a keen supporter of Australian has performed with the New Zealand composers and has commissioned Symphony Orchestra. and premiered works for the bassoon by Gerard Brophy, Andrew Schultz, Katy Abbott, James Cuddeford, Luke Altmann and Charles Bodman Rae. Mark’s teachers include Kim Walker and Stephane Levesque. 7 ADELAIDE SYMPHONY ORCHESTRA

Principal Guest Artist in Association Conductor Pinchas Zukerman Mark Wigglesworth

VIOLINS CELLOS BASSOONS Natsuko Yoshimoto** Simon Cobcroft** Mark Gaydon** (Concertmaster) Ewen Bramble~ Jackie Newcomb Cameron Hill** Sarah Denbigh (Associate Concertmaster) Christopher Handley HORNS Shirin Lim* (Principal Sherrilyn Handley Sarah Barrett** (Acting 1st Violin) Gemma Phillips Principal) Lachlan Bramble** David Sharp Sebastian Dunn (Acting Principal 2nd Cameron Waters Emma Gregan Violin) Philip Paine* Emma Perkins ~(Acting Associate Principal 2nd DOUBLE BASSES Violin) David Schilling** TRUMPETS Janet Anderson Jonathon Coco~ Martin Phillipson** (Acting Principal) Ann Axelby Jacky Chang Gregory Frick Helen Ayres Harley Gray Gillian Braithwaite Belinda Kendall-Smith TROMBONES Julia Brittain David Phillips Colin Prichard** Hilary Bruer Ian Denbigh Elizabeth Collins FLUTES Jane Collins Geoffrey Collins** BASS TROMBONE Judith Coombe Lisa Gill Howard Parkinson* Belinda Gehlert Alison Heike PICCOLO TUBA Danielle Jaquillard Julia Grenfell** Peter Whish-Wilson* Alexis Milton Lisa Gill Jennifer Newman TIMPANI Julie Newman OBOES Andrew Penrose* Alexander Permezel Rachel Bullen** (Guest (Guest Principal) Marie-Louise Slater Principal) Kemeri Spurr Renae Stavely~ PERCUSSION In tonight’s program, Adelaide Symphony Steven Peterka** COR ANGLAIS Orchestra Concertmaster VIOLAS Gregory Rush Natsuko Yoshimoto will Caleb Wright** Celia Craig* (Guest be playing ‘The Adelaide’ Principal) violin. Crafted in Milan in Heidi von CELESTE 1753-7 by Giovanni Batista Bernewitz~(Acting Guadagnini. Natsuko is the Associate) CLARINETS Katrina Reynolds* current custodian of ‘The (Guest Principal) Adelaide’ which is held in Martin Butler Dean Newcomb** trust by UKARIA. Lesley Cockram Darren Skelton HARP Linda Garrett Suzanne Handel* Flowers supplied by Anna Hansen BASS CLARINET Verna Lee Rosi McGowran Mitchell Berick* Carolyn Mooz ** denotes Section Principal Michael Robertson ~ denotes Associate Principal * denotes Principal Player Cecily Satchell 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 and Venue Coordinator Elizabeth Davis William Jarman Production and Venue Coordinator Laurel Dixon Byron Gregory FRIENDS OF THE ASO EXECUTIVE COMMITTEE David Leon John Terpelle President Karen Limb Michael Critchley Past President Andrew Robertson Hon. David Wotton AM Vice President Mrs Ruth Ormrod Vice President EXECUTIVE Judy Birze Treasurer / Public Officer Vincent Ciccarello Managing Director Alison Campbell Membership Secretary Annemarie Kohn Senior Manager, Development Ruth Bloch Secretary Sarah Bleby Director, Commercial and Special Programs Simon Lord Director, Artistic Planning Shivani Marx Director, People and Culture Shelley Woodward Senior Accountant Shecky Kennedy Executive Assistant

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

DEVELOPMENT Hannah Hillson Development and Events Coordinator

FINANCE, PEOPLE & CULTURE Sophia Cichowski Accountant Karin Juhl Accounts Coordinator Sarah McBride Payroll and People Coordinator

MARKETING Renato Capoccia Marketing Manager Tom Bastians Customer Service Manager Cheree McEwin Publicist Ashleigh McManus Marketing Coordinator Georgie Phillips Marketing Assistant Emma Wight Administrative Assistant/Receptionist Leigh Mack Subscriptions and Ticketing Coordinator

9 Richard Wagner (1813–1883)

Die Feen, Overture

Despite interest from the opera company in The Overture is in The Magic Flute’s key of E Wagner’s home town of Leipzig, his first opera flat, and while its style adumbrates that of the was never staged during his lifetime. Wagner, mature Wagner, it owes a debt to the music of course, blamed this on the ‘successes of of Weber and Heinrich Marschner, whose French and Italian musicians’ taking the jobs operas reflected the Romantic obsession of hardworking Germans like himself; it took with the supernatural. It foreshadows the until 1888 for the piece to be premiered, in drama with certain themes from the opera. Munich. A brooding slow section, characterised by a series of chords showing Wagner’s harmonic Wagner composed the work to his own flexibility, gives way to a delicate woodwind libretto during 1833 while spending a year march with fanfares. This alternates with with his professional singer brother Albert in more tensely brooding passages, with Würzburg, where the 20-ish composer worked solos from bassoon, clarinet and oboe, occasionally as chorus master with the opera. before building inexorably (and prefiguring Despite being a fairy tale opera ‘in the Tannhäuser along the way) towards a German style’ with ‘Beethoven and Weber… substantive allegro. This sets the scene with my models’, the story of Die Feen (The surging powerful rhetoric that occasionally Fairies) is borrowed from 18th-century Italian recalls the ‘heroic’ Beethoven, quieter music playwright Carlo Gozzi, whom we have also (again featuring lyrical woodwind solos), to thank for Turandot and The Love of Three baleful horn calls and a massive climax. Oranges. Incidentally, Wagner himself went There is then a passage of Arcadian the full Italian in his Bellini-esque second tunefulness before the energy ramps up for opera, Das Liebesverbot. a spirited coda. Wagner’s version, which foreshadows aspects of Lohengrin, has the king of Tramond, © Gordon Kerry 2019 Arindal, fall in love with Ada, who is half-fairy and half-human. She accepts his proposal, but only on the condition that he never ask her name, which, of course he does, so she is transported back to the spirit world. In order to rejoin Arindal, Ada must force him to This is the first performance of undergo Magic Flute-like trials which he fails, Die Feen by Adelaide Symphony so she is turned in to a rock, which he rescues Orchestra. from the underworld, Orphically, by playing his lute. He is rewarded by being made immortal and given the kingdom of fairyland Duration: 10 minutes to rule with Ada.

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Sinfonia concertante in E flat, K297b a letter of 3 October 1778, Mozart said he intended to reconstruct his sinfonia Allegro concertante from memory (Legros must Adagio have retained the original manuscript). He never did, presumably because the Andantino con variazioni circumstances of having four such wind Mozart’s musical maturity coincided players never presented themselves with the first great flowering of the again. The autograph has disappeared, wind instruments as soloists, and if it ever existed. this ‘symphony with wind soloists’ Some time between 1867 and 1869, is uncommonly revealing about its Mozart’s biographer, Otto Jahn, came composer and the musical conditions into possession of a sinfonia concertante of his time. While he was in Mannheim, he believed to be by Mozart, which he Mozart made friends with the outstanding had copied. (The source from which he wind players of the court orchestra, the copied it has also disappeared.) This most celebrated in Europe. For Friedrich piece has four wind soloists, but with Ramm, widely regarded as the leading clarinet instead of the flute mentioned by oboist of the day, he later composed a Mozart. Enthusiasts were quick to assume quartet for oboe and strings. Groaning that this was the sinfonia concertante about having to compose flute music to Mozart wrote for Paris, but doubts have order for a Dutch amateur, he praised remained. The clarinet writing is idiomatic, by contrast the playing of Johann Baptist suggesting that it could be Mozart’s work, Wendling. Ramm, Wendling and the but there is no evidence that he ever Mannheim bassoonist Georg Wenzel Ritter rearranged the piece. Many have thought were with Mozart in Paris later in the year, it odd, also, that all three movements of along with the greatest horn virtuoso of this sinfonia concertante are in the tonic the time, Giovanni Punto. key of E flat – something Mozart rarely On 5 April 1778, Mozart wrote from Paris did – though it could be explained in this to his father: ‘I am now about to compose case by the fact that an E flat crook is a sinfonia concertante for flute, Wendling; very appropriate for solo horn playing. oboe, Ramm; horn, Punto; and bassoon, Is this, then, the Sinfonia concertante Ritter.’ This kind of music was all the rage Mozart is supposed to have written? In in Paris – between 1775 and 1780 sixty the authoritative Mozart Compendium of sinfonias concertantes were performed 1990, K297b is relegated to the category there. The work Mozart mentions to his of doubtful or spurious works. father was intended for the Concert That’s what musicologists tell us. But what Spirituel series and commissioned by of the music itself? ‘All four instruments its director, Joseph Legros; however, for are treated idiomatically and entirely in some reason, it was never performed. In 12 Mozartean style,’ wrote Friedrich Blume, In the slow movement the four soloists who thought that some anonymous dominate, handing each other the person in the 1860s made a copy from a thread of sustained songfulness. The text written out in Mozart’s lifetime or a last movement is a set of ten variations, little later, a text offering the version with connected by a varied tutti treatment clarinet. But doubts remain, and statistical of the second half of the theme. Oboe, and structural analysis of the solo parts clarinet and bassoon each have variations and the orchestral material has recently in which to shine. established to most people’s satisfaction This Sinfonia concertante for winds is, at that the solo parts have undergone best, the nearest we can get to a work extensive changes, while the orchestral in the genre by Mozart, and its survival music of the Sinfonia concertante may in the repertoire is due to more than its not have been written by Mozart at all. attribution to him. The music pleases In any case, revival of wind concertante both connoisseurs and mere music lovers pieces by other composers who fed the – further evidence, if you like, that it could craze has hardly dislodged from the be Mozart’s. repertoire ‘Mozart’s Sinfonia concertante for winds’, whatever its problems. Musicologist Alfred Einstein describes this Abridged from a note by David Garrett © work as ‘planned entirely for brilliance, 1998 breadth and expansiveness’, concerned with exhibiting the abilities of the four wind players. The concertante style was largely a manifestation of the galant in music, a lighter, less learned style than either the Baroque which preceded it or the Classical which followed. As Einstein explains, this work is neither a symphony in which four wind instruments have prominent parts, nor a concerto for four wind instruments with orchestra. It is between the two. Recent research makes this judgment all the more plausible, if we accept that someone in the 19th century reconstructed Mozart’s piece from partial surviving materials, imitating the style of the sinfonia concertante in general, rather than Mozart’s particular way of treating it. The previous performance of this A long orchestral exposition sets the work by the Adelaide Symphony scene with a strong motif, a kind of Orchestra took place on 9 February ritornello, which will later be stated in 1996 under the direction of Max unison by the four soloists. These are McBride. The soloists were Alison Stewart-Klein (Oboe), Darren treated alternately in block, one after Skelton (Clarinet), Andrew Barnes another, three accompanying one, and (Bassoon), and Philip Hall (Horn). in pairs and trios. There is a fully written- out cadenza (probably composed after Mozart’s death, as part of the ‘reconstruction’). Duration: 32 minutes

13 Peter Ilyich Tchaikovsky (1840–1893)

The Nutcracker: Act II – Kingdom of Sweets ballet music that was truly symphonic. Scene: The Magic Castle on the Mountain of Tchaikovsky regarded ballet very seriously Sweets and his three ballet scores – Swan Lake, Sleeping Beauty, and his last, The Nutcracker Scene: Clara and the Nutcracker Prince – are as popular as concert suites as they are Character Dances (Divertissement): on the stage. Unusually, it was as a concert Chocoolate (Spanish Dance) suite that some of the Nutcracker music Coffee (Arabian Dance) was first presented to the public in 1892 – in Tea (Chinese Dance) effect a 19th-century ‘trailer’ for the ballet in Trépak (Russian Dance) preparation. Tonight’s performance of all the Dance of the Mirlitons music from Act II gives you the opportunity to Mother Gigogne and the Clowns enjoy some of the favourites from the suite along with rare treats not often heard outside Waltz of the Flowers the theatre. Pas de deux: The Nutcracker is loosely based on a ‘fairy Intrada tale’ for grown ups by E.T.A. Hoffmann. In its Variation I (Tarantella) translation to dance, the tale lost some of Variation II (Dance of the Sugar-Plum Fairy) its darkly mysterious qualities and nowadays Coda the ballet is entrenched as a Christmas entertainment for children of all ages. The Final Waltz and Apotheosis ballet itself is a lopsided affair – the first act Truly great ballet music loses nothing when carries virtually all the action of the Christmas transferred to the concert hall. Indeed, some Eve party and Clara’s dream (in which the of the most famous ballets in the repertoire Nutcracker Prince does battle with oversized owe their enduring popularity to the rats and mice), while the second is a pure magnificent music that has been composed confection of no significance to the plot. for them: Swan Lake, Sleeping Beauty, and Tchaikovsky himself felt unhappy with the Prokofiev’sRomeo and Juliet are just a few. libretto and of all his ballets it is the one that But we shouldn’t take great ballet music for has responded best to new interpretations of granted. After a golden era during the French its themes. Among the most interesting have baroque period ballet music slumped in been Derek Deane’s ‘licorice allsorts’ version reputation and quality. It took a 19th-century for the English National Ballet, and Graeme Frenchman, Léo Delibes, to lift ballet from Murphy’s inspired interpretation for the its musical doldrums with Sylvia and the Australian Ballet, the tender and dramatic more famous Coppélia, and it was a Russian reverie of a former Russian ballerina with a Francophile who followed his lead and Hills hoist in her backyard. became one of the first composers to write

14 But whether the production is traditional Two grand waltzes take pride of place in or revisionist, Tchaikovsky’s music shines. the Kingdom of Sweets. In its traditional He skilfully evokes a world of childlike choreography the Waltz of Flowers fills the wonder and shimmering fantasy, and it is stage with a cast of thousands, including in Act II, in the Kingdom of Sweets, that his children carrying garlands. The closing waltz genius for national colour and jewel-like is more courtly but no less exhilarating, as divertissements emerges. it carries us into the grand finale. Here the same charming music that beckoned us into Act II owes something to the tradition of the Kingdom of Sweets bids us goodbye and court galas instituted by Louis XIV. A flimsy returns Clara to her real-world slumber. scenario is sufficient pretext for glorious music – the Sugar Plum Fairy, Queen of the But Tchaikovsky’s real coup is in the Pas de Kingdom, celebrates the bravery of 12-year- deux for the Prince and the Sugar Plum Fairy old Clara and her Nutcracker Prince with a – opulent, ‘colossal in effect’, and perhaps festival in the Magic Castle. the finest music in the whole ballet. The castle works its magic by lulling us into Incidentally, while in Paris the composer a richly swirling theme with flourishing flutes was seduced by the ‘glistering tones’ of and rippling passages from the harp and a new instrument ‘something between a celeste, the signature colour of the Fairy small piano and a glockenspiel’. Determined herself. The Prince then tells of the battle to surprise Russian audiences (and his with the Mouse King, providing Tchaikovsky composer colleagues!) he had one shipped with the opportunity for a nice symphonic secretly to St Petersburg. The bell-like sound gesture, a recapitulation of themes from of the celeste worked its magic in the Dance Act I. All pretence of storytelling over, the of the Sugar Plum Fairy – a distillation of the party begins with a sequence of characterful delicate effects, exotic colour and lyricism divertissements. that make The Nutcracker so irresistible. Here Tchaikovsky’s choreographer, Marius Petipa, had a vision of the confections of Abridged from a note by Yvonne Frindle the day, each associated with a different ©2000 country. Chocolate is given a Spanish dance with a brilliant solo for the trumpet. The coffee is evidently Arabian, although its convincingly Oriental music with droning accompaniment is actually based on a Georgian lullaby. Chinese tea makes a fleeting appearance, a jogging number with jingling bells and an acrobatic flute. The Trépak, a Russian Dance, begins ‘molto The Adelaide Symphony Orchestra vivace’ (very lively) and accelerates from first performed the Suite from there. Following its rumbustious finish, The Nutcracker in July 1941 under the music immediately assumes a deft conductor Bernard Heinze. The and dainty character for the Dance of the Mirlitons. (The mirliton is a reed pipe, or, Orchestra most recently performed more familiarly, a kazoo.) Mother Gigogne is excerpts in February 2018 under better known to English speakers as the Old Jason Lai. Woman Who Lived in a Shoe, and her French fairytale origins inspired the use of sprightly French nursery tunes. Duration: 45 minutes

15 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 acknowledge 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 20. 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 Corporate Partnerships support live orchestral music in South Annemarie Kohn Australia. We offer unique corporate Senior Manager, Development networking opportunities, brand awareness, 8233 6231 | [email protected] community engagement and education programs, as well as employee and client Corporate Partnerships rewards. Please contact us to find out more Hannah Hillson about the levels and benefits of becoming Development and Events Coordinator a Corporate Sponsor. 8233 6235 | [email protected]

16 Philanthropic Partners

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

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

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

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

17 Musical Chairs

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

Principal 1st Violin Violin Principal Cello Shirin Lim Julia Brittain Simon Cobcroft Bob Croser An anonymous donor An anonymous donor

Associate Principal Principal 2nd Violin Cello Michael Milton Violin Ewen Bramble The Friends of the Hilary Bruer John Turnidge AO ASO in memory of John & Jenny & Patricia Rayner Ann Belmont OAM Pike

Associate Principal 2nd Violin Violin Lachlan Bramble Judith Coombe Cello Sarah Denbigh In memory of In memory of Deborah Pontifex Don Creedy An anonymous donor

Violin Cello Janet Anderson Violin Chris Handley In memory of Danielle Jaquillard Bruce & Pam Gweneth Willing K & K Palmer Debelle

Cello Violin Violin Sherrilyn Handley Ann Axelby Emma Perkins Johanna & David & Peter & Terry McGuirk Linnett Turner Pamela McKee

Principal Viola Cello Violin Caleb Wright Gemma Phillips Minas Berberyan In memory of An anonymous Merry Wickes Mrs JJ Holden donor

Viola Cello Violin Martin Butler David Sharp Gillian Braithwaite John & Dr Aileen F Mary Dawes BEM Emmanuelle Pratt Connon AM Cello Principal Clarinet Cameron Waters Dean Newcomb Principal Trumpet Peter & Hon David Wotton Owen Morris Pamela McKee AM & Jill Wotton David Leon

Clarinet Principal Trombone Bass Darren Skelton Colin Prichard Harley Gray In memory of Keith Bob Croser Andrew & & Susie Langley Barbara Fergusson Bass Belinda Kendall- Principal Smith Bass Clarinet In memory of Mitchell Berick Trombone Drs Nandor Ballai & Nigel Stevenson & Ian Denbigh Georgette Straznicky Glenn Ball An anonymous donor

Bass Principal David Phillips Bass Trombone Principal Bassoon Howard Parkinson “a great bassist who Mark Gaydon plays with enthusiasm Ian Kowalick AM and skill - love Betsy” Pamela Yule & Helen Kowalick

Principal Tuba Bassoon Peter Whish-Wilson Principal Flute Leah Stephenson Geoffrey Collins Ollie Clark AM Liz Ampt Pauline Menz & Joan Clark

Principal Contra Flute Bassoon Principal Timpani Lisa Gill Jackie Newcomb Vacant Dr Tom & Norman Etherington Drs Kristine Gebbie Sharron Stubbs AM & Peggy Brock & Lester Wight

Principal Percussion Principal Piccolo Principal Horn Steven Peterka Julia Grenfell Adrian Uren The Friends of Chris & Roderick Shire & the ASO in memory Julie Michelmore 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 Princpal Trumpet Cor Anglais The Richard Wagner Martin Phillipson Peter Duggan Society of South Dr Ben Robinson Australia Inc. Could this be you? 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 Dr Aileen Connon AM Roger & Helen Salkeld Ruth Creedy In memory of Frida Sapgir Jan & Peter Davis Mary Louise Simpson Legh & Helen Davis Dr Sing Ping Ting Margaret Davis Anonymous (2) Mary Dawes BEM Bruce & Pam Debelle Platinum Patron ($10,000 - $24,999) Norman Etherington AM & Peggy Brock R & M Champion De Crespigny Foundation Andrew & Barbara Fergusson Graeme & Susan Bethune Drs Kristine Gebbie & Lester Wright Boileau Family Trust In memory of Keith & Susie Langley Colin Dunsford AM & Lib Dunsford David Leon Anthea Heal David & Ann Matison Robert Kenrick Johanna & Terry McGuirk Joan Lyons Chris & Julie Michelmore Pauline Menz David Minns Robert Pontifex AM K & K Palmer Andrew & Gayle Robertson Christine Perriam Pamela Yule John & Jenny Pike Anonymous (1) John & Emmanuelle Pratt Dr J B Robinson Nigel Stevenson & Glenn Ball Gold Patron ($5,000 - $9,999) Dr Nora Straznicky Patricia Cohen Dr Tom & Sharron Stubbs Bob Croser The Richard Wagner Society of South Australia Inc Ian Kowalick AM & Helen Kowalick David & Linnett Turner Margaret Lehmann John Turnidge AO & Patricia Rayner Hugh & Fiona MacLachlan OAM Bob Warner & Jill Hill David & Pam McKee Merry Wickes Milk and Honey Enterprises Dr Betsy Williams Nunn Dimos Foundation Dr Richard Willing Perpetual Foundation – The Henry and Patricia Dean Dr Richard Willis AM Endowment Fund Hon David Wotton AM & Jill Wotton Linda Sampson Anonymous (2) Norman Schueler OAM & Carol Schueler Ian Scobie AM Roderick Shire & Judy Hargrave Nick Warden Anonymous (3)

20 Maestro Patron Matthew Norton Otto Fuchs Tutti Patron ($1,000 - $2,499) Jocelyn Parsons John Gazley ($250 - $499) Neil Arnold Tom F Pearce Joan & Len Gibbins 92 Donors. A Complete A. Prof Margaret Arstall Ann Piper Dieter & Eva Groening list of these donors can Australian Decorative Josephine M Prosser Eleanor Handreck be found at aso.com. au/aso-donors & Fine Arts Society David & Janet Rice D G W Howard Adelaide Garry Roberts & Lynn Dr Iwan Jensen Rob Baillie Charlesworth Rosemary Keane Peggy Barker David & Anne Bellena Kennedy Donor Judy Bayly Rohrsheim Pat Lescius & Michael ($2 - $249) Prof Andrew & Prof David & Anne McClaren The ASO would like to Elizabeth Bersten Rohrsheim Mark Lloyd & Libby thank the 808 donors The Hon D J & E M Bleby Lee Ross-Solomon Raupach who have given other amounts. Liz Bowen Richard Ryan AO & Trish Susan Lonie

Gillian Brocklesby Ryan Margaret Lyall Elizabeth & Max Bull Warren & Margaret Melvyn Madigan Scharer In memory of Alfred McLeod, David Bullen Ruth Marshall and Tim Larry & Maria Scott former Trombonist, Arthur Richard & Kathy Carter Muecke Bone, former Double Bass In memory of Emeritus Gwennyth Shaughnessy Lee Mason Player, and Rosemary St John, Professor Brian Beth & John Shepherd Barbara May former Harpist, donated by the Coghlan Dorothy Short Dr Craig Mudge AO & ASO Players Association. Josephine Cooper Nigel Steele Scott Maureen Mudge Graham Crooks Anne Sutcliffe Rosemary and Lew Tony & Rachel Davidson Geoff & Marilyn Syme Owens Bruce Debelle AO, QC Guila Tiver Captain Steve Pearson, Kay Dowling Jenny & Mark Tummel CSC, and Mrs Jan Deborah Down James W Vale Pearson Dr Alan Down & The Ann Wells Martin Penhale Hon Catherine Branson Janet Worth Donald G Pitt AC QC Anonymous (11) Mark Rinne Donald Scott George Drs I C & K F Roberts- Sally Gordon & Gary Thomson Smith Trevor & Tanya Rogers Soloist Patron Lois and Jane Guy Ross ($500 - $999) Greenslade Jill Russell Dr E Atkinson & J Hardy Peter R Griffiths Arnold D Saint AM Barbara Bahlin In memory of Geoffrey Frank & Judy Sanders John Baker Hackett-Jones Robin Sanderson R & SE Bartz Daniel & Sue Hains David Scown Ruth Bloch Michael & Janet Hayes Roger & Lessa Siegele Dianne & Felix Bochner Robert Hecker W & H Stacy Rob & Denise Buttrose Clayton & Susan Hunt Katherine Stanley- John & Flavia Caporn Alexandra Jarvis Murray Stephen Courtenay Anita & Andrew Just John & Ali Sulan Suzette Crees Elizabeth Keam AM Verna Symons Michael Critchley Dr Ian Klepper S Szekely George & Ilana Culshaw Hon Diana Laidlaw AM Geoffrey Taylor Drs Ruth & David Davey Dr Scott C Y Ma Stephanie Thomson Michael Davis AO Frank Markus Lynn & Christine Bob Maynard Duncan Hugh Dean & Trenorden Judith Peta Fradd Melissa Bochner Dr Francis Vaughan Fr John Devenport Jacqueline McEvoy G C & R Weir Anne Eleanor Dow Skye McGregor Dawn Yeatman Jane Doyle Dr Neil & Fay McIntosh Anonymous (17) Pamela Fiala, in Correct as at 19 Nov 2019 Kerrell & David Morris memory of Jiri 21 THANK YOU TO OUR PARTNERS

GOVERNMENT PARTNERS

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

MAJOR PARTNERS

PHILANTHROPIC PARTNERS & PAFS

FWH Foundation Dr Sing Ping Ting

WORLD ARTIST PARTNERS

CORPORATE PARTNERS

MEDIA PARTNERS

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 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!

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