MASTER SERIES 1 ADELAIDE SYMPHONY The Adventure ORCHESTRA Begins SEASON 2020

February Fri 7, 8pm & Sat 8, 6.30pm Adelaide Town Hall 2 MASTER SERIES 1 The Adventure Begins

February Hendrik Vestmann Conductor Grace Clifford Violin Fri 7, 8pm & Sat 8, 6.30pm Adelaide Town Hall

Shostakovich Festive Overture, Op.96

Tchaikovsky Violin Concerto in D, Op.35 Allegro moderato Canzonetta (Andante) – Finale (Allegro vivacissimo)

Grace Clifford Violin

Interval

Rimsky-Korsakov Scheherazade, Op.35 The Sea and Sinbad’s Ship The Story of the Kalender Prince The Young Prince and the Young Princess The Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock

Duration Listen Later This concert runs for approximately 2 hours This concert will be recorded for delayed including a 20 minute interval. broadcast on ABC Classic. You can hear it again at 1pm on Sunday 16 February.

Classical Conversation These free events take place one hour prior to these Master Series concerts in the Meeting Hall located just behind the Adelaide Town Hall. Explore a world of musical storytelling featured in the program with ASO Concertmaster Natsuko Yoshimoto and ASO Director, Artistic Planning, Simon Lord.

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

Ladies and Gentlemen,

Good evening and welcome to tonight’s concert.

It is customary for me to use this welcome message to celebrate the beginning of a new season and to look forward to the fine performances of fine music of the year ahead.

Tonight, however, that sense of anticipation has been displaced as we mourn the loss of our dear friend and colleague, double bass player David Phillips.

David’s untimely and sudden death last month has left the entire ASO family bereft. We present this concert tonight in memory of David and with his family very much in our hearts and thoughts.

David Phillips 1974—2020 Hendrick Vestmann CONDUCTOR

Starting from the 2016/17 season, the Brandenburgische Staatsorchester, Hendrik Vestmann is the General Music the Tampere Philharmonic Orchestra, Director of Theater Oldenburg, where Graz Philharmonic Orchestra, and he conducts, among other operas, Nordwestdeutsche Philharmonie Herford. Wagner’s Ring of the Nibelung, Verdi’s Hendrik Vestmann was the General Music Macbeth and Bizet’s Carmen. His current Director in Tartu, First Kapellmeister season includes performances of Paul and Deputy General Music Director at Abraham’s Dschainah, das Mädchen aus Theater Münster, and Head Conductor dem Tanzhaus for Komische Oper Berlin. at Oper Bonn. He is the winner of the Recent season appearances include, Hermann Abendroth Prize in Weimar among others Statkowski’s Maria in (2006) and of the Special Prize at the Oldenburg, Carmen, Le nozze di Figaro Berlin Philharmonic’s Dirigentenpreis, and Die Zauberflöte with Komische Oper one of the most highly remunerated Berlin, Così fan tutte for Nationaltheater awards for young conductors worldwide. Mannheim, George Benjamin’s Written on skin, Tosca, Die Zauberflöte, Fidelio, Salome and Les contes d’Hoffmann, all for Theater Bonn. Other operatic engagements include Hänsel und Gretel (St. Gallen), La traviata (Mannheim), Don Giovanni (Karlsruhe and Aachen), Rigoletto, La finta giardiniera and La traviata (Bonn), La bohème (Hannover), Don Giovanni and La bohème (Graz). Hendrik Vestmann received his first musical training at the Estonian Academy of Music. He graduated from the Karlsruhe Conservatoire with Wolf- Dieter Hauschild, later worked as Gerd Albrecht’s assistant, and was awarded a Bayreuth Festival scholarship. He has since collaborated with the MDR Symphony Orchestra, the Duisburg Philharmonic, the Bochum Symphony Orchestra, the Düsseldorf Symphony Orchestra, the Philharmonisches Staatsorchester Halle, the Saarländische Staatsorchester,

5 Grace Clifford VIOLIN

Grace Clifford is quickly gaining a Symphony, Melbourne Chamber, reputation as one of Australia’s finest West Australian Symphony, Adelaide young violinists. Following Grace’s Symphony, Canberra Symphony performance of the Mendelssohn Violin Orchestras. Further afield, Grace Concerto with the Adelaide Symphony, made her debut with the Malaysian Limelight Magazine maintains that: Philharmonic at the invitation of Mark Wigglesworth. “Clifford last night gave further proof of the skill and insight which has singled Grace will also make her debuts her out as one of Australia’s finest young with the Tasmania and Queensland violinists …The secret was in her sound – Symphony Orchestras, and the Auckland from the opening, that famous upsurge Philharmonic this season. of the first theme, there was a silkiness Grace was appointed as the Adelaide to Clifford’s every note…In her solo Symphony Orchestra’s first ever passages, you could have heard a pin Emerging Artist in Association from drop in that crowded all; the audience 2018-2020 and has enjoyed performing hung breathless upon every note.” a concerto each consecutive season. Grace holds a Bachelor of Music degree Equally committed to chamber music, from the Curtis Institute of Music, where Grace is a regular guest with Selby and she studied with Pamela Frank, Ida Friends, and recently made her debuts Kavafian, and the late Joseph Silverstein. with the Australian Festival of Chamber She graduated with the Joan Hutton Music and Recitals Australia. Landis Award for Academic Excellence. She is currently completing her Master’s Further afield, Grace recently toured with degree at the New England Conservatory Musicians from Ravinia’s Steans Music of Music, studying with Miriam Fried. Institute in April alongside Miriam Fried, performing in Boston, Chicago and New From 2009 to 2014 Grace was in the York. In May 2019 she returned for a third Rising Stars program at the Sydney Australian tour with chamber ensemble Conservatorium of Music studying with Selby and Friends. In October 2019 Dr Robin Wilson, who continues to be a Grace gave a recital with pianist Joseph mentor. Grace won the ABC Symphony Liccardo for the Union College Concert Australia Young Performer of the Year Series in Schenectady NY, as part of award in 2014, and was also awarded Curtis on Tour. prizes for Best Recital, Best Chamber Performance, and the Audience Prize. Grace now performs with Australia and New Zealand’s leading orchestras Grace Clifford’s position as the and conductors with past and future ASO’s Emerging Artist in Association highlights including performances is generously supported by the with the Sydney Symphony, Melbourne Boileau Family Trust. 6 Help raise money for our cause, simply by saving.

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Principal Guest Conductor Principal Artistic Partner Mark Wigglesworth Pinchas Zukerman

Violins Cellos Contra Bassoon ** denotes Section Principal Natsuko Yoshimoto** Simon Cobcroft** Kristina Phillipson* ~ denotes Associate Principal * denotes Principal Player (Concertmaster) Ewen Bramble~ (Guest Principal) Cameron Hill** Sarah Denbigh (Associate Concertmaster) Christopher Handley Horns Shirin Lim* Sherrilyn Handley Adrian Uren** (Principal 1st Violin) Gemma Phillips Sarah Barrett~ Lachlan Bramble** David Sharp Emma Gregan (Acting Principal 2nd Cameron Waters Sebastian Dunn Violin) Philip Paine* Julia Brittain ~ (Acting Associate Double Basses Principal 2nd Violin) David Schilling** Trumpets Janet Anderson Jonathon Coco~ Sarah Butler** Ann Axelby Jacky Chang (Guest Principal) Minas Berberyan Harley Gray David Khafagi** (Guest Principal) Gillian Braithwaite Belinda Kendall-Smith Martin Phillipson~ Hilary Bruer Gregory Frick Elizabeth Collins Flutes Jane Collins Geoffrey Collins** Trombones Judith Coombe Lisa Gill Colin Prichard** Belinda Gehlert Ian Denbigh Alison Heike Piccolo Danielle Jaquillard Julia Grenfell* Bass Trombone Alexis Milton Howard Parkinson* Michael Milton Oboes Jennifer Newman Joshua Oates** Tuba Julie Newman Renae Stavely~ Peter Whish-Wilson* Emma Perkins Alexander Permezel Cor Anglais Timpani Kemeri Spurr Peter Duggan* Andrew Penrose (Guest Principal) Violas Clarinets Andrew Jezek** Dean Newcomb** Percussion (Guest Principal) Darren Skelton Steven Peterka** Justin Julian~ Mitchell Berick Jamie Adam Martin Butler Amanda Grigg Proud ASO Supporters Lesley Cockram for 30 Years Bassoons James Townsend Anna Hansen Mark Gaydon** Sami Butler Rosi McGowran Leah Stephenson Carolyn Mooz Harp Michael Robertson Carolyn Burgess Cecily Satchell (Guest Principal)

In tonight’s program, Adelaide Symphony Orchestra Concertmaster Natsuko Yoshimoto will be playing ‘The Adelaide’ violin. Crafted in Milan in 1753-7 by Giovanni Batista Guadagnini. Natsuko is the current 8 custodian of ‘The Adelaide’ which is held in trust by UKARIA. ASO Management

ASO Board Marketing Kate Gould Chair Renato Capoccia Senior Manager, Marketing Vincent Ciccarello Cheree McEwin Publicist Geoffrey Collins Ashleigh McManus Marketing Coordinator Andrew Daniels Georgie Phillips Marketing Assistant Elizabeth Davis Laurel Dixon Development Byron Gregory Annemarie Kohn Senior Manager, Development David Leon Hannah Hillson Development and Events Coordinator Karen Limb Andrew Robertson Finance, People & Culture Shelley Woodward Senior Manager, Accounting Executive Sophia Cichowski Accountant Vincent Ciccarello Managing Director Karin Juhl Accounts Coordinator Shivani Marx General Manager, People, Sarah McBride Payroll and People Coordinator Culture & Operations

Shecky Kennedy Executive Assistant Friends of the ASO Executive Committee John Terpelle President Artistic Michael Critchley Past President Simon Lord Director, Artistic Planning Hon. David Wotton AM Vice President Andrew Groch Artistic Coordinator Ruth Ormrod Vice President Vicki McGregor Learning Coordinator Judy Birze Treasurer/Public Officer Nadina Paine Artistic Liaison Alison Campbell Membership Secretary

Special Programs & Production Ruth Bloch Secretary Sarah Bleby Director, Special Programs & Production Tom Bastians Senior Manager, Box Office & Customer Service William Jarman Production Coordinator Steve Virgo Production Assistant Emma Wight Administrative Assistant/Reception Leigh Mack Subscriptions and Ticketing Coordinator

Operations Karen Frost Orchestra Personnel Manager Janet Carey Orchestra Coordinator Kathleeen Cowie Orchestral Librarian Bruce Stewart Orchestral Librarian (On Leave)

9 1906—1975 Dmitri Shostakovich

Festive Overture, Op.96

Arguably the 20th century’s greatest The music begins with a fanfare that symphonist, Shostakovich lived through the owes its brilliance to the trumpets and its dramatic social and political upheavals stateliness to the horns. Building to a full surrounding the creation of the Soviet orchestral flourish, it heralds the overture Union and the rise and decline of the proper – a racing Presto with two main Stalinist state. The young Shostakovich was themes. Two clarinets spin out a beckoning one of the leaders of the Russian avant- melody. The mood broadens when cellos garde, but after official denunciation, and a solo horn present a new expressive began to write in a seemingly more and song-like tune, but the strings will not populist manner, now believed by many to concede the tempo, keeping frantic pace disguise a more caustic, critical agenda. with off-beat pizzicato. The strings do succumb to the nobility of the new theme, That, however, doesn’t explain the lighter but only briefly; more agitated plucking tone of this work. Stalin had died in 1953, of strings, accompanied by the militaristic and Shostakovich had recently scored a snare drum, signals the return of the success with his Tenth Symphony when clarinets with their breathlessly spinning he received a last-minute commission in tune. The two themes are then set against 1954 to compose this work, intended by each other – heroic pairs of trumpets and the Bolshoi Theatre to celebrate the 37th trombones striving with galloping strings anniversary of the October Revolution. and winds – until the return of the fanfare Shostakovich composed the overture in temporarily restores the grandeur of the a few days after the conductor, Vasili opening. But the festive mood wins out: Nebol’sin, found himself without a suitable we are hurtled to the end in the company work with which to open the concert. of the noble theme, double time! According to Lev Lebedinsky, interviewed in Elizabeth Wilson’s Shostakovich: A Life Remembered: Symphony Australia © 2000 ‘The speed with which [Shostakovich] wrote was truly astounding. Moreover, when he wrote light music he was able to talk, make jokes and compose simultaneously, like the legendary Mozart. Dmitri Dmitriyevich PERFORMANCE HISTORY sat there scribbling away and the couriers came in turn to take away the pages while The Adelaide Symphony Orchestra the ink was still wet – first one, then a first performed this work in 1978 under second, a third, and so on… Two days later conductor Elyakum Shapirra, and most recently in 2017 with Guy Noble. the dress rehearsal took place. I hurried down to the Theatre and I heard this brilliant effervescent work…’ DURATION 10 7 minutes Human Resources Harmony

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Proud sponsors of the ASO since 2004 11 1840—1893 Pyotr Ilyich Tchaikovsky

Violin Concerto in D, Op.35

Allegro moderato In Clarens, composer and former student spent some time playing over various Canzonetta (Andante) – unfamiliar pieces, including Lalo’s Finale (Allegro vivacissimo) Symphonie espagnole, a new work which Tchaikovsky admired for its piquancy The first bad review of a masterpiece and melodiousness. The combination has a curious allure. There is something of Lalo’s concerto and Kotek’s presence forlorn and fascinating about the French inspired in Tchaikovsky a desire to write critic of the 1850s who proclaimed that a violin concerto himself. He immersed Rigoletto ‘lacks melody’, or George himself in work and had the concerto Bernard Shaw’s declaration that Goetz fully sketched in a few weeks. By the end was a greater symphonist than Brahms. of April he had orchestrated the whole Tchaikovsky’s Violin Concerto is a work. distinguished member of that company of musical masterpieces that survived a Kotek’s advice and encouragement traumatic debut to become one of the were crucial in the work’s composition. most beloved works of its kind. He would play over sections as they were finished, and gave a complete It could almost be described as a love performance from the short score for letter. In 1878 the composer was still Tchaikovsky’s and Modest’s private feeling the repercussions from his pleasure. Kotek was originally to have short-lived marriage and had begun been the concerto’s dedicatee, but the lengthy and difficult process of Tchaikovsky, concerned at the gossip obtaining a divorce. He and his brother this would cause in Moscow, dedicated Modest took a holiday in Clarens, on the work to Leopold Auer, a renowned Lake Geneva. Here, in March, they were performer and teacher, whose pupils joined by the violinist Josef Kotek, one were to include Mischa Elman and of Tchaikovsky’s pupils at the Moscow Jascha Heifetz. Conservatory, who had introduced the composer’s music to his future patron, Tchaikovsky’s hope that Auer’s fame Nadezhda von Meck. would help promote the concerto was dashed when Auer claimed, as Nikolai At some point in their long friendship, Rubinstein had about the composer’s according to Tchaikovsky biographer first piano concerto, that the work was Alexander Poznansky, the two men technically impossible and structurally became lovers. Indeed, the composer weak; in short, that he would not learn it. had already declared, ‘I love [him] to Then Kotek decided not to play it either, distraction…what a lovely, naïve, sincere, which caused Tchaikovsky to break with tender and kind creature.’ him altogether.

12 In fact three years were to pass before The work opens with a kind of scene- Jurgenson, who had since published the setting introduction, after which the score, informed Tchaikovsky that the soloist enters with a brief flourish, Russian-born violinist Adolph Brodsky then announces the main theme of was planning to play the piece at a the first movement. Soon the second Vienna Philharmonic concert under subject appears, a melody of great Hans Richter in December 1881. There tenderness that is presented in a setting was a furious mixture of applause, boos not dissimilar to those of Tchaikovsky’s and hissing afterwards, with Brodsky famous violin solos in Swan Lake. From acclaimed and the work derided. this point the temperature of the first The Viennese critics, always fairly movement rises considerably, with the conservative, were almost universal in solo part becoming much more virtuosic their condemnation of the concerto. and the orchestral writing increasingly The most influential of these was colourful. There is a magnificently varied Eduard Hanslick, whose tastes were cadenza for the soloist. not inclined toward new Russian music Kotek felt Tchaikovsky’s original slow anyway, but who wrote a review of movement was too insubstantial and infamous vituperation: sentimental, and the composer agreed, For a while the concerto has proportion, replacing it with the Canzonetta. After is musical, and is not without genius, a simple chordal introduction for the but soon savagery gains the upper woodwinds, the soloist takes up a hand…The violin is no longer played: it hushed, appropriately song-like theme. is yanked about, it is torn asunder, it is The accompaniment to the violin’s later beaten black and blue… decorations of this melody is scored with the utmost delicacy. Of the Finale, he wrote: The Finale follows on without a break, We see wild and vulgar faces, we hear and immediately the soloist has a curses, we smell bad brandy…There are dazzling, short cadenza, which leads [lascivious] pictures which ‘stink in the straight into the movement’s vigorous eye’. Tchaikovsky’s Violin Concerto brings main theme, a short, folk-like dance to us for the first time the horrid idea tune. The second theme, introduced over that there may be music that ‘stinks in a bagpipe-like drone on the strings, is the ear’. a temporary lyrical resting-place in the Tchaikovsky read Hanslick’s review movement’s wild infectiousness. by chance in a Rome cafe, and was shocked at its vehemence, but Brodsky was not dissuaded and remained the Abridged from a note by Phillip Sametz work’s most fervent champion. ‘You have © 1996 indeed crammed too many difficulties into it,’ he told the composer, ‘[but] one can play it again and again and never be bored; and this is a most important PERFORMANCE HISTORY circumstance for the conquering of its The Adelaide Symphony Orchestra difficulties.’ Auer eventually overcame his first performed this work in 1941 with opposition to the concerto and played it conductor William Cade and soloist to great acclaim, introducing Jeanne Gautier, and most recently in it to many of his pupils. 2015, with Arvo Volmer and Ilya Gringolts.

DURATION 33 minutes 13 1844—1908 Nikolai Rimsky-Korsakov

Scheherazade - Symphonic Suite, Op.35 four pieces played one after the other and composed on the basis of themes The Sea and Sinbad’s Ship common to all the four movements. The Story of the Kalender Prince Why then, if that be so, does my suite bear the name, precisely, of The Young Prince and the Young Scheherazade? Because this name and Princess the title The Arabian Nights connote in The Festival at Baghdad – The Sea everybody’s mind the East and fairytale – The Ship Goes to Pieces on a Rock wonders; besides, certain details of the musical exposition hint at the fact The Sultan Shahriyar, convinced of the that all of these are various tales of duplicity and infidelity of all women, had some one person (who happens to be vowed to slay each of his wives after the Scheherazade) entertaining therewith first night. The Sultana Scheherazade, her stern husband.’ however, saved her life by the expedient of recounting to the Sultan a succession Rimsky-Korsakov considered of tales over a period of a thousand Scheherazade one of those works in and one nights. Overcome by curiosity, which ‘my orchestration had reached the Sultan postponed from day to day a considerable degree of virtuosity the execution of his wife, and ended by and bright sonority without Wagner’s renouncing altogether his sanguinary influence, within the limits of the usual resolution. – From the opening tale, make-up of Glinka’s orchestra’. So The Thousand and One Nights formidable is his instinct, that with surprisingly modest forces (adding to Rimsky-Korsakov conceived the idea the traditional orchestra only piccolo, of a symphonic suite based on episodes cor anglais, harp and percussion) from The Thousand and One Nights in Rimsky-Korsakov can convince his the middle of winter 1887–1888, while listeners of the raging of a storm at he and Glazunov were engrossed in the sea, the exuberance of a festival, completion of Borodin’s unfinished opera and the exotic colour of the Orient. Prince Igor. The following summer he completed the suite – ‘a kaleidoscope As if repeating in music Scheherazade’s of fairytale images and designs of feat of narrative woven from poetry Oriental character’. and folk tales, Rimsky-Korsakov drew on isolated episodes from The Thousand ‘All I had desired,’ he later wrote in My and One Nights for his suite. At first he Musical Life, ‘was that the hearer, if he gave the four movements titles drawn liked my piece as symphonic music, from these narratives. But he soon should carry away the impression that withdrew the headings, which, he said, it is beyond doubt an Oriental narrative were intended to ‘direct but slightly the describing a motley succession of listener’s fancy on the path which my fantastic happenings and not merely own imagination had travelled, and 14 to leave more minute and particular suggests that The Young Prince and conceptions to the will and mood Princess are perfectly matched in of each’. temperament and character. According to the composer, it is futile An agitated transformation of the to seek in Scheherazade leading motifs Sultan’s theme, in dialogue with that are consistently linked with the Scheherazade’s theme, prefaces the same poetic ideas and conceptions. final tale. The fourth movement Instead, these apparent leitmotifs were combines the Festival in Baghdad and ‘nothing but purely musical material… the tale of the shipwreck, described for symphonic development’. The motifs by one writer as a ‘confused dream of unify all the movements of the suite, oriental splendour and terror’. Triangle appearing in different musical guises so and tambourines accompany the lively that the ‘themes correspond each time cross-rhythms of the carnival; and the to different images, actions and pictures’. mood builds in intensity before all is The ominous octaves representing the swamped by the return of the sea theme stern Sultan in the opening, for example, from the first movement. But after the appear in The Story of the Kalender fury of the shipwreck, it is Scheherazade Prince, although Shahriyar plays no part who has the last word. Her spinning violin in that narrative. And the muted fanfare solo emerges in gentle triumph over the of the second movement returns in the Sultan’s bloodthirsty resolution. otherwise unconnected depiction of the foundering ship. Yvonne Frindle ©1998/2009 Rimsky-Korsakov did admit, however, that one of his motifs was quite specific, attached not to any of the stories, but to the storyteller: ‘The unifying thread consisted of the brief introductions to the first, second and fourth movements and the intermezzo in movement three, written for violin solo and delineating Scheherazade herself as telling her wondrous tales to the stern Sultan.’ It is this idea – an intricately winding violin theme supported only by the harp – which soothes the thunderous opening and embarks upon the first tale: the sea and Sinbad’s ship. For Rimsky-Korsakov, who was synaesthesic, the choice of E major for the billowing cello figures can have been no accident: his ears ‘saw’ it as dark blue. PERFORMANCE HISTORY A cajoling melody played by solo The Adelaide Symphony Orchestra first bassoon represents a Kalender performed this work in 1951 under (or ‘beggar’) Prince in the second conductor Henry Krips, and most movement. The similarity between the recently in 2014 with Garry Walker. two main themes of the third movement (for violin and then flute and clarinet) DURATION 42 minutes 15 Support Us

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16 Philanthropic Partners

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

Artistic Leadership Team

Mark Wigglesworth  Pinchas Zukerman  Paul Rissmann Principal Guest Principal Artistic Creative Partner Conductor Partner Supported by Roger & Helen Salkeld and the FWH Foundation

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

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

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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

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

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

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The Annual Giving program supports the Adelaide Symphony Orchestra’s artistic ambitions 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 Vincent & Sandra Ciccarello Lang Foundation Joan & Ollie Clark AM Peter & Pamela McKee Dr Aileen Connon AM Diana McLaurin Ruth Creedy Andrew Thyne Reid Charitable Trust Legh & Helen Davis In memory of Frida Sapgir Margaret Davis Mary Louise Simpson Mary Dawes BEM Dr Sing Ping Ting Bruce & Pam Debelle Anonymous (2) Norman Etherington AM & Peggy Brock Andrew & Barbara Fergusson Platinum Patron ($10,000 - $24,999) Drs Kristine Gebbie & Lester Wright R & M Champion De Crespigny Foundation In memory of Geoffrey Hackett-Jones Graeme & Susan Bethune Daniel & Sue Hains 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 The Baska Family Dr Tom & Sharron Stubbs Patricia Cohen The Richard Wagner Society of South Australia Inc Bob Croser David & Linnett Turner Ian Kowalick AM & Helen Kowalick John Turnidge AO & Patricia Rayner Margaret Lehmann Bob Warner & Jill Hill Hugh & Fiona MacLachlan OAM 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 Josephine M Prosser Pamela Fiala, in Tutti Patron ($1,000 - $2,499) Diane Ranck memory of Jiri ($250 - $499) Neil Arnold Garry Roberts & Lynn Otto Fuchs 87 donors. A complete A. Prof Margaret Arstall Charlesworth John Gazley list of these donors can Australian Decorative David & Anne Joan & Len Gibbins be found at aso.com. & Fine Arts Society Rohrsheim Dieter & Eva Groening au/aso-donors Adelaide Lee Ross-Solomon Eleanor Handreck Rob Baillie Mr & Mrs Trevor & Michael & Janet Hayes Peggy Barker Elizabeth Rowan D G W Howard Donor Judy Bayly Richard Ryan AO & Trish Dr Iwan Jensen ($2 - $249) Ryan Prof Andrew & Prof Rosemary Keane The ASO would like to Warren & Margaret Elizabeth Bersten Bellena Kennedy thank the 961 donors Scharer who have given other The Hon D J & E M Bleby Goffrey G Larwood OAM Larry & Maria Scott amounts. Liz Bowen Pat Lescius & Michael Gwennyth Shaughnessy Gillian Brocklesby McClaren Beth & John Shepherd Elizabeth & Max Bull Mark Lloyd & Libby In memory of Alfred David Bullen Dorothy Short Raupach Nigel Steele Scott McLeod, former Richard & Kathy Carter Susan Lonie Trombonist, Arthur Bone, In memory of Emeritus John & Ali Sulan Margaret Lyall former Double Bass Professor Brian Anne Sutcliffe Melvyn Madigan Player, and Rosemary Coghlan Geoff & Marilyn Syme Ruth Marshall and Tim St John, former Harpist, Josephine Cooper Guila Tiver Muecke donated by the ASO Players Association. Tony & Rachel Davidson Jenny & Mark Tummel Lee Mason Jan & Peter Davis James W Vale Barbara May Bruce Debelle AO, QC Dawn Yeatman Dr Craig Mudge AO & Kay Dowling Anonymous (14) Maureen Mudge Deborah Down Rosemary and Lew Dr Alan Down & The Owens Hon Catherine Branson Soloist Patron Captain Steve Pearson, AC QC ($500 - $999) CSC, and Mrs Jan Pearson Donald Scott George Dr E Atkinson & J Hardy Martin Penhale Sally Gordon & Gary Barbara Bahlin Smith David & Janet Rice John Baker Lois and Jane Mark Rinne R & SE Bartz Greenslade Drs I C & K F Roberts- Mr Antony Blake Peter R Griffiths Thomson Ruth Bloch Robert Hecker Trevor & Tanya Rogers Dianne & Felix Bochner Clayton & Susan Hunt Guy Ross Rob & Denise Buttrose Anita & Andrew Just Jill Russell John & Flavia Caporn Elizabeth Keam AM Arnold D Saint AM Stephen Courtenay Dr Ian Klepper Frank & Judy Sanders Suzette Crees Dr Scott C Y Ma Robin Sanderson Michael Critchley Ian Maidment David Scown Graham & Frances Frank Markus Roger & Lessa Siegele Crooks Bob Maynard W & H Stacy George & Ilana Culshaw Melissa Bochner Verna Symons John Daenke & Janet Jacqueline McEvoy Hawkes S Szekely Skye McGregor Drs Ruth & David Davey Stephanie Thomson Dr Neil & Fay McIntosh Michael Davis AO Lynn & Christine Trenorden Kerrell & David Morris Duncan Hugh Dean & Matthew Norton Judith Peta Fradd Dr Francis Vaughan Jocelyn Parsons Fr John Devenport G C & R Weir Tom F Pearce Peter Dobson Anonymous (17) Ann Piper Anne Eleanor Dow Correct as at 17 Jan 2020 Donald G Pitt Jane Doyle 21 thank you to our partners

GOVERNMENT PARTNERS

The ASO receives 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 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!

Mahler 5 Nicholas Carter returns to conduct your ASO in a program to match the scale of the Adelaide Festival

Nicholas Carter Conductor Anthony Marwood Violin

Thomas Adés Concentric Paths Mahler Symphony No.5

March Sat 14 & Sun 15 Adelaide Town Hall book at aso.com.au create a space for music. aso.com.au