ADELAIDE SYMPHONY ORCHESTRA SEASON 2019

MASTER SERIES 5 Faith & Beauty

July Fri 12, 8pm Sat 13, 6.30pm

PRESENTING PARTNER

Adelaide Town Hall 2 MASTER SERIES 5 Faith & Beauty

July Nicholas Carter Conductor Fri 12, 8pm Grace Clifford Violin Sat 13, 6.30pm Adelaide Town Hall

Dvořák Violin Concerto in A minor, Op.53 Allegro ma non troppo — Adagio ma non troppo Allegro giocoso, ma non troppo Grace Clifford Violin

Interval

Bruckner Symphony No.5 in B flat Adagio – Allegro Adagio Scherzo (Molto vivace) – Trio Finale (Adagio – Allegro moderato)

Duration Listen Later This concert runs for approximately 2 hours This concert will be recorded for delayed and 20 minutes, including 20 minute interval. broadcast on ABC Classic. You can hear it again at 2pm, 14 July, and at 8pm, 7 October.

Classical Conversation One hour prior to Master Series concerts in the Meeting Hall. Principal Conductor Nicholas Carter and ASO Managing Director Vincent Ciccarello mark Nicholas’ final concert of his four-year tenure as Principal Conductor at the Adelaide Symphony Orchestra.

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

Welcome. At every level, the performances of that incredibly complex and sophisticated These concerts mark the ASO’s last with score were simply masterful. It is little Nicholas Carter in his role as Principal wonder that Nick will make his debut at Conductor. But it is not an occasion for New York’s famed Metropolitan Opera sadness – after all, Nick will return to conducting this piece in 2022. conduct the ASO as a guest as soon as March 2020, and thereafter. Rather, it is Nor is it any wonder that Nick has been an occasion to celebrate a partnership invited to conduct at Glyndebourne; or that has grown since Nick first embarked that he is soon to make his debut at the on his career. Vienna State Opera. We congratulate Nick on those achievements, and When we announced in 2015 that he on winning the inaugural Frank Ford would be our Principal Conductor, Nick Memorial Young Achiever Award in was only 29 years of age. He was not the 2018 Ruby Awards. only the youngest person to hold such a post with an Australian orchestra but Nicholas Carter is already a musical the first Australian to do so in almost 30 citizen of the world. We’re very proud years. That is a distinction of which the of the small part the ASO has played in ASO is immensely proud. this journey that is really only beginning. Since then, there have been many I’d like to extend our thanks to our memorable concerts across a wide generous Conductors’ Circle donors, range of settings and including a wide and to all of you who have embraced range of repertoire – in all, too many to Nick and made him feel part of the mention here. ASO family. But who could forget Nick’s But, above all, our thanks to Nick. It has extraordinarily powerful first concert been a remarkable four years and we in his new role which featured Act I of look forward to seeing him continue Wagner’s Die Walküre? to flourish. Or last month’s epic cycle of Beethoven Piano Concertos with Jayson Gillham? However, it was not on the stage but in the orchestra pit that Nick’s relationship with the ASO really reached extraordinary new heights with the Glyndebourne Festival Opera production of Brett Dean’s opera, Hamlet, for the 2018 .

4 Nicholas Carter Conductor

Newly appointed as Chief Conductor Deutsche Oper am Rhein (Don Pasquale), of the Stadttheater Klagenfurt and the Santa Fe Opera (Die Fledermaus, Kärntner Sinfonieorchester, Nicholas summer 2017). He also returned to Hong Carter will lead three new productions Kong Philharmonic, and to Deutsche per season and appear regularly in Oper Berlin (The Love for Three Oranges, the orchestra’s concert series. In his Le nozze di Figaro, La bohème, La first season, he conducts Rusalka, Traviata and Hansel und Gretel). La Clemenza di Tito and Pelléas et In Australia, he collaborates regularly Mélisande, and concert programmes with many of the country’s leading include Haydn’s Die Schöpfung and orchestras and ensembles and led the Mahler’s Symphony No. 1. 2018 Adelaide Festival’s acclaimed Since his appointment as Principal full staging of Brett Dean’s Hamlet. Conductor of the Adelaide Symphony Past engagements have included the Orchestra in 2016, Nicholas has , Sydney, West Australian, established a reputation as a conductor Queensland and Tasmanian Symphony of exceptional versatility, equally at Orchestras with soloists such as home in the concert hall and opera Michelle de Young, Simon O’Neill, Alina house, and fluent in a diverse repertoire. Ibragimova, Alexander Gavrylyuk and Indeed his appointment was significant, James Ehnes; also galas with Maxim as he became the first Australian to be Vengerov (Queensland Symphony) and chosen as Principal Conductor of an Anne Sofie von Otter (Sydney Symphony). Australian orchestra in over 30 years. The 2019/2020 season concert includes Between 2011 and 2014, he served performances with the Rundfunk as Kapellmeister to in Sinfonieorchester Berlin (concert Hamburg, before moving on to a two debut, including Brett Dean’s Pastoral year engagement as Kapellmeister and Symphony and Vaughan Williams A Sea Musical Assistant to Donald Runnicles Symphony) and returns to BBC Scottish at the Deutsche Oper Berlin, a house Symphony Orchestra and Deutsche where he enjoys a rewarding ongoing Oper am Rhein (Don Carlo). He also association. returns to the orchestra of the Australian Highlights of recent seasons include National Academy of Music Melbourne debuts with Orchestre Métropolitain and to the West Australian Symphony (Montreal), Bochumer Symphoniker, Orchestra. The 2021/22 season sees his MDR Leipzig, Oregon Symphony, Florida Metropolitan Opera debut with Brett Orchestra, BBC Scottish Symphony Dean’s Hamlet. Orchestra, BBC National Orchestra of Wales, Orchestre National de Lille,

5 Grace Clifford Violin

Grace Clifford is quickly gaining a Nicholas Carter), West Australia reputation as one of Australia’s finest Symphony (Leo Hussain), Canberra young violinists. Following Grace’s Symphony (Nicholas Milton), Malaysian performance of the Mendelssohn Violin Philharmonic (Mark Wigglesworth) and Concerto with the Adelaide Symphony, Melbourne Chamber Orchestra. Grace Limelight magazine reported that: has also enjoyed past collaborations with the Sydney Symphony and Melbourne “Clifford last night gave further proof of Symphony Orchestras. the skill and insight which has singled her out as one of Australia’s finest young Grace was appointed as the Adelaide violinists ...The secret was in her sound – Symphony Orchestra’s first ever Emerging from the opening, that famous upsurge Artist in Association for both the 2018 and of the first theme, there was a silkiness 2019 seasons. to Clifford’s every note...In her solo Equally committed to , passages, you could have heard a pin Grace is a regular guest with Selby and drop in that crowded hall; the audience Friends, she recently made her debuts at hung breathless upon every note.” the Australian Festival of Chamber Music Grace is currently in her fourth year of and Ravinia Festival’s Summer Academy, a Bachelor of Music degree at Curtis and looks forward to making her debut Institute studying with Pamela Frank with Recitals Australia later this season. and Ida Kavafian and immediately prior with the late Joseph Silverstein. From 2009–2014 Grace was in the Rising Stars program at the Sydney Conservatorium of Music studying with Dr Robin Wilson who continues to be a mentor. During this time Grace was awarded several prizes at the highest international level and enjoyed many wonderful performance experiences in Australia culminating in winning the ABC Symphony Australia Young Performer of the Year award in 2014. Grace performs with Australia’s leading orchestras and conductors with recent and future highlights including performances with the Adelaide Symphony (Mark Wigglesworth and

6 Human Resources Harmony

HUMAN RESOURCE SERVICES LEVEL 5 81 FLINDERS ST ADELAIDE SA 5000 TELEPHONE 08 8100 8888 www.hender.com.au Proud sponsors of the ASO ADELAIDE SYMPHONY ORCHESTRA

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

VIOLINS CELLOS HORNS Natsuko Yoshimoto** Simon Cobcroft** Adrian Uren** (Concertmaster) Ewen Bramble~ Sarah Barrett~ Cameron Hill** Sarah Denbigh Emma Gregan (Associate Concertmaster) Christopher Handley Thalis Huston Shirin Lim* (Principal 1st Sherrilyn Handley Benjamin Messenger Violin) Gemma Phillips Philip Paine Michael Milton** David Sharp (Principal 2nd Violin) Cameron Waters TRUMPETS Lachlan Bramble Martin Phillipson ** ~(Associate Principal 2nd (Acting Section Principal) Violin) DOUBLE BASSES David Khafagi~ (Guest Janet Anderson David Schilling** Associate Principal) Ann Axelby Jonathon Coco~ Timothy Frahn Gillian Braithwaite Jacky Chang Gregory Frick Julia Brittain David Phillips Nadia Buck Harley Gray TROMBONES Elizabeth Collins Henry South Colin Prichard** Jane Collins Ian Denbigh Frances Davies FLUTES Stephanie Dean Geoffrey Collins** BASS TROMBONE Alison Heike Sabine Daniels Matthew McGeachin* Danielle Jaquillard (Guest Principal) Andrea Mendham PICCOLO Alexis Milton Sabine Daniels* TUBA Jennifer Newman Peter Whish-Wilson* Julie Newman OBOES Emma Perkins Renae Stavely** (Acting TIMPANI Principal) Alexander Permezel Andrew Penrose* (Guest Peter Duggan Kemeri Spurr Principal) Teresa Vinci CLARINETS PERCUSSION In tonight’s program, Dean Newcomb** Steven Peterka** Adelaide Symphony Orchestra Concertmaster Mitchell Berick Gregory Rush Caleb Wright** Natsuko Yoshimoto will Alex Brogan~(Guest be playing ‘The Adelaide’ violin. Crafted in Milan in Associate) BASSOONS 1753-7 by Giovanni Batista Martin Butler Mark Gaydon** Guadagnini. Natsuko is the Jackie Newcomb current custodian of ‘The Lesley Cockram ** denotes Section Adelaide’ which is held in Principal Anna Hansen trust by UKARIA. CONTRA BASSOON ~ denotes Associate Rosi McGowran Principal Carolyn Mooz Jackie Newcomb* * denotes Principal Flowers supplied by Michael Robertson 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 & 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 Macintyre Howie Reeves Artist Liaison

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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

9 Antonín Dvořák (1841-1904)

Violin Concerto in A minor, Op.53 to the young Czech violinist František Ondříček, who promptly gave the first Allegro ma non troppo — performance in Prague on 14 October Adagio ma non troppo 1883 and proceeded to play the concerto throughout Europe with great success. Allegro giocoso, ma non troppo Joachim’s obviously strong reservations It was probably on the recommendation about the concerto doubtless reflect of Brahms that the great Joseph Joachim his firmly traditionalist view of classical became the dedicatee of the only violin structure and balance in music. He seems concerto composed by Dvořák. Ironically, to have felt unable wholeheartedly to however, Joachim was never to play it. lend his name to a work so untraditional, Brahms had composed his own Violin particularly in its first two movements. He Concerto for Joachim in 1878, and seems quite possibly disliked the improvisatory to have given him a couple of Dvořák’s nature of the concerto, finding Dvořák’s chamber works for performances in Berlin artistic integrity perhaps compromised and London. by his failure to carry through a ‘proper’ Encouraged by Joachim’s interest, Dvořák sonata structure in the opening visited him in Berlin in July 1879 to discuss movement. Likewise, he doubtless the idea of a concerto. He sent him a agreed with the publisher Simrock completed draft in November, followed that the opening movements should by a full revision, incorporating Joachim’s be separated; and as the outstanding suggestions, in May 1880. In its new virtuoso violinist of the day he must have version, he believed, ‘the whole concerto wondered at the lack of opportunity for a has been transformed’. Even so, it was cadenza, even though there is brilliance not altogether to the virtuoso’s liking. enough in the solo part as written out. The concerto nevertheless embodies After a further two years, Joachim much of Joachim, particularly in the style revised the solo part and suggested of the solo writing, and Dvořák never that Dvořák lighten the orchestration. withdrew the dedication, inscribed to Although the composer would agree Joachim ‘in highest admiration’. to only minor changes, in particular rejecting any suggestion of separating Eschewing a conventional orchestral the linked opening movements, Joachim opening tutti, Dvořák launches nevertheless committed himself to immediately into his two-part main launching the work in London in 1884. theme – the first part boldly rhythmic That premiere was abandoned when with full orchestra, and the second a Dvořák found he was not free to conduct. passionate answering phrase from the Joachim now lost interest. Dvořák turned solo violin. This theme, in one or other of

10 its parts, forms the essence of the entire The movement reiterates all three movement. Dvořák introduces subsidiary subsidiary themes in different guises (as themes, most notably an effusive folk-like the main theme is itself varied on every tune which appears on a flood of warm appearance). At the end the dumka solo violin tone when the movement is returns, now in great good humour, and already well advanced. However, the the main theme sweeps the concerto lesser themes serve in the main only to a taut, forceful conclusion. as brief moments of repose while the composer gathers his forces to proceed with his main business of developing © Anthony Cane the opening subject. The development completed, Dvořák wastes no time on a conventional recapitulation of his original ideas: he merely recalls the violin’s answering phrase from the opening theme, transforming it into a serenely reflective bridge which leads without a break into the sweet lyricism of the slow movement. Here the composer, in long and tender phrases, sings a song of heartfelt rapture. Dvořák scholar Otakar Šourek likens two linked thematic ideas, stated broadly by the soloist at the beginning, to the passionate embrace of lovers. A slight increase in tempo briefly brings a sense of agitation, but the clouds lift on a sunny, folk-like melody with which the trilling violin soars, as Šourek puts it, ‘like a lark above the flowery fragrance of Bohemian meadows’. Now bolstered by the brass, the agitated motif again tries, unsuccessfully, to make its presence felt. The movement ends with the main theme, in tranquillity. If the thematic material of the slow movement, as Šourek suggests, is deeply rooted in the soil of Czech folk music, then the finale is even more The Adelaide Symphony Orchestra overtly nationalistic. This is a spirited first performed the Dvořák Violin homage to Czech national dance, Concerto in May 1956 with conductor fundamentally a vigorous, syncopated Henry Krips and soloist Sam Bor, and furiant. Interspersed with this dance, most recently in March 2007 with Arvo rondo-fashion, is first a cheerful oboe Volmer and Natalia Lomeiko. motif taken up by the flute; then a swelling dolce theme on solo violin; and last a highly bucolic, faintly melancholy Duration: 32 minutes section in characteristic dumka rhythm. Anton Bruckner (1824-1896)

Symphony No.5 in B flat Bruckner Edition, noted in 1951, the Fifth was subjected to ‘deliberate tampering Adagio – Allegro with the scoring to accord with Wagnerian Adagio ideals’. Moreover, Schalk excised some 122 bars from the Finale, and had an extra Scherzo (Molto vivace) – Trio brass band elevated above the back of Finale (Adagio – Allegro moderato) the stage to play the blazing ‘chorale’ which forms the climax of the piece. This “Most honoured Master: no doubt you was no doubt exciting and theatrical, have already had word of the tremendous but completely at odds with Bruckner’s impact made by your great and glorious conception and aesthetics. Moreover, Fifth. I can only add that for the rest of my as Timothy Jackson has pointed out in life I shall always remember that evening the New Grove Dictionary of Music and as one of the greatest experiences I ever Musicians, ‘the letters between Franz and shared in. Profoundly moved, I felt as if I Josef Schalk reveal that from 1892 they were being transported into the realms of conspired to publish and perform Franz’s eternal greatness.” arrangement while convincing Bruckner So wrote Franz Schalk to Bruckner after that it was his own version which was being conducting the Fifth Symphony’s first reproduced.’ Fortunately, however, and performance in the Austrian city of Graz in unlike the situation which obtains with 1894. In poor health, the elderly composer many other Bruckner symphonies, there was unable to attend, despite the fact were only ever two ‘authorised’ versions of that the work had waited some 16 years the score in circulation, so it was relatively for its premiere. Indeed, apart from the easy for Nowak to produce a more or less Ninth, left unfinished at the composer’s ‘original’ version. death two years later, the Fifth was the Days before beginning work on the Fifth, only symphony that he never lived to hear. Bruckner wrote to his friend Moritz von This is particularly sad given that the Fifth Mayfeld: is Bruckner’s first fully realised symphonic masterpiece: in it he solves a number of It’s too late now. I shall just keep on piling the compositional problems that arguably up debts till I end up by enjoying the fruits flaw his earlier works, and displays a hard- of my labours in prison ruminating on the won but seemingly effortless control over lunacy of ever having moved to Vienna in orchestration, counterpoint and large- the first place…I can’t even get my Fourth scale form. Symphony copied. It is probably just as well, therefore, that he He had moved to the capital in 1868 didn’t travel to Graz in 1894, as Schalk had to take up a position at the Vienna taken a number of liberties with the work. Conservatory, where he succeeded his As Leopold Nowak, editor of the Complete teacher Simon Sechter as Professor of Harmony and Counterpoint, as well as 12 taking up an honorary appointment he began to avoid doubling instruments as organist to the Hofkapelle, or court where possible. He also began to plot out chapel. In addition, he taught at the the specific number of bars of the work’s teacher training College of St Anna (until component sections, and the result was he unwittingly offended a female student; an enhanced sense of proportion. this eventually led to his withdrawal from The Fifth differs from all other Bruckner the institution), and travelled as far afield symphonies in that its outer movements as Paris and London in his capacity as one begin with a slow introduction. Bruckner’s of the greatest organists of the age. usual practice was to begin with either His financial troubles, then, were possibly a shimmering background (as in exaggerated, but Vienna remained Symphonies 4, 7, 8 and 9) or a rhythmic hostile to Bruckner – partly because pattern over which the first theme was music making there was dominated stated. Here the introduction to the first by the glittering world of the Strauss movement consists of three discrete dynasty and the powerful camp led by gestures framed by silence: a soft tread of Brahms and the critic Eduard Hanslick, low plucked strings supports the gradual who routinely demolished Bruckner in his addition of long notes in the upper string reviews. Bruckner’s idolisation of Wagner parts; a powerful rhythmic statement immediately alienated him from Hanslick, in unison then alternates with majestic who, as Dean of Music, also blocked chords from the brass choir. The fast several attempts by Bruckner to gain section makes a false start, only to be a professorship in music theory at the brought into line by an expanded version University of Vienna, though later in 1875 of the brass chords; then, in a magical Bruckner was appointed in an honorary transformation, the Allegro gets going capacity. Although Bruckner only ever with a new theme in the violas and cellos taught harmony and counterpoint (as under shimmering violins. against composition) it was at this time This introduction sets up some basic that he gathered a number of students premises of the work. First, there is the and acolytes – including the teenage usual Brucknerian contrast between Gustav Mahler – who provided him with massive and delicate sonorities but in the friendship and support he craved. this case this is extended into a pervasive Bruckner was notoriously diffident about use of the contrast between sections his work, on occasion allowing students at different speeds, and Bruckner (among them the Schalk brothers) to uses the device of accelerating and tamper with his scores, and often himself slowing the tempo for effect at various subjecting works to several major bouts points. Second is the extreme freedom of revision. With the Fifth Symphony, of key: all of those elements in the however, the pattern changes. Composed introduction are in very different keys. over a period of two years between In some respects the symphony is about February 1875 and 1877, it was subjected discovering the relationships between to only minor revisions in the following these wildly different elements. For year. This in itself suggests that Bruckner instance, the accompanying figure for was enjoying a period of confidence in his the very beginning provides, later in creative ideas and technical abilities; the the movement, a translucent texture music appears to bear this out. The Fifth for woodwinds. Textural contrast Symphony – only his second in a major key progressively becomes integrated with – shows the results of several important the gradually more expanded gestures, experiments conducted by Bruckner at as though the large blocks of the opening this time. A new interest in part writing led were cut into smaller sections which are to a more transparent orchestration, as then assembled in a mosaic. The sudden contrasts and rhythmic ebb fugue, a contrapuntal elaboration of and flow of the first movement give two contrasting themes. H.F. Redlich has it, despite its length, the sense of a pointed out this ‘only has two precedents preamble. The D minor second movement in the history of the species: the finales – which was the first to be composed – is of Mozart’s Jupiter Symphony and much more continuous in its trajectory Beethoven’s Ninth’. despite being marked sehr langsam Bruckner once wrote that ‘counterpoint (very slow). Like the slow movement of isn’t genius, only a means to an end. And Beethoven’s Ninth Symphony, it develops it’s given me plenty of trouble.’ There is two contrasting ideas: the opening oboe no evidence of trouble here, however: the solo, which is sounded against a quiet counterpoint is perfectly integrated into pattern of triplets plucked by the strings, a dynamic musical argument. But there’s and a warm noble theme in which the more: typical of Bruckner is the dramatic strings, now bowed, are divided for use of a chorale scored for the full brass added richness. After a series of massive at climactic points. Its first statement climaxes, the movement ends with the is framed by silence: it lies outside that progressive liquidation of the oboe’s dynamic musical argument. We might, theme – not unlike the same point in therefore, take it as a musical symbol for Beethoven’s Eroica. the transcendental. For the first time in Robert Simpson describes the opening one of his symphonies, however, Bruckner of the Scherzo, also in D minor, as having brings the movement to a shattering and a ‘stony greyness’. The strings begin a exciting close by integrating the chorale spiky version of the opening figure from with the energy of the other thematic the previous movement with a new theme elements. It is fair to assume that for in the winds, but after a sudden silence him, this was a way of expressing the a charming Ländler (a rustic triple-time immanence of the eternal – for him, the dance) begins. As Simpson puts it, ‘a Christian God – sustaining the physical formidable inhuman power is directly world. Franz Schalk may have done the faced with heedless gaiety.’ This conflict work violence at its first performance, but drives the music, which, like that of the his sense of ‘being transported into the first movement, gains much power from realms of eternal greatness’ is truer than the use of gradual but dramatic changes he may have realised. of speed. The contrasting Trio section is genuinely carefree and even amusing, but is swept away by the return of Gordon Kerry the Scherzo. © Symphony Australia The Finale is one of Bruckner’s most original and powerful creations. Like Beethoven’s Ninth, it begins with a reminiscence of themes from the previous movements. The opening passages of the The only previous performance of first two movements are restated, though Bruckner’s Fifth Symphony by the punctuated with a quirky figure from the Adelaide Symphony Orchestra took solo clarinet which then becomes the basis for a fugal exposition. Bruckner’s place in April 1951 under the direction achievement here is to bring together of Henry Krips. aspects of the classical sonata ideal – with its sense of a dramatic journey away from and ultimate return to a Duration: 1 hour, 21 minutes central key and theme – with that of the

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16 Philanthropic Partners

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

Artistic Leadership Team 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

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

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

Principal 2nd Violin Associate Principal Michael Milton Violin Cello Ewen Bramble The Friends of the Judith Coombe ASO in memory of In memory of John Turnidge AO Ann Belmont OAM Don Creedy & Patricia Rayner

Associate Principal 2nd Violin Lachlan Bramble Violin Cello In memory of Danielle Jaquillard Sarah Denbigh Deborah Pontifex K & K Palmer An anonymous donor

Violin Violin Cello Janet Anderson Julie Newman Chris Handley In memory of Graeme & Bruce & Pam Gweneth Willing Susan Bethune Debelle

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

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

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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 Mary Louise Simpson Dr M Crotty Dr Sing Ping Ting Jan & Peter Davis Anonymous (2) 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 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 Merry Wickes David & Pam McKee Dr Betsy Williams Milk and Honey Enterprises Dr Richard Willing Nunn Dimos Foundation Jane Wilson Perpetual Foundation – The Henry and Patricia Dean 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 Ann Piper Jane Doyle Teresa Robinson ($1,000 - $2,499) David & Janet Rice Pamela Fiala, in memory Trevor & Tanya Rogers Neil Arnold Garry Roberts & Lynn of Jiri David & Anne Rohrsheim A. Prof Margaret Arstall Charlesworth Otto Fuchs Jill Russell Australian Decorative David Robinson John Gazley Arnold D Saint AM & Fine Arts Society Lee Ross-Solomon Joan & Len Gibbins Frank & Judy Sanders Adelaide Richard Ryan AO & Trish Dr Peter Goldsworthy AM Robin Sanderson Rob Baillie Ryan & Lisa Temple David Scown Peggy Barker Warren & Margaret Sally Gordon & Gary Tony & Cathy Smith Scharer Smith Judy Bayly Jim & Anne Spiker Larry & Maria Scott Byron Gregory Prof Andrew & Prof W & H Stacy Elizabeth Bersten Gwennyth Shaughnessy Dieter & Eva Groening Katherine Stanley-Murray The Hon D J & E M Bleby Professor Ivan Shearer Eleanor Handreck Geoffrey Syme Liz Bowen AM Dr Tony Hobby Verna Symons Gillian Brocklesby Beth & John Shepherd D G W Howard Geoffrey Taylor Richard & Kathy Carter Dorothy Short Don Howell John & Annette Terpelle In memory of Emeritus Nigel Steele Scott Diana Jaquillard Lynn & Christine Professor Brian Coghlan Christopher Stone Gregory & Lynette Jaunay Trenorden Josephine Cooper Anne Sutcliffe Dr Iwan Jensen Leonard Turner Graham Crooks Stephanie Thomson Rosemary Keane Dr Robert Waltham Tony & Rachel Davidson Guila Tiver Bellena Kennedy Robert Warner Von Davis Anne Tonkin Professor G C & R Weir Bruce Debelle AO, QC Jenny & Mark Tummel AO & Melinda Parent Robert Willis Anne Eleanor Dow James W Vale Pat Lescius & Michael Janet Worth Deborah Down Ann Wells McClaren Dawn Yeatman Dr Alan Down & The Hon Dr Richard Willis AM Mark Lloyd & Libby Anonymous (18) Catherine Branson AC Anonymous (12) Raupach QC Susan Lonie Tutti Patron Donald Scott George Soloist Patron Margaret Lyall ($250 - $499) Kate Gould ($500 - $999) Don Manifold Lois and Jane Greenslade Melvyn Madigan 123 donors. A complete Dr E Atkinson & J Hardy list of these donors can RJ, LL & SJ Greenslade Ruth Marshall and Tim Charles & Catherine be found at aso.com.au/ Muecke Peter R Griffiths Bagot aso-donors Donald Growden Barbara Bahlin Lee Mason Barbara May In memory of Geoffrey Liz Baines Donor Hackett-Jones Peter McBride John Baker ($2 - $249) Daniel & Sue Hains Jacqueline McEvoy Lesley Baker The ASO would like to Michael & Janet Hayes R & SE Bartz Janet & Ian McLachlan thank the 690 donors Robert Hecker Ruth Bloch Joanna McLachlan who gave other amounts. Margo Hill-Smith Dianne & Felix Bochner Rory & Sally Mooney Clayton & Susan Hunt Stephen Bone Dr Craig Mudge AO & In memory of Alfred McLeod, Maureen Mudge Alexandra Jarvis Dr James & M Brooks former Trombonist, donated Dora Avella-O’Brien Elizabeth Keam AM Elizabeth & Max Bull by the ASO Players Association. Dr Kenneth O’Brien Dr Ian Klepper Rob & Denise Buttrose Christine L Odgers Hon Diana Laidlaw AM John & Flavia Caporn Dr Oseka Onuma & Sonja Brett Dixon R Corney Latzel Dr Scott C Y Ma Stephen Courtenay Frank Markus Rosemary and Lew Suzette Crees Owens Bob Maynard Michael Critchley Captain R. S. Pearson, Melissa Bochner Drs Ruth & David Davey CSC & Jan Pearson Skye McGregor Mark de Raad & Adrian Martin Penhale Dr Neil & Fay McIntosh Bennett Donald G Pitt Kerrell & David Morris Duncan Hugh Dean & Josephine M Prosser Matthew Norton Judith Peta Fradd Mark Rinne Jocelyn Parsons Fr John Devenport Drs I C & K F Roberts- Correct as at 3 July 2019 Tom F Pearce Kay Dowling Thomson 21 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 MATINEE SERIES Mozart at Elder Two A delicious way to spend a lunchtime basking in the sound of the ASO.

Mozart Lucio Silla: Overture Jolivet Bassoon Concerto Mozart Symphony No.36 ‘Linz’

Thaddeus Huang Conductor Mark Gaydon Bassoon Graham Abbott Presenter July Wed 24 11.30am Elder Hall

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