Joyous Reminiscence

SYMPHONY SERIES 1 ADELAIDE SYMPHONY Joyous ORCHESTRA Reminiscence SEASON 2021

12 & 13 February Festival Theatre

SYMPHONY SERIES 1 Joyous Reminiscence

February Dane Lam Conductor Lauren Fagan Soprano Fri 12 & Sat 13, 6.30pm Festival Theatre

Jack Buckskin and Jamie Goldsmith Pudnanthi Padninthi (arr./orch. Mark Simeon Ferguson) (‘The Coming and the Going’)

Elena Kats-Chernin Big Rhap

Barber Knoxville: Summer of 1915, Op.24 Lauren Fagan Soprano

Tchaikovsky Symphony No.4 in F Minor, Op.36 Andante sostenuto – Moderato con anima Andantino in modo di canzona Scherzo (Pizzicato ostinato) Finale (Allegro con fuoco)

Duration Listen Later This concert runs for approximately 70 minutes, This concert will be recorded for delayed and will be performed without interval. broadcast on ABC Classic. You can hear it again at 1pm on 4 March.

The ASO acknowledges that the land we make music on is the traditional country of the Kaurna people of the Adelaide Plains. We pay respect to Elders past and present and recognise and respect their cultural heritage, beliefs and relationship with the land. We acknowledge that this is of continuing importance to the Kaurna people living today. We extend this respect to all Aboriginal and Torres Strait Islander people who are with us for this performance today. 3 Vincent Ciccarello MANAGING DIRECTOR

I wonder if, like me, you breathed a In another significant initiative, we sigh of relief when we said ‘goodbye’ to greet you tonight with the premiere 2020? It was a year of unprecedented of our specially-commissioned Kaurna challenges for so many of us, one in Acknowledgment of Country, Pudnanthi which our inner reserves of strength were Padninthi (‘The Coming and the Going’), tested as never before. The community’s composed by two proud Kaurna support for the Orchestra during this Narungga men, Jack Buckskin and bleakest of periods was incredible, and Jamie Goldsmith. In the arranging and the ASO team is deeply thankful for orchestrating of this new music, they your continued engagement with us, have worked closely with fellow musician particularly during the many months Mark Simeon Ferguson. when the musicians could perform for Among the many Australian artists you only via your nearest screen. who will share the stage with the ASO When we returned to the Festival Theatre this year are tonight’s conductor Dane stage last September, I think everyone Lam, and your soloist, an exceptionally present was thrilled but, above all, talented young Sydney-born soprano Make a real difference with your savings and open a grateful, that the precious gift of live who has, until recently, been based in orchestral music-making was finally ours London; it’s a thrill to welcome Lauren Community Reward Account with Beyond Bank Australia. again. And it’s with that profound sense Fagan here for her first professional The more you save, the more Beyond Bank will donate of gratitude that I welcome you, warmly, appearance in Australia. to the Orchestra’s 2021 season – our to the Adelaide Symphony Orchestra at no cost to you. If the word of 2020 was “pivot” the word 85th year of continuous music-making. of 2021 may be “flexibility,” and as we’ve I’m proud of the season we’ll present seen in recent weeks, internal border Show your support and open a Community Reward Account for you in the coming months. I wanted arrangements can change very quickly. today. Call 13 25 85 or go to to draw your particular attention to our I ask for your patience this year as some focus on the work of composing women of our published plans may have to be www.beyondbank.com.au/reward throughout the year. In fact, this very amended as we manage circumstances first Symphony Series concert includes a we cannot now foresee. big, colourful work by one of Australia’s In the meantime, we’re working hard favourite composers, Elena Kats-Chernin. behind the scenes to present an exciting, To ensure a greater representation eye-opening second half of the season of female composers – past, present for you; and we hope to be able to share and future – in the work of the ASO, those plans with you in May. we have established the Miriam Hyde Circle, named after one of Australia’s With all good wishes for your enjoyment foremost pianists, composers and music of tonight’s concert. educators. To find out how you can get involved in this initiative, please see page 10 of this program.

Make a real difference with your savings and open a Community Reward Account with Beyond Bank Australia. The more you save, the more Beyond Bank will donate to the Adelaide Symphony Orchestra at no cost to you.

Show your support and open a Community Reward Account today. Call 13 25 85 or go to www.beyondbank.com.au/reward

The young Australian-Chinese conductor, In his other musical home, the ancient Dane Lam, Principal Conductor of China’s city of Xi’an, the Xi’an Symphony Xi’an Symphony Orchestra, enjoys a Orchestra has grown in stature under career spanning three continents. With Dane’s leadership. Since assuming the a particularly close relationship with post of Principal Conductor in 2014, London’s Opera Holland Park (OHP), XSO’s classical subscription offering has he is equally at home in the theatre as almost doubled, while attendance has on the concert platform. increased commensurately. He led the first staged, professional operas in this Dane made his debut, aged only 18, 3000-year-old city with Tosca in 2015 with the Sydney Symphony at the and Le nozze di Figaro in 2016; he has Sydney Opera House and has since raised the artistic standard and profile of conducted many leading international the orchestra to attract such soloists as orchestras and opera companies José Carreras, Nikolai Demidenko, Midori including: the Queensland, Adelaide, Goto, Stephen Hough, Yundi Li, Anne Canberra, Dunedin, Kunming, Shandong Sophie Mutter, Feng Ning and Liwei Qin. and Suzhou Symphony Orchestras, Münchner Rundfunkorchester, Het Last season’s engagements included Residentie Orkest, City of London Dane’s debut with Opera Australia, Sinfonia, Manchester Camerata, South conducting La bohème; a return to Bank Sinfonia, Liverpool Philharmonic OHP for a new production of L’arlesiana; Ensemble 10/10, RTÉ Concert Orchestra, his mainstage debut with Opera Beethoven Orchester Bonn, Verbier Queensland in Gluck’s Orfeo ed Euridice; Festival Orchestra, Juilliard Orchestra Carl Davis’s A Christmas Carol with Het and Opera Australia, Opera Queensland, Residentie Orkest and De Dutch Don’t Scottish Opera, Chelsea Opera Group Dance Division in The Hague; concerts and Bury Court Opera. with the Adelaide and Suzhou Symphony Orchestras and the Orchestra of Scottish His London mainstage debut with OHP’s Opera; as well as a full season of La Cenerentola attracted widespread concerts with the XSO featuring soloists critical and popular acclaim. Subsequent Nikolai Demidenko, Barry Douglas, appearances at OHP have included Così Kirill Gerstein and Angela Hewitt, fan tutte, L’arlesiana, Don Giovanni, and masterworks including Mahler’s Aida, Il barbiere di Siviglia, Norma Symphony No. 6. and Will Todd’s Alice’s Adventures in Wonderland. Dane was honoured by Previously, Dane was Assistant Conductor the broader opera community with a to Kurt Masur at the Orchestre National nomination as Best Newcomer in the de France and a Young Artist with Opera International Opera Awards 2018. Queensland. He is an International Ambassador for the Royal Northern College of Music in Manchester.

6 Lauren Fagan SOPRANO

A graduate of Covent Garden’s prestigious (Debussy’s L’enfant prodigue), Blue Fairy Jette Parker Young Artist Program (Dove’s The Adventures of Pinocchio) and (JPYAP), Lauren Fagan has developed Giulia (Rossini’s La scala di seta). Recent into one of today’s most accomplished highlights elsewhere have included Roxana young sopranos and had the honour of (Szymanowski’s Krol Roger) under Sir representing her native Australia in the Antonio Pappano with the Accademia 2019 BBC Cardiff Singer of the World Nazionale di Santa Cecilia, Donna Elvira Competition. Her recent role debuts, in Mozart’s Don Giovanni with the NHK including Alcina for the Internationale Symphony Orchestra under Paavo Järvi, Händel-Festspiele in Karlsruhe, Violetta in as well as Donna Anna (Don Giovanni) Rodula Gaitanou’s new production of La and Musetta (Puccini’s La bohème) for her traviata for Opera Holland Park and Mimi company debuts with Opera Holland Park in La bohème for Opera North, were met and Welsh National Opera, respectively. with unanimous critical acclaim for her A frequent performer on the concert richness of tone, thrilling top notes and stage, recent successes have included compelling stage presence. joining Sakari Oramo for Vaughan Plans for the 20/21 season included Williams’ Serenade to Music as part of two major company debuts for Lauren: the Last Night of the BBC Proms, Grieg’s as ‘Norma’ in the highly-anticipated Peer Gynt with Orchestre national de special project 7 Deaths of Maria Callas, Lyon under Leonard Slatkin, R. Strauss’ conceived by Marina Abramovic for Vier letzte lieder for Malmö Opera under Bayerische Staatsoper and conducted by Karen Kamensek, and Agnès in concert Yoel Gamzou, and as Giulietta in Andreas performances of George Benjamin’s Homoki’s new production of Les Contes Written on Skin with the Melos Sinfonia d’Hoffmann at Opernhaus Zürich under at LSO St Luke’s, London and in St. Antonino Fogliani. Petersburg at the Mariinsky Theatre. Beethoven’s Symphony No.9 features Fagan returned to the Royal Opera regularly in Lauren’s schedule, including House, Covent Garden as Woglinde recent performances with Symphoniker in Keith Warner’s Ring Cycle under Sir Hamburg under Eivind Gullberg-Jensen Antonio Pappano in 2018, and during and with Oslo Philharmonic under her time as a member of the JPYAP she Klaus Mäkelä. appeared on the main stage and at the Linbury Theatre in an extensive repertoire including as Oscar (Verdi’s Un ballo in maschera), Suor Genovieffa (Puccini’s Suor Angelica), Giannetta (Donizetti’s L’elisir d’amore), Lila (Bruce’s The Firework-Maker’s Daughter), Ines (Verdi’s Il trovatore), Sophie (Massenet’s Werther), Jemmy (Rossini’s Guillaume Tell), Lia 7 Adelaide Symphony Orchestra

Principal Guest Conductor Mark Wigglesworth

Violins Cellos Contra Bassoon Wilma Smith** Simon Cobcroft** Jackie Newcomb* (Guest Concertmaster) Ewen Bramble~ Cameron Hill** Sarah Denbigh Horn (Associate Concertmaster) Christopher Handley Adrian Uren** Shirin Lim* (Principal 1st Violin) Sherrilyn Handley Emma Gregan Belinda McFarlane** Gemma Phillips Philip Paine* (Guest Principal 2nd Violin) David Sharp Timothy Skelly Lachlan Bramble ~ Cameron Waters Thalia Huston (Associate Principal 2nd Violin) Janet Anderson Double Basses Trumpet Ann Axelby David Schilling** Joshua Rogan** Helen Ayres Jonathon Coco~ (Guest Principal) Erna Berberyan Harley Gray Martin Phillipson~ Minas Berberyan Belinda Kendall-Smith Gregory Frick Gillian Braithwaite Holly Little Julia Brittain Robert Nairn Trombones Hilary Bruer Colin Prichard** Elizabeth Collins Flutes Ian Denbigh Jane Collins Geoffrey Collins** Judith Coombe Lisa Gill Bass Trombone Belinda Gehlert Amanda Tillett* Danielle Jaquillard (Guest Principal) Piccolo Michael Milton Julia Grenfell* Jennifer Newman Tuba Julie Newman Peter Whish-Wilson* Oboes Emma Perkins Joshua Oates** Kemeri Spurr Timpani Renae Stavely~ Andrew Penrose* Violas Cor Anglais Andrew Jezek** Percussion Peter Duggan* (Guest Principal) Steven Peterka** Justin Julian~ Jamie Adam Clarinets Martin Butler Amanda Grigg Lesley Cockram Dean Newcomb** Darren Skelton Linda Garrett Harp Anna Hansen Suzanne Handel* Rosi McGowran Bass Clarinet Mitchell Berick* Michael Robertson Celeste Cecily Satchell Jamie Cock* Bassoons (Guest Principal) Mark Gaydon**

Leah Stephenson ** denotes Section Principal ~ denotes Associate Principal * denotes Principal Player

Flowers supplied by 8 ASO Management

ASO Board Contra Bassoon Kate Gould Chair Development Jackie Newcomb* Anton Andreacchio Annemarie Kohn Senior Manager, Development Horn Freddy Bartlett Nicole McKenzie Development & Events Coordinator Adrian Uren** Vincent Ciccarello Emma Gregan Andrew Daniels Finance, People & Culture Philip Paine* Elizabeth Davis Shelley Woodward Senior Manager, Accounting Timothy Skelly Sherrilyn Handley Sophia Cichowski Accountant Thalia Huston Karen Limb Karin Juhl Accounts Coordinator Sarah McBride Payroll & People Coordinator Trumpet Executive Joshua Rogan** Vincent Ciccarello Managing Director Friends of the ASO Executive Committee (Guest Principal) Shivani Marx General Manager, People, John Terpelle President Martin Phillipson~ Culture & Operations Michael Critchley Past President Gregory Frick Shecky Kennedy Executive Assistant Allan Hunt AM Vice President Ruth Ormrod Vice President Artistic Trombones Judy Birze Treasurer/Public Officer Simon Lord Director, Artistic Planning Colin Prichard** Alison Campbell Membership Secretary Elizabeth McCall Learning & Community Ian Denbigh Ruth Bloch Secretary Projects Manager Janet Carey Learning & Community Coordinator Bass Trombone Nadina Paine Artistic Coordinator Amanda Tillett*

(Guest Principal) Special Programs & Production Sarah Bleby Director, Special Programs & Tuba Production Peter Whish-Wilson* Tom Bastians Senior Manager, Box Office & Customer Service Timpani William Jarman Production Coordinator Andrew Penrose* Emma Wight Administrative Assistant/Reception Leigh Mack Subscriptions & Ticketing Coordinator Percussion Steven Peterka** Operations Jamie Adam Karen Frost Orchestra Personnel Manager Amanda Grigg Ashley Retter Orchestra Coordinator Bruce Stewart Orchestral Librarian Harp Suzanne Handel* Marketing Renato Capoccia Senior Manager, Marketing Celeste Cheree McEwin Publicist Jamie Cock* Nicola Cann Marketing Assistant (Guest Principal) Georgie Phillips Marketing Assistant denotes Section Principal denotes Associate Principal denotes Principal Player

9 B.1957 Elena Kats-Chernin

Big Rhap The Miriam Hyde Circle is a new When I think of Franz Liszt, I think of a initiative committed to ensuring virtuoso with an open and seductive a greater representation of female nature, and an intriguing composer who composers – past, present and was unambiguously dramatic. His music future – in the work of the ASO. always reminds me of elements like wind, fire and water. My mother used to play Miriam Hyde AO OBE (1913–2005) the second Hungarian Rhapsody when was one of Australia’s foremost we lived in Yaroslavl in Russia. pianists, composers and music In writing this piece I am transferring educators of the 20th century and, my early memories of the spectacle, in naming the Circle after her, we the merriness and the hyperbole of honour her trailblazing spirit. what I saw and heard in my living room to paper! I didn’t actually consult the The inaugural chair of the score of Rhapsody No.2, so this is not a Miriam Hyde Circle is the transcription or an arrangement of the Hon. Catherine Branson AC QC. actual notes but a sketch from my young self, whose enthusiastic mind’s ear was As a member, you will be invited indeed seduced and enlivened by the to special events to meet and hear high spirits of Liszt’s vision. Certain things from leaders from the cultural imprinted themselves indelibly on my and business sectors. Membership imagination: the noble (and a bit scary) in this giving circle makes a real opening that suggests both triumph and difference to the representation treachery, the motoric regularity of the ‘friska’ and the way the ‘lassan’ made of orchestral music by women, me feel the pain of a shivering and through supporting performances wounded heart. by the ASO of lost and forgotten music of the past, and the creation Elena Kats-Chernin © 2017 of new music by female composers.

DURATION 10 minutes If you are interested in joining the Miriam Hyde Circle, please contact PERFORMANCE HISTORY Big Rhap was premiered by the Melbourne Annemarie Kohn, Senior Manager, Symphony Orchestra and conductor Development on 8233 6263 or Bramwell Tovey in 2017. These are the [email protected] Adelaide Symphony Orchestra’s first performances of the work.

10 A Portrait of Miriam Hyde: Miriam’s daughter, Christine Edwards, reflects on her mother’s life and acheivements

“I believe my mother was so successful composition professor there encouraged in her musical career through abundant her to develop it into a piano concerto, talent and sheer hard work. She did not with orchestra. The sheer exuberance attempt to be conspicuous in a career, and energy and joie-de-vivre brings but felt a responsibility to use her talent, me to tears (it is happening again as I and to use music to help others. Being type!) every time. I think it also reflects a woman composer in the early 20th her excitement about living in the great century in Australia, it was not easy to city of London, the privilege and stimulus be recognised and to have one’s works of her musical environment at the performed (especially orchestral works). Royal College of Music. For a 19 year- old girl from Adelaide to conceive the She was used to hard work even in orchestration was a quantum leap from her school days, when she telescoped anything she had written before then. her schooling by taking lessons and The thrill of performing it with one of the studying in her holidays, so that she top orchestras in London, the London could matriculate early in order to start Philharmonic Orchestra, must have been the Bachelor of Music course at the one of the greatest experiences of her Elder Conservatorium of Music. The Elder life. Later, in 1975, she recorded it with Overseas Scholarship was only available the West Australian Symphony Orchestra every fourth year, and she had her heart at the age of 62. The strength, security set on winning it. She was only 18 when and accuracy is amazing. she graduated with Mus. Bac. Honours, and 19 when she took up her Elder How do I think she would feel about the Overseas Scholarship for study at the Miriam Hyde Circle being named in her Royal College of Music in London (1932- honour? She would have been surprised 35). Throughout her life she felt indebted and honoured. She was incurably modest to the people of Adelaide who helped her and quiet in her achievements, and get to London. always conscious of her Adelaide roots.” The major work that stuns me every time With thanks to Christine Edwards I listen to it is her first Piano Concerto. Image credit: Portrait of Miriam Hyde, 1988, She had written a single-movement David Franklin concert piece for piano solo before she left Adelaide for London, and her 11 1910—1981 Samuel Barber

Knoxville: Summer of 1915, Op.24 In February 1947, the well-known American soprano Eleanor Steber had Text by James Agee asked the composer to write something Lauren Fagan Soprano for her voice and orchestra. At first thinking her voice was too small to stand When Samuel Barber first read James up against a symphony orchestra, Barber Agee’s prose poem Knoxville: Summer was inspired to work by Agee’s words of 1915, he was struck by how easily it and wrote Knoxville in a very short space could have been a description of his own of time. His doubts about the singer childhood. After he had set the text to dissipated, especially after a number of music, Barber made contact with the piano rehearsals and workshops, where author and they discovered a series of she suggested some minor changes that coincidences about their lives. They were made the piece more ‘singable’. For exactly the same age; they had musical example, in some sections the voice was aunts; the basic elements of Knoxville set too low to carry over an orchestra. (porches with rocking chairs, back yards, Steber premiered the work, in its original trolley cars) were shared by both men. large-orchestra version, with Serge And, given the almost iconic status this Koussevitsky and the Boston Symphony work has since achieved in American Orchestra. Barber was disconsolate at musical circles, it seems that these were being unable to leave Rome to hear the familiar things to many others as well. premiere, and made his friend Gian Carlo According to one contemporary critic, Menotti (who had been present) tell this setting was as ‘as clear and original him every detail of the occasion during and American as anything yet written’. the course of a one-hour long-distance At the time he encountered the text of phone call (at Menotti’s expense!). Knoxville, Barber was coping with his Although more than pleased with father’s declining health, as well as the Eleanor Steber’s performance, Barber impending death of his aunt, the famous revised the work in 1949 for a smaller contralto Louise Homer. The composer orchestra, which made it more likely to wrote to an uncle about his new work receive performances. for lyric soprano and orchestra: ‘The text Abridged from a note by Katherine Kemp moved me very much…This was actually © Symphony Australia, 1998/2003 prose, but I put it into lines to make the rhythmic pattern clear. It reminded me so much of summer evenings in [Barber’s DURATION 16 minutes home town] West Chester, now very far PERFORMANCE HISTORY away, and all of you are in it!’ Barber The first Symphony Australia network dedicated Knoxville to his father, whose orchestra performance of Knoxville: Summer death followed not long after the piece of 1915 was given by Joy Mammen with was completed; this makes the closing the Sydney Symphony in 1978, under few lines especially poignant. Hans-Hubert Schoenzeler. 12 Knoxville: Summer of 1915 We are talking now of summer evenings in Knoxville Tennessee in the time that I lived there so successfully disguised to myself as a child. …It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt: a loud auto: a quiet auto: people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard, and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber. A streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter; fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose. Low on the length of lawns, a frailing of fire who breathes… Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums. On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there….They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine,… with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am. James Agee Text reproduced by kind permission of G. Schirmer Australia Pty Ltd

13 1840—1893 Peter Ilyich Tchaikovsky

Symphony No.4 in F Minor, Op.36 in a long-term relationship which produced three children, and her mental illness only Andante sostenuto – Moderato developed after Tchaikovsky’s death. con anima – Moderato assai, quasi Andante – Allegro vivo Second, the then chronically impecunious Tchaikovsky was aware Andantino in modo di canzona that Antonina would shortly inherit a Scherzo (Pizzicato ostinato) – Allegro respectable sum; she effectively offered him a dowry. In later years, Tchaikovsky Finale (Allegro con fuoco) admitted that his treatment of Antonina had been inexcusable, and supported You know the old story. In 1877, her financially; she scrupulously avoided Tchaikovsky received a declaration of making any public criticism of him love from Antonina Milyukova, who, even after his death. Tchaikovsky’s being a nymphomaniacal psychopath, correspondence makes clear that the threatened suicide if Tchaikovsky incompatibility between composer refused to marry her. The composer, and wife was the result of ‘cultural hoping to save Antonina and cure his differences’ rather than sexual horror. homosexuality, accepted the proposal, but within minutes of being married None of which is to say that the Fourth realised that he had made a terrible Symphony is not ‘about’ serious mistake. Within two months he had emotional and psychological states, attempted suicide himself before fleeing nor that the experience of a disastrous Moscow; Antonina quickly descended marriage didn’t affect Tchaikovsky’s into madness and Tchaikovsky poured his emotional equilibrium. The other woman anguish into his Fourth Symphony and in Tchaikovsky’s life, Nadezhda von the opera Eugene Onegin. Meck, his patron, wrote to him of the work’s ‘profound, terrifying despair’. Thanks to musicologist Alexander The composer, famously, insisted in his Poznansky, we can now see this well- correspondence with Meck that ‘where known scenario for the load of rubbish words finish, music begins’ and that a that it is. The composer seems at no time program explaining the meaning of the to have been anguished by his sexuality music would necessarily be imprecise. and his decision to marry Antonina Nonetheless he did say (never dreaming stemmed from other causes. this would become public): First, there was the issue of social the main idea...is expressive of the idea of propriety. Tchaikovsky made it clear to fate, that ominous power which prevents Antonina that the relationship would the success of our search for happiness. be platonic. Antonina’s threatened This power hangs constantly over our suicide seems to have been more of a heads, like Damocles’ sword. There is no literary device, along the lines of ‘I’ll die alternative but to submit to fate. without…’ After their marriage she lived

14 The theme of ‘fate’ is the powerful the New Grove Dictionary of Music and brass fanfare which opens the first Musicians: movement, and which returns at Both words and setting are significant. climactic moments in this and the The birch tree is solitary, and it is the last movement. Contrasting with this image of a woman…The crowd that is a conventional pair of ‘subjects’ or gathers is of unmarried women who thematic groupings. The first, marked perform a round dance and then throw moderato, is characterised by a waltz their wreaths into the stream. Those tempo kept on its toes by cross-rhythm; whose wreaths float on the surface of the the second, according to Tchaikovsky, water will marry; those whose wreaths represents the world of dreams into sink will not. which we are tempted to escape. Scholar Leon Botstein has argued that Tchaikovsky’s view of Antonina was Tchaikovsky’s use of repetition in the clearly not unsympathetic, despite the course of this movement is emblematic baleful intrusion of the Fate music. of the obsessive state of mind that the Importantly, however, we should music depicts. But fate keeps obtruding remember that the ‘profound, terrifying (undermining the principles of sonata despair’ of this work is created by an design) and eventually disperses the artist in full control of his technical imagery of dreams. resources. In the second movement, Tchaikovsky Interpretation of this symphony has again uses seemingly literal repetition inevitably been compromised by the of the thematic material, but as Botstein fatuous rehashing of ‘biographical’ notes the ‘background and foreground details, making it a document of hysteria changes’ as different dialogues between and despair. George Bernard Shaw theme and countermelody are explored. surely got it right when he praised the symphony’s ‘freedom from the frightful The Scherzo has been interpreted as effeminacy of most modern works of the the reassertion of reality. Its celebrated Romantic school.’ pizzicato-dominated string writing has an implacable character, but it also Abridged from a note by serves to provide a bridge between the Gordon Kerry © 2002 introspection of the second movement and the extrovert nature of the Finale. DURATION 45 minutes The composer’s explanation for the Finale’s festive nature was: ‘If you find PERFORMANCE HISTORY no cause for joy within yourself, look The first Australian performance of for it in others. Look, they know how to Tchaikovsky’s Fourth Symphony was by the enjoy themselves, giving themselves up South Australian Orchestra in Adelaide in to undivided feelings of pleasure.’ This 1926. The ASO most recently performed has obscured an important aspect of the the work with conductor Nicholas Carter Finale – Tchaikovsky’s quote of an actual in 2017. folk-tune, ‘In the field a little birch tree stood’. As Roland John Wiley notes in 15 Support Adelaide Symphony Orchestra giving circles create a your ASO strong connection between music lovers and South Australia’s leading performing arts company. By joining this special group of donors, your generosity will help secure the future of your ASO for generations to come.

The extraordinary benefactors of the Conductors’ Circle directly support the work of the ASO’s Artistic Leadership Team. “Conductors’ Circle members have been offered great opportunities to meet with visiting conductors, to learn more about their particular interpretations of new and old works – and then see them perform and understand the nuances of how they bring the very best out of our orchestra.” – Didy Mclaurin Conductors’ Circle member and ASO Philanthropic Ambassador

Artistic Leadership Team

Paul Rissmann Mark Wigglesworth  Cathy Milliken Principal Guest Composer in Creative Partner Conductor Association Supported by Roger Supported by Mary & Helen Salkeld and the FWH Foundation Louise Simpson, in honour of her mother, Grace Margaret McArthur

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

16 The Miriam Hyde Circle is an initiative committed to ensuring a greater representation of female composers – past, present and future – in the work of the ASO. Miriam Hyde AO OBE (1913–2005) was one of Australia’s foremost pianists, composers and music educators of the 20th century and, in naming the Circle after her, we honour her trailblazing spirit. The inaugural chair of the Miriam Hyde Circle is the Hon. Catherine Branson AC QC. As a member, you will be invited to special events to meet and hear from leaders from the cultural and business sectors. Membership in this giving circle makes a real difference to the representation of orchestral music by women, through supporting performances by the ASO of lost and forgotten music of the past, and the creation of new music by female composers.

Leaving a bequest to the ASO will ensure that your love of music lives on. It is an enduring way to celebrate the role music has played in your life and will provide significant financial support for the ASO. Each bequest, no matter what size, contributes to the ASO’s future success. The Grainger Circle comprises like-minded individuals who are leaving a gift to the ASO in their Will. Members are invited to exclusive events and receive the ASO’s donor newsletters.

Annual Our Annual Giving program is the backbone of philanthropy at the Giving ASO, providing the resources to make our orchestra the exceptional ensemble you see on stage each night. Donations can be made year round and gifts of any size are welcome, and much appreciated. A list of our generous donors can be found on page 20 of this program. Please use the contact details below for more details on making a gift.

To make a confidential and obligation-free enquiry about joining a giving circle, or to make a donation, please contact Annemarie Kohn, Senior Manager, Development on 8233 6263 or [email protected]. Adelaide Symphony Orchestra Pty Ltd is a not-for-profit organisation and Registered Charity.

17 Musical Chair donors form a deeper engagement with the Musical Chairs artists performing the music they love. Chair support starts at $2,500 renewed annually.

Associate Principal Viola Concertmaster Justin Juilian Vacant Violin (on trial) Colin Dunsford AM Gillian Braithwaite John Sulan QC & & Lib Dunsford Mary Dawes BEM Ali Sulan

Associate Viola Concertmaster Violin Martin Butler Julia Brittain Cameron Hill John & The Baska Family Anonymous donor Emmanuelle Pratt

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

Principal 2nd Violin Associate Principal Vacant Violin Cello Friends of the ASO Judith Coombe Ewen Bramble 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 Anonymous donor

Violin Violin Cello Janet Anderson Michael Milton Chris Handley In memory of Judy Birze & Bruce & Pam Gweneth Willing Ruth Bloch Debelle

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

Principal Viola Cello Violin Vacant Gemma Phillips Minas Berberyan In memory of Anonymous Merry Wickes Mrs JJ Holden donor Associate Cello Principal Oboe Associate David Sharp Renae Stavely Principal Horn Dr Aileen F Roderick Shire & Sarah Barrett Connon AM Judy Hargrave Margaret Lehmann

Horn Cello Principal Emma Gregan Cameron Waters Cor Anglais The Richard Wagner Peter & Peter Duggan Society of South Pamela McKee Dr Ben Robinson Australia Inc.

Principal Clarinet Principal Trombone Principal Bass Dean Newcomb Colin Prichard David Schilling Hon David Wotton AM Andrew & Daniel & Sue Hains & Jill Wotton Barbara Fergusson

Associate Bass Clarinet Jonathon Coco Darren Skelton Trombone John Sulan QC & In memory of Keith Ian Denbigh Ali Sulan & Susie Langley Anonymous donor

Principal Principal Bass Clarinet Bass Trombone Bass Mitchell Berick Howard Parkinson Harley Gray Nigel Stevenson & Ian Kowalick AM Bob Croser Glenn Ball & Helen Kowalick Bass Belinda Kendall-Smith Principal Tuba Peter Whish-Wilson Cello In memory of Principal Bassoon Sarah Denbigh Drs Nandor Ballai & Mark Gaydon Joan & Anonymous donor Georgette Straznicky Pamela Yule Ollie Clark AM

Principal Timpani Andrew Penrose Principal Flute Bassoon (on trial) Geoffrey Collins Leah Stephenson Drs Kristine Gebbie Pauline Menz Liz Ampt & Lester Wight

Principal Contra Principal Percussion Flute Bassoon Steven Peterka Lisa Gill Jackie Newcomb Friends of the ASO Dr Tom & Norman Etherington AM in memory of Sharron Stubbs & Peggy Brock Bev McMahon

Principal Piccolo Principal Horn Julia Grenfell Adrian Uren Chris & Julie Roderick Shire & Michelmore Judy Hargrave Annual Giving Daniel & Sue Hains Trevor & Elizabeth In memory of Margo Hill-Smith Rowan Marian Frost Diamond Patron Ian Kowalick AM & Richard Ryan AO & Trish Joan & Len Gibbins $25,000+ Helen Kowalick Ryan Lois and Jane Friends of the ASO Margaret Lehmann Linda Sampson Greenslade FWH Foundation Hugh & Fiona Anne & John Seaton Peter R Griffiths Lang Foundation MacLachlan OAM Gwennyth Shaughnessy Rob M Guyatt Peter & Pamela McKee Perpetual Foundation – Antony & Mary Lou Eleanor Handreck The Henry and Patricia Simpson Diana McLaurin Michael & Janet Hayes Dean Endowment Fund Nigel Stevenson & Andrew Thyne Reid Anthea Heal Martin Phillipson Glenn Ball Charitable Trust Robert Hecker John Sulan QC & Dr Nora Straznicky Roger & Helen Salkeld Clayton & Susan Hunt Ali Sulan Dr Tom & Sharron Mary Louise Simpson Dr Wilfrid Jaksic Shirley Uhrig Stubbs Dr Sing Ping Ting Dr Iwan Jensen Pamela Yule David & Linnett Turner Anonymous (2) Anita & Andrew Just Anonymous (4) John Turnidge AO & B J & V C Kearney Patricia Rayner Platinum Patron Angus Kennedy Silver Patron Merry Wickes $10,000–$24,999 Michael & Audrey Kent $2,500–$4,999 Dr Betsy Williams R & M Champion De Richard & Robyn Leeson Liz Ampt Dr Richard Willing Crespigny Foundation Susan Lonie A. Prof Margaret Arstall Anonymous (5) Graeme & Susan Pat Lescius & Michael Prof Andrew & Prof Bethune McClaren Elizabeth Bersten Maestro Patron Boileau Family Trust Margaret Lyall Richard & Kathy Carter $1,000–2,499 The Hon Catherine Dr Scott C Y Ma Branson AC QC Vincent & Sandra The Aldridge Family Ciccarello Endowment Leo Mahar Rosemary Czernezkyj Joan & Ollie Clark AM Neil Arnold Ian Maidment Colin Dunsford AM & Frank Markus Lib Dunsford Geoffrey Collins Australian Decorative & Fine Arts Society Dr Rosemary Jones Robert Kenrick Dr Aileen Connon AM Adelaide Lee Mason Joan Lyons Ruth Creedy Barbara Bahlin Bob Maynard Pauline Menz Tony & Rachel Davidson John Barker & Skye McGregor Robert Pontifex AM Jan & Peter Davis Rebecca Read Diane Myers Andrew & Gayle Margaret Davis Brenton Barritt John & Anne O’Flaherty Robertson Mary Dawes BEM R & SE Bartz Tom F Pearce In memory of Anne Norman Etherington AM Dr Robert & Elizabeth Roman & Peggy Brock Martin Penhale Bauze In memory of Rodney Anthony & Margaret Malcolm & Margaret The Hon D J & E M Bleby Crewther Gerard Phillipps Ruth Bloch Roderick Shire & Judy Dr Ian Klepper Ann Piper Hargrave In memory of Keith & Dianne & Felix Bochner Donald G Pitt Anonymous (1) Susie Langley Liz Bowen Bee Soo Poh David & Ann Matison Dr Alison Bull Russell & Maureen Pope Gold Patron Johanna & Terry Elizabeth Bull Josephine M Prosser $5,000–$9,999 McGuirk Alan & Patricia Burgess Diana Roberts A & R Kaldor Family Chris & Julie John Caporn Trevor & Tanya Rogers Foundation Michelmore Dr G & R Chittleborough David & Anne ASO Players Association David Minns Elizabeth & John Clapp Rohrsheim The Baska Family Kerrell & David Morris In memory of Emeritus In Memory of Frank Bob Croser K & K Palmer Professor Brian Coghlan Sanders Bruce & Pam Debelle Christine Perriam Josephine Cooper Warren & Margaret Andrew & Barbara John & Jenny Pike Legh & Helen Davis Scharer Fergusson John & Emmanuelle Geoffrey Day OAM Dr Kathryn Schuller Drs Kristine Gebbie & Pratt Dr Alan Down & The Beth & John Shepherd Lester Wright Diane Ranck Hon Catherine Branson Roderick Shire Sally Gordon & Richard Wagner Society AC QC Dorothy Short Gary Smith of South Australia Inc Jane Doyle Dr Janis Svilans James & Dr J B Robinson Prof Robert Fraser AM Julie Spry 20 Jacqueline Hahn Nigel Steele Scott Suzette Crees Mary Lindon Stuart & Stephanie Geoff & Marilyn Syme Michael Critchley Steven Liu & William Thomson Dr M Tingay & A Dr Richard & Marie Adcock Dr Petra Tietjens Robinson Curnow Mark Lloyd & Libby Graeme & Wendy Guila Tiver John Daenke & Janet Raupach Townsend Anne Tonkin Hawkes Dr Megan Lloyd Daphne Treloar Lynn & Christine Paul & Annie Dale John H Love Dr Raluca Tudor Trenorden DE + VR Davey Melvyn Madigan Jenny & Mark Tummel Myffie Trudinger Von Davis Ruth Marshall & Tim James W Vale Mr and Mrs Jacob and Mark de Raad & Adrian Muecke Dr Francis Vaughan Rosalie Van Dissel Bennett Rosalind Martin Gregory & Dianne Ann Vanstone Duncan Hugh Dean & Sarah Martin Veitch Prudence Warnecke Judith Peta Fradd Barbara May John Vickery OAM Bob Warner & Jill Hill Rosemary de Meyrick Melissa Bochner Prof Lesley Warner J Whitehead Dr J K Denton Aaron McBride Ian Webber Hon David Wotton AM Fr John Devenport Marion McCall OAM G C & R Weir & Jill Wotton Peter Dobson Anne McCutcheon & Paul & Lorraine White Anonymous (19) Anne Eleanor Dow Peter Richards Jacinta Wojt Kay Dowling Heather Janet Anonymous (30) Soloist Patron Bruce & Elizabeth McDonald $500–$999 Duncan Joy & Stephen Tutti Patron Elinor Alexander Leonie Ebert McDonald $250–$499 Meg Alexander Conxita Ferrer Jacqueline McEvoy 240 donors. A complete Julie Almond Pamela Fiala, in G & B Medlin list of these donors Elizabeth Alpers memory of Jiri Fiona Morgan can be found at Brent & Irena Atherton William Frogley Alyson Morrison aso.com.au/aso-donors Rodney Attwood Otto Fuchs Dr Craig Mudge AO and A H & J A Baghurst Mary Garrett Mrs Maureen Mudge Donor $0–$249 Dr Peter & Elaine Bailey John Gazley Wendy Niehuus The ASO would like to John Baker John Gell Tim O’Loughlin thank the 1470 donors Barbara Green Rosemary & Lew Owens Robert & Barbara who have given other Jocelyn Parsons Baldock Edward John Grinsted amounts. Dr Kristina Bamford William & Rosemary Captain Steve Pearson, Hague CSC & Mrs Jan Pearson Tom Bastians & Lucy ASO Players Association Eckermann Dr H & M Handley Frank Prez Donations in memory Graham Prime & Glenys Beckwith Madeleine Hedges of Alfred McLeod, Nathalie Wooldridge Betty Ward Foundation Verena Hewitt former Trombonist, Dr Melissa Bochner John Holden Allison Proudman Arthur Bone, former Ali Bogle Christine Houlson Alan & Barbara Raine Double Bass Player, Dr Warren & Elaine D G W Howard Jillian Read and Rosemary St John, former Harpist Bourne J & S Jackson David & Janet Rice Prof J & B Bradley Margaret James Drs I C & K F Roberts- Thomson Gillian Brocklesby Philip & Elise Jenkin Correct as at 1 Feb 2021 Dr Suzanne Roux Barbara Brown Silvana Jenkins Janine, Georgia & Jane Elizabeth Tim & Carrie Johnson Andrew Russell Brummitt Elizabeth Keam AM Jill Russell Judith Bunney Rosemary Keane Robin Sanderson Richard Burchnall Dr Alison Kent Meredyth Sarah AM Rosie Burn Dr Thomas Kimber & Frances Scobie Janet Carey Katrina Bochner Larry & Maria Scott Grant & Catherine Carr M & K Klopp W & H Stacy Trevor Casey Margaret Knight Gerrit Stafford Robert Clarke Hon Diana Laidlaw AM Kirsten Surikow Prof Les & Jenny Goffrey G Larwood OAM Anne Sutcliffe Cleland Harold Lawrence Dr Michael & Mary Colin Cornish Hon Anne Levy AO Tatchell Stephen Courtenay 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 MAJOR REGIONAL PARTNER

PHILANTHROPIC PARTNERS Dr Sing Ping Ting

Mary Louise Simpson FWH Foundation Andrew Kaldor AM and Renata Kaldor AO

WORLD ARTIST PARTNERS

CORPORATE PARTNERS

MEDIA PARTNERS

CORPORATE CLUB

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

GIVING CIRCLES

Beehive Corner ● Adelaide Arcade ● Central Market Arcade INDUSTRY COLLABORATORS Visitor Centre, Parkside ● Burnside Village ● Glenelg ● Golden Grove

Or shop online at haighschocolates.com Beehive Corner ● Adelaide Arcade ● Central Market Arcade

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

Or shop online at haighschocolates.com create a space for music. aso.com.au