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Adelaide Symphony Orchestra

10 October 8pm & 11 October 6.30pmFestival Theatre

The Advertiser gets you closer to the Adelaide Symphony Orchestra than ever before. More features. More interviews. More exclusive experiences.

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ACCESSALL AREAS

3ADELAIDE SYMPHONY MASTER SERIES

Festival Theatre 10 October 8pm & 11 October 6.30pm

SE NADELAIDE SYMPHONY ORCHESTRA 2014

VIVA ESPANA

Benjamin Northey Conductor Piers Lane Piano

Chabrier España

Falla Nights in the Gardens of Spain En el Generalife (In the Generalife)Danza lejana (Dance in the Distance) –En los jardines de la Sierra de Córdoba (In the Gardens of the Sierra of Córdoba)

Piers Lane - Piano

Ravel Alborada del gracioso

Ravel Rapsodie espagnole Prélude à la nuit (Très modéré) –Malagueña (Assez vif)Habanera (Assez lent et d’un rythme las)Feria (Assez animé)

Ravel Pavane pour une infante défunte

Ravel Boléro

This concert runs for approximately 134 minutes including interval. Friday evening’s performance will be recorded for broadcast on ABC Classic FM.

Classical Conversations - one hour prior to each performance in the Adelaide Town Hall.

Free for ticketholders. Violist Martin Butler discusses Maurice Ravel's kaleidoscopic sound world in this Hispanic-influenced program with musical examples from Principal Percussion Steven Peterka.

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benjamin northey conductor

Since returning to Australia from Europe in 2006, Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. Since 2011, he has held the position of Associate Conductor of the Melbourne Symphony Orchestra. From 2015, he becomes Chief Conductor of the Christchurch Symphony Orchestra.

Northey studied with John Hopkins at the University of Melbourne Conservatorium of Music and then with Jorma Panula and Leif Segerstam at Finland’s prestigious Sibelius Academy. In 2009, he was selected as one of three conductors worldwide to the Allianz International Conductor’s Academy where he conducted the London Philharmonic and the Philharmonia Orchestras under the mentorship of Wladimir Jurowsky and Christoph von Dohnanyi.

Internationally, he has conducted the London Philharmonic Orchestra, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic, National Symphony Orchestra of Colombia, New Zealand and Christchurch Symphony Orchestras, Auckland Philharmonia and the Southbank Sinfonia of London.

In Australia, Northey has made his mark through his many critically-acclaimed appearances as a guest conductor with all the Australian state symphony orchestras as well as opera productions including L'elisir d'amore, The Tales of Hoffmann and La sonnambula for State Opera of South Australia and Don Giovanni and Cosi fan tutte

for Opera Australia. Recordings include several orchestral releases for ABC Classics with the Melbourne, Sydney, Tasmanian, Adelaide and West Australian Symphony Orchestras.

2014 engagements included Carmen for Opera Australia, Into the Woods for Victorian Opera, Malaysian Philharmonic, New Zealand Symphony, Auckland Philharmonia, Melbourne, Sydney, Queensland, Tasmanian and West Australian Symphony Orchestras and the Christchurch Symphony Orchestra.

In 2015, he will return to all the major Australian orchestras, the HKPO, the NZSO and conduct Turandot for Opera Australia. Northey is an Honorary Fellow of the University of Melbourne Conservatorium where he is also a lecturer in conducting. He currently lives in Melbourne with his wife (the accomplished French Horn player Joanne Montesano) and their children.

© Patrick Togher Artists’ Management 2014

6 ADELAIDE SYMPHONY MASTER SERIES


piers lane piano

London-based Australian pianist Piers Lane is one of the most inquisitive and engaging live performers of his generation. Recent highlights include a performance of Busoni’s Piano Concerto at Carnegie Hall, Chopin’s complete nocturnes at Wigmore Hall, and the world premiere of Carl Vine’s Piano Concerto No.2 with the Sydney Symphony Orchestra, a piece composed especially for him. In addition, he has premiered works by Brett Dean, Dave Heath, Colin Matthews, Richard Mills, Carl Vine, Benjamin Wallfisch and Malcolm Williamson, among others. A five-time soloist at the BBC Proms, his concerto repertoire exceeds ninety works and has led to engagements with many of the world’s great orchestras. The 2013/14 season includes solo, chamber and orchestral dates to Australia, New Zealand, Belgium, Russia and the United States. He is in great demand as a collaborative artist and maintains a longstanding partnership with violinist Tasmin Little, clarinettist Michael Collins and the Goldner String Quartet.

Piers Lane has been the Artistic Director of the Australian Festival of Chamber Music since 2007, and he directed the annual Dame Myra Hess Day at the National Gallery in London from its inception in 2006 until 2013. From this sprang his collaboration with actress Patricia Routledge on a theatre piece entitled Admission: One Shilling, which has been performed throughout the UK, Australia and Belgium. He has written and presented over 100 programmes for BBC Radio 3, including the 54-part series, The Piano.

Piers Lane was appointed an Officer of the Order of Australia in June 2012 for distinguished services to the arts as pianist, mentor and organiser.


Principal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Associate Guest Conductor Nicholas Carter

Concertmaster Natsuko Yoshimoto

Musical Chair sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

VIOLINS Natsuko Yoshimoto** (Concertmaster) Cameron Hill** (Guest Associate Concertmaster)Shirin Lim* (Principal 1st Violin)

Musical Chair in the memory of Dr Nandor Ballai

Michael Milton** (Principal 2nd Violin)

Musical Chair supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Musical Chair supported in the memory of Deborah Pontifex

Janet Anderson Ann AxelbyMinas Berberyan

Musical Chair supported by Merry Wickes

Gillian BraithwaiteJulia BrittainHilary Bruer

Musical Chair supported by Marion Wells

Elizabeth Collins Jane Collins

Frances DaviesBelinda GehlertAlison HeikeWendy HeiligenbergDanielle Jaquillard Alexis Milton Jennifer Newman Julie Newman Emma Perkins

Musical Chair supported by Peter & Pamela McKee

Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Juris Ezergailis**

Musical Chair supported in the memory of Mrs JJ Holden

Linda Garrett ~

(Guest Associate) Martin ButlerLesley CockramAnna HansenNatalie MaegraithRosi McGowranMichael RobertsonCecily Satchell Asha Stephenson

CELLOS Simon Cobcroft** Ewen Bramble~

Musical Chair supported by Barbara Mellor

Sarah Denbigh Musical Chair supported by an anonymous donor

Christopher Handley Musical Chair supported by Johanna and Terry McGuirk

Sherrilyn Handley Musical Chair supported Johanna and Terry McGuirk

Gemma PhillipsDavid Sharp

Musical Chair supported by Aileen Connon AM

Cameron Waters

DOUBLE BASSES David Schilling**

Musical Chair supported by Mrs Maureen Akkermans

Esther Toh~ (Guest Associate)Jacky Chang Harley Gray

Musical Chair supported by Bob Croser

Belinda Kendall-SmithDavid Phillips

Musical Chair supported for a great Bass player, with lots of spirit - love Betsy

Henry South

FLUTES Geoffrey Collins**

Musical Chair supported by Pauline Menz

Lisa Gill

PICCOLOSJulia Grenfell*

Musical Chair supported by Chris & Julie Michelmore

Samantha Hennessy

OBOES Celia Craig**

Musical Chair supported by Penelope & Geoffrey Hackett-Jones

Renae Stavely

COR ANGLAIS Peter Duggan*

Musical Chair supported by Dr JB Robinson

CLARINETS Dean Newcomb**

Musical Chair supported by the Royal Over-Seas League SA Inc

Darren Skelton

E FLAT CLARINETDarren Skelton*

BASS CLARINETMitchell Berick*

Musical Chair supported by Nigel Stevenson & Glenn Ball

BASSOONS Mark Gaydon**

Musical Chair supported by Pamela Yule

Leah Stephenson Musical Chair supported by Liz Ampt

Kristina Phillipson

CONTRA BASSOONJackie Hansen*

Musical Chair supported by Norman Etherington & Peggy Brock

HORNS Sarah Barrett** (Acting Principal)

Musical Chair supported by Margaret Lehmann

Alex Miller~

(Guest Associate )Bryan Griffiths Philip PaineAnna Handsworth

Adelaide Symphony Orchestra


ASO BOARDColin Dunsford AM (Chair) Jillian AttrillVincent Ciccarello Geoffrey CollinsCol Eardley Byron GregoryDavid Leon Chris MichelmoreMichael Morley Andrew RobertsonNigel Stevenson

ASO MANAGEMENTExecutiveVincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director

ArtisticSimon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator

Finance and HRBruce Bettcher - Business and Finance Manager Louise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant

OperationsHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra Manager Kingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Acting Orchestra Manager

Marketing and DevelopmentPaola Niscioli - General Manager, Marketing and DevelopmentVicky Lekis - Director of DevelopmentAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistTom Bastians - Customer Service Manager

FRIENDS OF THE ASO EXECUTIVE COMMITTEEElizabeth Bowen - PresidentAlyson Morrison - Past PresidentAlison Campbell and Michael Critchley - Vice PresidentsHonora Griffith - Honorary SecretaryJohn Gell - Assistant Secretary/ MembershipJudy Birze - Treasurer

TRUMPETS Matt Dempsey**

Musical Chair supported by R & P Cheesman

Martin Phillipson~ Musical Chair supported by Rick Allert AO

Gregory FrickTimothy Frahn

TROMBONES Cameron Malouf**

Musical Chair supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBA David Gill* (Guest Principal)

TIMPANI Robert Hutcheson*

Musical Chair supported by an anonymous donor

PERCUSSION Steven Peterka**

Musical Chair supported by The Friends of the ASO

Gregory RushJamie AdamFleur GreenAmanda GriggAndrew Penrose

HARPS Suzanne Handel**

Musical Chair supported by Shane Le Plastrier

Carolyn Burgess

CELESTE Nerissa Pearce*

SAXOPHONES Damien Hurn** (soprano)Erna Berberyan* (tenor)

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal(Orchestra list correct at time of printing)

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This concert perhaps lends some credence to the old cliché that the best Spanish music has been written by French composers. One might say that the French love-affair with the Spanish idiom took hold in 1875 when Lalo wrote Symphonie espagnole for the Spanish violin virtuoso Pablo de Sarasate and Bizet’s Carmen premiered in Paris. Some years later Emmanuel Chabrier set his personal impressions of Spain to music in his orchestral rhapsody España, a work described by Mahler as ‘the foundation of all modern music’ – an insightful comment, as Chabrier’s music was to influence the next generation of French composers.

On the other hand, it’s a little ironic that, whilst French composers were intoxicated with the rhythms and folk melodies of Spain, Spanish composers such as Falla, Turina and Rodrigo travelled to Paris to perfect their compositional skills.

Maurice Ravel, whose ‘Spanishness’ astonished even Falla, in fact visited Spain on only a few occasions. However from his Basque mother he inherited a passion for the music in general and for the habanera in particular. Ravel was a master orchestrator whose skilful manipulation of colour and texture places him among the finest composers in this vein, and we hear four of his works tonight.

Maurice Ravel and Ricardo Viñes.

VIVA ESPANA


España (1883)

As with a surprising number of musicians (including Sibelius and Tchaikovsky), Chabrier first pursued a career in law. Successful private study of piano and harmony allowed him in 1880 to resign from his legal work to become an administrator and composer. Having studied outside the confines of the Paris Conservatoire, Chabrier had the freedom to compose in a novel and bold style which combined a natural gift for melodic invention with genial humour and modal harmonies.

The influences that Chabrier absorbed during an extended stay in Spain in 1882 inspired and informed his popular rhapsody on Spanish tunes, España. Writing from Spain to a friend, he confidently declared that, ‘my rhythms, my tunes will arouse the audience to a feverish pitch of excitement; everyone will embrace his neighbour madly – and you too will be obliged to hug Dancla [the leader of the orchestra] in your arms, so voluptuous will be my melodies!’

The first performance of España in November 1883 established Chabrier’s status as a professional composer, rather than – as he had been seen to that point – a gifted amateur. The audience and critics alike were excited by España’s vitality, wit and brilliant orchestration.

Although they are not reported to have hugged each other madly as Chabrier predicted, the audience did call for an encore, and the work had to be repeated on various occasions later in the season.

Jillian Harding © 1996

The first performance of España by the Adelaide Symphony Orchestra took place on 6-8 October 1949 with conductor Bernard Heinze..

Duration 8 minutes.

emmanuel chabrier (1841-1894)

A M E R I C A NS O N G B O O K

A D E L A I D E S Y M P H O N Y O R C H E S T R AP L A Y S

7 & 8 N O V E M B E RF E S T I V A L T H E A T R E B O O K A T B A S S 1 3 1 2 4 6 o r b a s s . n e t . a u

Keith Lockhart Conductor Rodney Earl Clarke Bass-Baritone

Julie Lea Goodwin Soprano Ji Won Kim Violin


Nights in the Gardens of Spain (1909-15)

En el Generalife (In the Generalife)

Danza lejana (Dance in the Distance) –

En los jardines de la Sierra de Córdoba (In the Gardens of the Sierra of Córdoba)

Piers Lane piano

There is much truth in the claim that Falla had to go to Paris to complete his discovery of truly Spanish music, of which he became the greatest creator in the 20th century. The leading French musicians with whom Falla became as friendly as his reserved nature would allow included Debussy, Ravel and Dukas. This was the age of musical impressionism, and great impressionist works about Spain had already been composed, by French composers: Debussy’s Ibéria and Ravel’s Rapsodie espagnole. Both are night pieces, as though Spain comes most fully to life after sundown. Falla first conceived what became Nights in the Gardens of Spain in Paris in 1909; it was to be for solo piano, and the title was to be simply Nocturnes (echoing Debussy and Chopin). It was at the suggestion of the great Catalan pianist living in Paris, Ricardo Viñes, that Falla eventually changed his Nocturnes into an orchestral work with an important piano part, and he dedicated it to Viñes.

The title probably owes something to the fact that Falla completed the work while staying at Sitges, near Barcelona, in the house of the painter Rusiñol, famous for his impressions of gardens of Spain. Falla’s subtitle is ‘Symphonic impressions for piano and orchestra, in three parts’, but as is usually the case with ‘impressionist’ music, painting and literature played a larger part in the conception than the observation of nature. A poem by Francis Jammes and three from the Songs of Life and Hope by the Nicaraguan poet Rubén Darío seem to have influenced Falla. Darío’s poems concerned night sounds heard in the distance, melancholy night thoughts about the passing of youth and the difference between what was and what might have been. This is the atmosphere breathed by Nights in the Gardens of Spain, ‘headily subjective’, as Falla expert Ronald Crichton observes, and inevitably reminding the listener of this vein in Debussy’s music.

The picturesque evocations of Falla’s titles are thus somewhat misleading, except that two of them clearly ‘locate’ the music in Andalusia. The Moorish tracery and the play of fountains in the Generalife, the leafy summer palace on the hill opposite the Alhambra of Granada, are a setting in which Falla could have heard the typically Andalusian music which inspires his own; although it was not until a few years later that Falla was to settle in Granada, he was

manuel de falla (1876-1946)


born in Andalusia (in Cádiz), and had already composed that masterpiece of Andalusian music, El amor brujo. Jaime Pahissa, author of Manuel de Falla: His Life and Works, finds in Nights in the Gardens of Spain two characteristic aspects of Andalusian music in that they ‘alternate between a vague nostalgic quality and a brisk, exciting rhythm’. The work was originally to have included an extra movement based on the Cádiz form of the tango, and its exclusion may explain why the nostalgic, reflective quality now predominates.

As in Debussy’s ‘symphonic sketches’ La Mer, so in Falla’s ‘symphonic impressions’: the underlying structural mastery of the composer makes the music far more than a sequence of moods or a disjointed travelogue. The first part, for example, is virtually a set of continuous variations on the theme in small intervals stated by the violas playing near the bridge, and not simply, as one commentator misleadingly said, ‘pure atmosphere’. The last movement, with evocations of gypsy cante jondo (deep song), can be considered formally either as a rondo or as couplets with a refrain.

Nights in the Gardens of Spain is not a concert piece for soloist and orchestra, but an orchestral piece in which the piano has an elaborate but still discreet solo part. If there were models for Falla’s originality of treatment, they lie in works

such as Vincent d’Indy’s Symphony on a French Mountain Song (1886), with its piano first among equals and its cyclical treatment derived from Franck’s Symphonic Variations. Best, though, to enjoy Nights in the Gardens of Spain as the only work of its kind.

© David Garrett

The first performance of Nights in the Gardens of Spain by the Adelaide Symphony Orchestra took place on 7 April 1959 with conductor Henry Krips and pianist Lance Dossor.

Duration 23 minutes.


Miroirs: Alborada del gracioso (1905/1918)

Alborada del gracioso was originally written for piano, as part of a set entitled Miroirs which appeared in 1905. Several of Ravel’s orchestral works are transcribed from piano pieces: such is his genius as an orchestrator, however, that the orchestral and piano versions both have the status of originals. Each version is so perfectly conceived for its scoring that it seems impossible to imagine it in any other medium. Alborada is particularly interesting, in that its whole harmonic and rhythmic fabric is a powerful evocation of a guitar, being played by a virtuoso in the Spanish tradition – an original version, which does not exist and yet appears to predate the other two!

The timbres featured in Ravel’s orchestration (made in 1918) make the guitar references explicit, with much use of harp, and string pizzicato and harmonics, as well as an extensive percussion section (with particularly prominent parts for side drum and castanets). There are a number of specific genres in Spanish folk music which bear the name ‘Alborada’ (literally ‘dawn song’), but Ravel was perhaps thinking more of the romantic medieval idea of a farewell serenade sung by a lover, as he rides away from his beloved at dawn. The complete title, ‘Morning

Song of the Jester’, aptly suggests the music’s volatile nature, by turns melancholy, playful and extravagant.

Elliott Gyger © Symphony Australia

The first performance of Alborada del gracioso by the Adelaide Symphony Orchestra took place on 9-10 August 1974 with conductor Carlo Bagnoli.

Duration 8 minutes.

maurice ravel (1875-1937)


Rapsodie espagnole (1907)

Prélude à la nuit (Très modéré) –

Malagueña (Assez vif)

Habanera (Assez lent et d’un rythme las)

Feria (Assez animé)

Biographer Arbie Orenstein refers to 1907 as Ravel’s ‘Spanish year’, when he began work on his opera L’Heure espagnole and also produced Rapsodie espagnole, his first major orchestral score.

The four movement headings of this work promise a suite of Spanish dances, but there is more to Rapsodie espagnole than ‘Spanish flavour’. The first movement functions as mood setting. ‘Nuance accounts for a great deal in this exceedingly beautiful piece of nocturnal music,’ says musicologist Laurence Davies. Ravel’s love of cross-rhythms is expressed right from the outset. Hearing the descending four-note figure in the strings, the listener assumes a movement in duple time, but ‘short-long’ patterns of emphasis in the woodwinds reveal an overriding three beats to a bar.

With barely a breath we are into the Malagueña, a kind of fandango danced in Málaga. The opening tempo slows down as the cor anglais enters for a brief solo. There is the briefest glimpse of the

four-note descending figure and the spectacularly brief movement ends, almost by sleight of hand, with an upward flourish.

The Hispanic was in Ravel’s blood and habaneras were an early passion, the third movement of this piece being a transcription of an earlier piano composition of Ravel’s from 1895.

The Feria is the longest movement and, with its carnival associations, also the most cheerful. Ravel uses five popular tunes in a real whirling divertissement.

Gordon Kalton Williams Symphony Australia © 1998

The first performance of Rapsodie espagnole by the Adelaide Symphony Orchestra took place on 31 August 1954 with conductor Henry Krips.



Pavane pour une infante défunte (1899/1910)

Like Boléro, the Pavane pour une infante défunte was a work about which its composer was hugely ambivalent. Both works had immediate and widespread success, which was, of course, to Ravel’s advantage; but neither work could be said wholly to represent Ravel’s individual musical personality. As his friend and contemporary, pianist Alfred Cortot, put it: ‘The success of this work has always seemed at odds with intelligent reasons to admire Ravel’s genius.’ Ravel certainly felt that the piece was ‘too flagrantly’ indebted to the style of Emmanuel Chabrier, and in later years complained of the work’s ‘poor form’.

It was composed in 1899 as a solo work for Ricardo Viñes, who premiered it at the Salle Pleyel in 1902. Viñes would premiere a number of Ravel’s works, and on occasion was the dedicatee; the Pavane, however, was dedicated to the American-born Princesse Edmond de Polignac, originally Winaretta Singer, the heiress to her father’s sewing-machine fortune.

One reason for the Pavane’s instant success was that it is within the technical reach of non-professional pianists; another was its romantic title. A somewhat exasperated Ravel insisted, in later life, that the title grew largely out of his love of alliteration; it was a matter of some annoyance that

he had to spell out, first, that, in Spanish, ‘infanta’ refers to a princess of particular rank, who need not have been a child (or ‘enfant’ in French). Moreover, it is not a funerary dance for a dead princess. A pavane is, of course, a stately dance much loved in the courts of Renaissance Europe. Ravel’s piece, as it were, imagines the elegant dance of a princess of that time; it is the memory of an era that is now irretrievably passed.

Archaic dance forms are central to Ravel’s output, inspired partly by his love of French Baroque composers like Couperin and his greatest musical idol, Mozart. Here, the Renaissance dance is evoked in its stately rhythm, with diatonic melody and a simple accompaniment whose occasional flourishes at the ends of phrases suggest the lute or guitar. The piece’s ABACA form corresponds to that of any number of Renaissance-era fantasias, but the harmony, with its chords of the seventh and ninth on strong beats, is pure Ravel.

Given the delicate clarity with which the piece remembers a lost time, it is no surprise that Marcel Proust wanted it played at his funeral.

Gordon Kerry © 2012

The first performance of Pavane pour une infante défunte by the Adelaide Symphony Orchestra took place on 4 March 1959 with conductor Henry Krips.

Duration 6 minutes.

maurice ravel (1875-1937)


Boléro (1928)

Poor Ravel. He was joking when he described Boléro as a ‘masterpiece without any music in it’, so was very annoyed when the piece became one of his most popular works. In fact it came about when he was asked by the Russian dancer Ida Rubenstein to orchestrate parts of Albéniz’s Iberia for a ballet with a ‘Spanish’ character in 1928. Rubinstein had founded her own company in Paris that year.

However it turned out that the rights to Albéniz’s music were not available, so Ravel composed his Boléro, based on an 18th-century Spanish dance-form that is characterised by a moderate tempo and three beats to a bar. The work has ‘no music’ in that, having established a two-bar rhythmic ostinato, with its characteristic upbeat triplet and sextuplet figures tapped out by the snare drum, Ravel introduces his simple theme, which he described as of the ‘usual Spanish-Arabian kind’. Where the rhythmic ostinato, however, is relatively terse, the C major melody is in fact very expansive, unfurling over 16 bars and often pausing on a sustained ‘G’ between its ornate arabesque motifs. It is reiterated over and over again, embodied in different orchestral colours each time, including a marvellous moment where it appears simultaneously in three keys moving in sinuous parallel. The work’s shifting palette

of colour and inexorable rhythmic tread builds massive tension, which is released explosively in its final bars as the music suddenly reaches the new key of E major.

The music’s erotic charge of constraint and release mirrors the scenario for Ida Rubinstein’s ballet, choreographed by Bronislava Nijinska (Nijinsky’s sister). Ravel had, by no means idly, suggested Boléro could accompany a story where passion is contrasted by the mechanised environment of a factory. Nijinska, however, had the dancer in an empty café, dancing alone on a table as the room gradually fills with men overcome, as Michael J. Puri notes, ‘by their lust for her’ which they express through ever more frenetic dance.

Gordon Kerry © 2007/12

The first performance of Boléro by the Adelaide Symphony Orchestra took place on 13 March 1957 with conductor Henry Krips.


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Unlike the game, Musical Chair donors walk in unison with the players thereby assisting the artistic vibrancy of the orchestra. If you'd like to support the ASO and enjoy taking part in Musical Chairs, please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]

musical chair players & donors

Concertmaster Natsuko Yoshimoto

Sponsored by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford

Associate Principal Cello Ewen Bramble

Supported by Barbara Mellor

Associate Principal Viola Imants Larsens

Supported by Mr & Mrs Simon & Sue Hatcher

Principal 2nd Violin Michael Milton

Supported by The Friends of the ASO

Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Principal 1st Violin Shirin Lim

Supported in the memory of Dr Nandor Ballai

Violin Hilary Bruer

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Supported by Peter & Pamela McKee

Principal Viola Juris Ezergailis

Supported in the memory of Mrs JJ Holden

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Supported by Merry Wickes

Cello Sarah Denbigh

Supported by an anonymous donor

Cello Chris Handley

Supported by Johanna and Terry McGuirk

Cello David Sharp

Supported by Aileen Connon AM

Cello Sherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal Bass David Schilling

Supported by Mrs Maureen Akkermans

Bass Harley Gray

Supported by Bob Croser

Principal Bass Clarinet Mitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Bassoon Leah Stephenson

Supported by Liz Ampt

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Supported by Ollie Clark AM & Joan Clark

Principal Clarinet Dean Newcomb

Supported by Royal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr JB Robinson

Harp Suzanne Handel

Supported by Shane Le Plastrier

Principal Piccolo Julia Grenfell

Supported by Chris & Julie Michelmore

Bass David Phillips

Supported for "a great Bass player, with lots of spirit - love Betsy"

Principal Percussion Steven Peterka

Supported by The Friends of the ASO

Principal Oboe Celia Craig

Supported byPenelope & Geoffrey Hackett-Jones

Principal Bassoon Mark Gaydon

Supported by Pamela Yule

Principal Trumpet Matt Dempsey

Supported by R & P Cheesman

Principal Contra Bassoon Jackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal Trumpet Martin Phillipson

Supported by Rick Allert AO

Principal Trombone Cameron Malouf

Supported byVirginia Weckert & Charles Melton of Charles Melton Wines

Timpani Robert Hutcheson

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Horn Sarah Barrett

Supported by Margaret Lehmann


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Mrs M W WellsDr Betsy Williams & Mr Oakley DyerMrs Pamela YulePlus two anonymous donors

A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help the ASO continue to provide Adelaide audiences access to world-class music. Your donation makes a difference.

Friends of the Adelaide Symphony OrchestraMr & Mrs Anthony & Margaret GerardMs Merry WickesKim Williams AM

Plus one anonymous donor

Maestro Patron ($1,000 - $2,499)

ASO as winner of Adelaide Critics Circle ACColade

Mr Neil ArnoldDr Margaret ArstallProf Andrew & Mrs Elizabeth Bersten

The Hon D J & Mrs E M BlebyDianne & Felix BochnerDr Ivan CamensMrs Patricia CohenTony & Rachel DavidsonMrs Lorraine DrogemullerRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenDr Robert HeckerDr Douglas & Mrs Tiiu HoileRhys & Vyvyan HorwoodMrs M JanzowMrs Alexandra JarvisDr I KlepperMr Ian Kowalick AM & Mrs Helen Kowalick

Mrs Joan LyonsDr & Mrs Neil & Fay McIntoshMr & Mrs Peter & Rosalind Neale

Mrs Christine & The Late Dr Donald Perriam

Ms Marietta ResekMr & Mrs Andrew & Gayle Robertson

Mr Richard Ryan AO & Mrs Trish Ryan

Mr Roger SalkeldPhilip Satchell AM & Cecily Satchell

Larry & Maria ScottMr & Mrs H W ShortDr & Mrs Nigel & Chris Steele-Scott OAM

Ms Guila TiverDr D R & Mrs L A TurnerMr J W ValeDr Richard & Mrs Gweneth Willing

Plus seven anonymous donors

Soloist Patron ($500 - $999)

Mr & Mrs David & Elaine Annear

Dr E Atkinson & Mr J HardyMs Dora O'BrienBarbara BahlinMr John BakerMr & Mrs R & SE BartzMrs Susan Bethune

Liz, Mike & Zoe BowenMr Rob BroughtonMr Vincent CiccarelloMrs Josephine CooperMr Bruce Debelle AOFr John DevenportDr Chrstopher DibdenMrs A E DowLady Mary DownerMrs Jane DoyleMr L J EmmettMr & Mrs Jiri & Pamela FialaMr Douglas FidockMr Otto FuchsDr Noel & Mrs Janet GrieveMrs Eleanor HandreckMr & Mrs Michael & Stacy Hill Smith

Dr Wilfrid JaksicMr & Mrs G & L JaunayMs Elizabeth Keam AMMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius

Mr Melvyn MadiganMrs Skye McGregorMrs Caroline MilneDr D G & Mrs K C MorrisMs Jocelyn ParsonsMr Tom F PearceCaptain R S & Mrs J V PearsonMr Martin PenhaleMr & Mrs John & Jenny PikeJ M ProsserMr & Mrs David & Janet RiceMr Mark RinneMrs Janet Ann RoverTrevor & Elizabeth RowanMrs Jill RussellMr A D SaintMs Linda SampsonMr & Mrs W ScharerProf Ivan Shearer AMBeth & John ShepherdMr W & Mrs H StacyThe Honourable Justice Ann Vanstone

Mr Nick WardenMrs Pamela WhittleMs Janet WorthHon David Wotton AM & Mrs Jill Wotton

Plus 10 anonymous donors

Tutti Patron ($250 - $499)

Mr & Mrs Rob & Cathy Anderson

Mr Rob BaillieMr Brenton BarrittMrs Jillian BeareDr Gaby BerceDr Adam BlackMr & Mrs Andrew & Margaret Black

Mrs Betty A BlackwoodMr Mark BlumbergProf & Mrs John & Brenda Bradley

Dr & Mrs J & M BrooksMs Rosie BurnR W & D A ButtroseMr Stephen CourtenayMr Don R R CreedyMr & Mrs Michael & Jennifer Critchley

Mrs Betty CrossGeorge & Ilana CulshawMs Barbara DeedDr Alan DownMrs Margaret DuncanMr & Mrs Stephen & Emma Evans

Dr Laurence J FergusonMs Barbara FergussonMr J H FordMr William FrogleyMr John GazleyMr & Mrs Andrew & Helen Giles

Dr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy

Mr Neil HallidayMrs Jill HayMr John H Heard AMDr Robert & Mrs Margaret Heddle

Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman

Ms Rosemary HuttonMrs Rosemary KeaneMr Angus KennedyMrs Bellena KennedyLodge Thespian, No. 195 IncMr J H LoveMr Colin MacdonaldMrs Beverley MacmahonMr Ian MaitlandRobert MarroneMr & Mrs Rob & Sue MarshallDr Ruth Marshall

Mrs Lee MasonMrs Barbara MayMs Fiona MorganMr Alex NicolDr Kenneth and Dr Glenys O'Brien

Dr John OvertonThe Hon Carolyn PicklesMr D G PittMr & Mrs Michael & Susan Rabbitt

Mr & Mrs Ian & Jen RamsayMr A L ReadMr Richard RowlandMr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMDr W T H & Mrs P M ScalesChris SchachtMr David ScownDr Peter ShaughnessyMr Roger SiegeleMr & Mrs Antony & Mary Lou Simpson

Mr & Mrs Jim & Anne SpikerMr & Mrs Graham & Maureen Storer

Mrs Anne SutcliffeDr Anne Sved WilliamsMrs Verna SymonsDr G M Tallis & Mrs J M Tallis AM

Mr & Mrs R & J TaylorDr Peter TillettDr M G Tingay & Mrs A N Robinson

Mr & Mrs John & Janice Trewartha

Mr David TurnerMrs Neta Diana VickeryProf Robert WarnerMr & Mrs Glen & Robina WeirMrs Ann WellsDr Nicholas WickhamMrs Gretta Willis

Plus 17 anonymous donors

The ASO also thanks the 616 patrons who gave other amounts in the past 12 months.

Donations from 1 Sept 2013 to 24 Sept 2014 (does not include 2015 subscription donations)

As a lover of orchestral music, we invite you to enrich your musical interests, add beautiful low-cost concerts to your musical diary and widen your social network, while assisting in raising valuable funds to help ensure the future of the ASO. Why would you hesitate? Everyone wins!

become a friend

OF THE ASO Benefits of becoming a Friend of the ASO

• Supporting one of South Australia’s most valuable assets

• Opportunities to meet orchestra members

• Receptions to meet local and visiting international artists

• Access to rehearsals and education concerts

Friends of the ASO also receive discounts at the following businesses:

• ABC Shop Myer Centre, Rundle Mall, Adelaide, Phone 8410 0567 (10% on total bill)

• John Davis Music 6 Cinema Place, Adelaide, Phone 8232 8287

• Hilton Adelaide Hotel 233 Victoria Square, Adelaide, Phone 8217 2000 (10% Brasserie)

• Hotel Grand Chancellor - Bistro 65 65 Hindley Street, Adelaide, Phone 8231 5552 (10% on total bill)

• La Trattoria Restaurant 346 King William Street, Adelaide, Phone 8212 3327 (10% on total bill)

• Newman’s Nursery Main North East Road, Phone 8264 2661, Tea Tree Gully (10% plants)

• Rigoni’s Bistro 27 Leigh Street, Adelaide, Phone 8231 5160 (10% on total bill)

Note: Friends must produce Membership Cards as identification for discounts. So join now!

For information about joining, phone (08) 8233 6211. Hours: Wednesday and Friday, 10am to 12 noon.

MEMBERSHIP APPLICATION Please complete and send to: Secretary, Friends of the ASO, GPO Box 2121, Adelaide SA 5001

Name

Address

Postcode

Phone (home) Phone (work)

Mobile E-mail

Payment

Cheque made payable to FASO $ Please charge my credit card for $

Mastercard Visa Expiry: / Card No. _ _ _ _ /_ _ _ _ /_ _ _ _ /_ _ _ _

Name of card holder: Signature:

Please tick membership requirements

$35 - Individual Friend $30 - Individual Country Friend

$20 - Individual Concession Friend $45 - Joint Friends

$40 - Joint Country Friends $35 - Joint Concession Friends

$15 - Student Pension/Student Card Number:

Government Support

57 FilmsAbsorb – Paper Products Boylen – Website and Developmentcolourthinking – Corporate ConsultantCoopers Brewery Ltd Corporate ConversationHaigh’s Chocolates

Hickinbotham GroupM2 GroupNormetalsNova SystemsPeregrine TravelPoster ImpactThe Playford Adelaide

The ASO receives Commonwealth Government funding through the Australia Council; its arts funding and advisory body. The Orchestra continues to be funded by the Government of South Australia through Arts SA. The Adelaide City Council continues to support the ASO during the 2014–15 financial year.

thank youto our partners

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2012 alone, we backed South Australian community events and organisations to the tune of $6 million.

At Santos, we believe that contributing to the vibrant culture and diverse communities of South Australia is well worth the effort.

Because we’re not just an energy company, we’re a company with energy.

Standing behind our community

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2013, we backed South Australian community events and organisations to the tune of $9 million.

At Santos, we believe that contributing to the vibrant culture and diverse communitiesof South Australia is well worth the effort.

Because we’re not just an energy company,we’re a company with energy.

Documents

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