AMERICAN SONGBOOK - Adelaide Symphony Orchestra · PDF fileGershwin Arr. Sebesky 'S Wonderful, 'S Marvelous, 'S Gershwin! Julie Lea Goodwin - Soprano Rodney Earl Clarke - Bass Baritone

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 R , 8 P MF E S T I V A L T H E A T R E

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Festival Theatre 7 & 8 November 8pm

GERSHWIN'S AMERICAN SONGBOOK

Keith Lockhart Conductor Julie Lea Goodwin SopranoRodney Earl Clarke Bass BaritoneJi Won Kim Violin

Gershwin Arr. Anderson Girl Crazy: Selections (I Got Rhythm; Embraceable You; Bidin’ my Time; But Nor For Me; I Got Rhythm (Reprise))

Gershwin Arr. Sebesky Three Preludes: Prelude No. 1



Gershwin Arr. Elliott Promenade

Gershwin Arr. Courage Fantasy on Porgy and Bess Ji Won Kim – Violin

Gershwin Arr. Ramin Love is Sweeping the Country

The Gershwin Songbook By Strauss Julie Lea Goodwin – Soprano

Gershwin Arr. Sebesky Slap That Bass Rodney Earl Clarke - Bass Baritone

Gershwin Arr. Sebesky Let's Call the Whole Thing Off Rodney Earl Clarke - Bass Baritone Julie Lea Goodwin - Soprano

Gershwin Arr. Sebesky A Foggy Day Julie Lea Goodwin – Soprano

Gershwin Arr. Sebesky Love Walked In Rodney Earl Clarke - Bass Baritone

Gershwin Arr. Sebesky I Got...Fascinating...Rhythm Rodney Earl Clarke - Bass Baritone

Gershwin Arr. Sebesky The Man I Love Julie Lea Goodwin - Soprano

Gershwin Arr. Sebesky 'S Wonderful, 'S Marvelous, 'S Gershwin! Julie Lea Goodwin - Soprano Rodney Earl Clarke - Bass Baritone

This concert runs for approximately 210 minutes including interval.

Interval

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keith lockhart conductor

Since Keith Lockhart’s appointment as seventh Principal Conductor of the BBC Concert Orchestra in August of 2010, highlights of his tenure include a critically acclaimed 15-city United States tour in the 2010-2011 season, conducting annual performances at The Proms, and celebrating the orchestra’s 60th year in 2012. In June of that same year, Keith Lockhart conducted the orchestra during Queen Elizabeth II’s gala Diamond Jubilee Concert, which was broadcast around the world. Meanwhile, across the pond, he celebrated his 18th anniversary season as Conductor of the Boston Pops.

Keith Lockhart has conducted nearly every major orchestra in North America, as well as the Royal Concertgebouw Orchestra, the Deutsches Symphonie-Orchester Berlin, the NHK Symphony in Tokyo, and the Melbourne Symphony Orchestra. This October, he made his London Philharmonic debut in Royal Albert Hall. In the opera pit, Maestro Lockhart has conducted productions with the Atlanta Opera, Washington Opera, Boston Lyric Opera, and Utah Opera.

In 2009, Keith Lockhart concluded eleven seasons as Music Director of the Utah Symphony. He led this orchestra through the complete symphonic works of Gustav Mahler and brought them to Europe. In February 1995, Lockhart was named the 20th conductor of the Boston Pops Orchestra since its founding in 1885. Over the past 18 years, he has conducted over 1400 concerts and made 73 television shows, including 38 new programs for PBS’s Evening at Pops; the annual July Fourth spectacular; and the orchestra’s annual holiday special.

In October 2007, Lockhart succeeded David Effron as Artistic Advisor and Principal Conductor of the Brevard Music Center summer Institute and Festival. He served as Music Director of the Cincinnati Chamber Orchestra for seven years, completing his tenure in 1999.

Born in Poughkeepsie, NY, Maestro Lockhart began his musical studies on piano at the age of 7, and holds degrees from Furman University and Carnegie Mellon University. He also holds honorary doctorates from the Boston Conservatory, Boston University, Northeastern University, Furman University, and Carnegie Mellon University, among others.

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julie lea goodwin soprano

Julie's warmth and exceptional vocal talents have fast made her a new leading lady of the Australian stage. As a concert artist and theatrical performer, Julie sings music across a number of genres including musical theatre, opera, operetta and classical cross-over.

Julie’s professional career started at 19 years of age when she was plucked from obscurity to perform the role of Christine Daae in The Phantom of the Opera, starring Anthony Warlow. During 2007-2009 this production won critical acclaim throughout Australasia.

The following year Julie began production on Leonard Bernstein's West Side Story, playing the role of Maria in the 2010 Australian national tour. Press reviews were more than favourable for her portrayal with The Australian stating that Julie's Maria was “the standout performance with her mixture of innocence and burgeoning sexuality.”

In 2010 Sydney Chamber Opera offered Julie the opportunity to perform in her first opera production, The Cunning Little Vixen. In the same year Julie released her debut classical album “Love Went a-Riding” for Skylark Classics, featuring Art Songs in English with Sharolyn Kimmorley on piano.

In 2011 Julie was thrilled to be cast as Grace in the national tour of Annie, where she shared the stage with theatrical greats Nancy Hayes, Anthony Warlow and Todd Mckenney. She was nominated for a Green Room Award for her role in the production.

Julie’s concert and event highlights include, leading the National Anthem for the opening ceremony of the Australian Youth Olympics Festival and the Australia Day Spectacular, Darling Harbour, Opera in the Market with trumpet extraordinaire James Morrison, Carols by Candlelight at the Melbourne Myer Music Bowl and A Cole Porter Celebration Concert with Sydney Philharmonia Choirs at the Sydney Opera House Concert Hall.

In 2014, Julie appeared in concert with Anthony Warlow at Opera in the Alps and performed the ‘Heroine’ for Pleasure Opera at the Adelaide Fringe Festival. She appeared with Harbour City Opera performing Lucy in The Telephone; and will appear as a special guest artists in the Ch9 televised Schools Spectacular. In December, Julie begins working with Opera Australia as a member of their Moffatt Oxenbould Young Artist Program and performs the roles of Susanna in Le nozze di Figaro and Voce dal Ciel in Don Carlos.


Hailed by Gramophone as a “singer to be watched” Rodney Earl Clarke is recognised for his versatility, ranging from Bach, Handel and Mozart to Jonathan Dove, Dominique le Gendre and Errolyn Wallen. He has participated in television projects for the BBC and Channel Four including the award winning BBC Flashmob: The Opera and recently as a special guest for BBC Four coverage of Beethoven’s Missa Solemnis Prom 2011. He featured in English National Opera’s award- winning production of Bernstein's On the Town directed by Jude Kelly and appeared in Kenneth Branagh's epic film version of Mozart's The Magic Flute. Rodney recently performed the speaking role of Pasha Selim in Die Entführung aus dem Serail for Opera di Roma directed by Graham Vick.

Rodney studied singing with Professor Mark Wildman at the Royal Academy of Music where he was awarded the Richard Lewis/Jean Shanks Award 2001 and generously supported by the Sir Peter Moores Foundation. Shortly after graduating he made his BBC Prom debut as the Ferryman in Britten’s Curlew River and sang the title role in The Marriage of Figaro with English Touring Opera. Other roles include Guglielmo in Cosi Fan Tutte, Papageno in Die Zauberflöte, Mercurio in L’incoronazione di Poppea, Aeneas in Dido & Aeneas, Junius in The Rape of Lucretia, Mel in Knot Garden, Ashmodeus in Tobias & The Angel, Pig Enchanted in Pig, Marquis D’Obigny in

La Traviata, Escamillo in Carmen and Hérode in Hérodiade.

On the concert platform he performs with major orchestras and conductors including Bernstein's Mass with the London Symphony Orchestra under Marin Alsop, the title role in Porgy and Bess with the Orchestra of Accademia di Santa Cecilia Rome under Wayne Marshall and Jake in Porgy and Bess with the Chamber Orchestra of Europe under Nikolaus Harnoncourt.

Other highlights include the premier of One Sun One World by Peter Rose and Anne Conlon at the Royal Albert Hall, Polyphemus in Acis & Galatea for the BBC's documentary of The Birth of British Music: Handel and Purcell series, a Wigmore Hall debut with a recital of songs from Music To a Distant Drum by Kenneth Hesketh with Ensemble 10/10, Vaughan Williams' Seranade to Music at Queen Elizabeth Hall under John Wilson, Bass soloist in Handel’s Messiah alongside Dame Emma Kirkby in Trondheim, Norway and recently, Idi Amin in The Last King of Scotland at ROH2 Exposure series. Future engagements include Carmina Burana at the Barbican, a recital in Bridgewater Hall, Manchester, and his debut with the Berlin Philharmonic as Jake in Gershwin’s Porgy & Bess, under the baton of Sir Simon Rattle.

rodney earl clarke bass baritone


ji won kim violin

Ji Won Kim is a graduate of the University Of Vienna and holds two master’s degrees, one from the University Of Melbourne and the other from the Sydney Conservatorium Of Music.

She has been the winner of ABC’s Young Performer Of The Year Award and the Johannes Brahms Competition in Austria, and won second prize at the Lisbon International Violin Competition.

Ji Won has been regularly engaged as a concerto soloist with the Sydney, Melbourne, Adelaide, Queensland, Canberra and Tasmanian symphony orchestras, and has appeared overseas as soloist with the Swietokrzyska Philharmonic in Warsaw, the Bruckner University Orchestra in Linz, with the Janacek Philharmonic Orchestra in the Czech Republic and with the Seoul Prime Orchestra in Korea. 2013 included appearances with the Melbourne Symphony as soloist in Mozart’s Violin Concerto No.5 under the baton of Sir Andrew Davis.

In addition to her concerto work, she is currently a member of the first violin section of the Melbourne Symphony Orchestra. During 2013 she undertook two periods of temporary placement, as third concert-master, with the Gothenburg Symphony Orchestra in Sweden and in 2014 has held a temporary position with the Malaysian Philharmonic Orchestra.

Ji Won is also an experienced chamber music player, 2014 marking the inaugural year of Trio Bresciani, her latest collaboration with pianist Hoang Pham and cellist Michael Dahlenburg.

© Weaver Artist Management 2014


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 Ike See** (Guest Concertmaster)Shirin Lim** (Acting Associate Concertmaster)

Musical Chair in the memory of Dr Nandor Ballai

Hilary Bruer* (Principal 1st Violin)

Musical Chair supported by Marion Wells

Michael Milton** (Principal 2nd Violin)

Musical Chair supported by The Friends of the ASO

Julia Brittain~ (Acting Associate Principal 2nd Violin)Janet Anderson Ann AxelbyLouise BeastonErna BerberyanMinas Berberyan

Musical Chair supported by Merry Wickes

Gillian BraithwaiteElizabeth Collins Jane CollinsFrances DaviesBelinda Gehlert

Alison HeikeWendy HeiligenbergDanielle Jaquillard Alexis Milton

Musical Chair supported by Patricia Cohen

Jennifer Newman Julie Newman Emma Perkins

Musical Chair supported by Peter & Pamela McKee

Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Imants Larsens** (Acting Section Leader)

Musical Chair supported by Mr & Mrs Simon & Sue Hatcher

Linda Garrett ~

(Guest Associate) Martin ButlerLesley CockramAnna HansenRosi McGowranCarolyn MoozMichael RobertsonCecily Satchell Asha Stephenson

CELLOS Simon Cobcroft**

Principal Cello Chair supported by Andrew & Gayle Robertson

Cameron Waters~

(Acting Associate)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

Joseph Freer

DOUBLE BASSES David Schilling**

Musical Chair supported by Mrs Maureen Akkermans

Belinda Kendall-Smith ~ (Acting Associate)Jacky Chang Harley Gray

Musical Chair supported by Bob Croser

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

Esther Toh

RHYTHM BASSDavid Phillips

FLUTES Geoffrey Collins**

Musical Chair supported by Pauline Menz

Lisa Gill

PICCOLOJulia Grenfell*

Musical Chair supported by Chris & Julie Michelmore

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

CONTRA BASSOONJackie Hansen*

Musical Chair supported by Norman Etherington & Peggy Brock

HORNS Sarah Barrett** (Acting Section Leader)

Musical Chair supported by Margaret Lehmann

Alex Miller~

(Guest Associate )Bryan Griffiths Philip Paine

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 COMMITTEEAlison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsVacancy - 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

Robin FinlayTimothy Frahn

TROMBONES Cameron Malouf**

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

Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBA Peter Whish-Wilson*

Supported by Ollie Clark AM & Joan Clark

TIMPANI Robert Hutcheson*

Musical Chair supported by an anonymous donor

PERCUSSION Amanda Grigg** (Guest Section Leader)Gregory RushJamie AdamAndrew Penrose

DRUM KIT Gordon Rytmeister

HARP Suzanne Handel*

Musical Chair supported by Shane Le Plastrier

PIANO/CELESTE Dale Ringland*

GUITAR James Muller

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

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As a songwriter George Gershwin could deftly express a mood or emotion in a short, focused number. Orchestras may generally play Gershwin’s Rhapsody in Blue or An American in Paris, full-length pieces in which Gershwin aimed to write longer classical works; this concert celebrates the song-writing side of Gershwin’s genius, even if, in the case of Porgy and Bess, the songs originated in a full-length opera. We also get to hear some of Gershwin’s shorter instrumental pieces such as the Preludes and Promenade.

George Gershwin’s love of music began the day his Russian immigrant parents bought a piano for their Brooklyn, New York apartment. The piano was intended for George’s brother Ira (later to be George’s principal lyricist) but George quickly commandeered it, and he was soon learning pieces by Chopin, Liszt and Debussy. But George completed his schooling in a more gruelling environment – Tin Pan Alley. For $15 per week he worked as a piano plugger – a salesman who promoted his publishing house’s latest songs by performing them in the showroom. From Tin Pan Alley, George quickly moved to the Broadway musical stage, another realm in which an insatiable thirst for new music could teach the young composer how to express ideas and emotions quickly.

George composed his first full-length musical La La Lucille in 1919, the year before a recording by Al Jolson made his song ‘Swanee’ one of the all-time great hits. Between 1920 and 1924, George composed the music for five annual Broadway revues plus three full-length shows on Broadway and two in London. Primrose (1924), his second London show, was followed by Lady Be Good!, the first of his musicals for which Ira wrote all the lyrics, and the source of tonight’s second-half number, ‘Fascinating Rhythm’.

Selections from Girl Crazy begin this concert. In the script (or ‘book’) of the original 1930 version, by Guy Bolton and John McGowan, Danny Churchill’s father wants his son to concentrate on more serious matters than drinking and girls and sends him to manage the family’s property in Arizona. But Danny turns the place into a dude ranch, importing showgirls from Broadway, before finally settling for the more serious girl, the local postmistress. The story is typical of the frivolous storyline common to musicals in the 1930s but was adapted three times for film. The earlier versions – 1932 and 1943 (the latter starring Mickey Rooney and Judy Garland) – could be testimony to the love for escapist entertainment in the decades of the Great Depression and World War II, but credit for the show’s longevity must be given to the music. A 1965 film version, retitled When the Boys Meet the Girls (starring Connie Francis, Herman’s Hermits, Louis Armstrong

george gershwin (1898-1937)


Ira and George Gershwin at work.

Gershwin writing Porgy and Bess 1935 Porgy set Alvin Theatre New York 1935


and Liberace) significantly retained several of Gershwin’s greatest songs – ‘Embraceable You’, ‘But Not for Me’ and ‘I Got Rhythm’.

This may be the moment to say something about George’s brother Ira (1896-1983), whose lyrics are often a major part of a Gershwin song’s brilliance. In ‘I Got Rhythm’, George had apparently begun the song by writing the melody first and expecting Ira to come up with lyrics. It was an unusually difficult melody to create lyrics for but Ira struggled for two weeks until he finally decided that the strongest effect was created by leaving most of the lines unrhymed. This strategy was ‘a bit daring’, he later admitted, for a lyricist who usually depended on ‘rhyme insurance’.

It has often been observed that George Gershwin felt under-appreciated as a composer. Seeking more ‘serious’ status, he wrote several works in the 1920s for the symphonic concert hall – Rhapsody in Blue, the Concerto in F and An American in Paris. His only opera, Porgy and Bess (1935), also expressed his desire to rise ‘above’ Tin Pan Alley and Broadway. Yet, it is interesting that the subject that caught his attention was DuBose Heyward’s novel Porgy, set among the African-Americans of Catfish Row, a slum area in Charleston, South Carolina. Gershwin had been commissioned by the Metropolitan Opera to write an opera about the dybbuk, the creature of Jewish mythology which may, on the surface, have seemed more suitable subject matter for this son of Russian Jewish immigrants. But Gershwin’s early work at Tin Pan Alley had grounded him in the idiom of African-American music and when he read Porgy, he decided to place this ‘non-classical’ world on the stage.

The story concerns the cripple Porgy who takes care of the wayward Bess when her lover, the murderer Crown, is forced into hiding. Crown later comes to claim Bess but, as Porgy has grown to love her, he kills Crown and is taken into custody

for questioning. When he returns to Catfish Row he finds that Bess has been lured away by the dope-dealer Sportin’ Life. The opera ends with Porgy setting out for New York to find her.

As an opera, Porgy and Bess has been criticised for its weaknesses in musical and dramatic continuity but, as commentator Richard Crawford has said, Gershwin’s ‘belief in the emotions of his principal characters leads to the invention of songs that do not need the opera’s dramatic setting to make their impact’. Moreover, Porgy and Bess contains much of 20th-century opera’s most memorable music.

Many have thought so. The great violin virtuoso Jascha Heifetz (1901-1987) wanted a concerto from Gershwin. When Gershwin died prematurely of a brain tumour, in 1937, it was to Porgy and Bess that Heifetz turned to create the next best thing: a violin-and-piano suite of selections from the opera. Tonight’s Fantasy goes one better than Heifetz’s suite. Alexander Courage (best known as the composer of the Star Trek theme) has created a virtual violin concerto by adding a virtuoso violin part to Gershwin’s orchestral score of the operatic numbers. Here are all the favourite tunes rolled into a 20-minute paraphrase that goes some way toward being the violin concerto Gershwin never got to compose.

‘Songs that do not need the opera’s dramatic setting to make their impact’ – that statement could explain why so many Gershwin songs, written for particular shows, are so adaptable and have a life of their own. Sometimes they develop multiple lives in the interpretations of popular singers and instrumentalists; other times they form songlists for other shows. In the 1970s Woody Allen used Gershwin’s songs to form a New York-appropriate soundtrack to his movie Manhattan. They were compiling ‘jukebox musicals’ from Gershwin songs long before that term was invented.


‘Love is Sweeping the Country’ is a George and Ira Gershwin song from their Pulitzer Prize-winning musical, Of Thee I Sing (1931). It was premiered by George Murphy and June O’Dea. ‘By Strauss’ was introduced by the Gershwins at private parties and later included in the 1936 Vincente Minnelli revue, The Show is On. Gene Kelly and Oscar Levant sang it in An American in Paris, an interesting example of the sort of show that can be created by weaving a tissue of plot around an assemblage of Gershwin songs, in this case in an Oscar-winning screenplay by Alan Jay Lerner.

An American in Paris was filmed (by Vincente Minnelli) in 1951, long after George’s death, but in 1936 Gershwin had gone out to Hollywood from New York to work specifically in film. ‘Slap that Bass’ was introduced by Fred Astaire and Dudley Dickerson in the 1937 film, Shall We Dance. Likewise, ‘Let’s Call the Whole Thing Off’ hails from the same film, where it was introduced by Astaire and Ginger Rogers (Girl Crazy’s original ‘sensible’ postmistress).

A number of Gershwin songs are known in iconic versions by other musicians. ‘A Foggy Day’ was introduced by Astaire in the 1937 film A Damsel in Distress, although many people would probably know it in versions by Frank Sinatra and Ella Fitzgerald. In The Goldwyn Follies, ‘Love Walked In’ is sung by the ‘last of the lunch-wagon tenors’, as Kenny Baker describes himself when caught singing while flipping burgers in a diner. A piano version by Percy Grainger was a favourite encore of this member of the Adelaide Aldridges. A number of Gershwin songs have been interpreted in radically different ways over the years by jazz musicians, the principal exploiters of the Great American Songbook which comprises many songs by George and Ira Gershwin. The most famous version of ‘The Man I Love’ is probably that of Billie Holiday.

‘Fascinating Rhythm’ has already been mentioned. Tonight it appears in a conflation with ‘I Got Rhythm’ by Don Sebesky, a jazz trombonist who worked with Tommy Dorsey, Stan Kenton and Maynard Ferguson before devoting himself full-time to arranging in 1960 and writing for such classical ensembles as the London Symphony, Boston Pops, and New York Philharmonic. Sebesky has done most of the arrangements in tonight’s second half.

The numerous interpretations of Gershwin’s music and its appearance in many varying contexts over the years proves that it has an indestructible essence. Gershwin’s music has a distinctive melody or sense of rhythm but this is something more mysterious. A Gershwin song is part of the cultural landscape and that’s what makes his music so ‘wonderful’.

G.K. Williams © 2014

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For more information 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 Cello Simon Cobcroft

Supported by Andrew & Gayle Robertson

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

Supported by Marion Wells

Violin Emma Perkins

Supported by Peter & Pamela McKee

Violin Alexis Milton

Supported by Patricia Cohen

Principal Viola Juris Ezergailis

Supported in the memory of Mrs JJ Holden

Violin Minas Berberyan

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

Principal Tuba Peter Whish-Wilson

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

Supported by an anonymous donor

Horn Sarah Barrett

Supported by Margaret Lehmann


our inspirational donors

Diamond Patron ($25,000+)

Platinum Patron ($10,000 - $24,999)

Gold Patron ($5,000 - $9,999)

Silver Patron ($2,500 - $4,999)

Dr Aileen F Connon AM

Plus two anonymous donors

Richard Hugh Allert AOMr Donald Scott GeorgeGeoffrey & Penelope Hackett-JonesMr & Mrs Keith & Sue Langley & the Macquarie Group Foundation

Johanna & Terry McGuirk

Peter & Pamela McKeeMrs Diana McLaurinSan Remo Macaroni Company Pty LtdMr & Mrs Norman & Carol SchuelerPlus two anonymous donors

Mrs Maureen AkkermansMs Liz AmptR & P CheesmanMr Ollie Clark AM & Mrs Joan ClarkMr Bob CroserLegh & Helen DavisMr Colin Dunsford AM & Mrs Lib DunsfordNorman Etherington & Peggy BrockMr & Mrs Simon & Sue HatcherMr Robert KenrickShane Le PlastrierMrs Margaret LehmannMrs Barbara MellorMrs Pauline Menz

Mr & Mrs Chris & Julie MichelmoreRobert PontifexMr & Mrs Andrew & Gayle RobertsonDr Ben RobinsonRoyal Overseas League South Australia IncorporatedMr Ian SmailesMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyVirginia Weckert & Charles Melton of Charles Melton Wines

Mrs M W WellsDr Betsy Williams & Mr Oakley DyerMrs Pamela YulePlus one anonymous donor

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 ArstallAustralasian Double Reed Society SA

Prof Andrew & Mrs Elizabeth Bersten

Mrs Susan BethuneThe Hon D J & Mrs E M BlebyDianne & Felix BochnerDr Ivan CamensMrs Patricia CohenTony & Rachel DavidsonMrs Lorraine DrogemullerIn Memory of Jim FrostRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenDr Robert HeckerRhys & 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

J M ProsserMs Marietta ResekMr 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 eight anonymous donors

Soloist Patron ($500 - $999)

Mr & Mrs David & Elaine Annear

Dr E Atkinson & Mr J HardyMs Dora O'BrienBarbara BahlinMr John Baker

Mr & Mrs R & SE BartzLiz, Mike & Zoe BowenDr & Mrs J & M BrooksMr Rob BroughtonMr Vincent CiccarelloMr 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 Douglas & Mrs Tiiu HoileDr 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 PikeMr & Mrs David & Janet RiceMr Mark RinneMrs Janet Ann RoverTrevor & Elizabeth RowanMr A D SaintMs Linda SampsonMr & Mrs W ScharerProf Ivan Shearer AMBeth & John ShepherdMr W & Mrs H StacyMrs Verna SymonsThe Honourable Justice Ann Vanstone

Mr Nick WardenMrs Pamela WhittleMrs Gretta WillisMs Janet WorthHon David Wotton AM & Mrs Jill Wotton

Plus 10 anonymous donors

Tutti Patron ($250 - $499)

Julie AlmondMr & 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

Ms Rosie BurnR W & D A ButtroseMr Stephen CourtenayMr Don R R CreedyMr & Mrs Michael & Jennifer Critchley

Mrs Betty CrossMrs M D Daniel OAMMs Barbara DeedDr Alan DownMrs Margaret DuncanDr Joan DurdinMr & 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

Mrs N G HewettMr John HoldenMs Rosemary HuttonMrs Rosemary KeaneMr Angus KennedyMrs Bellena KennedyLodge Thespian, No. 195 IncMr J H LoveMr Colin MacdonaldMrs Beverley MacmahonMr Ian Maitland

Robert MarroneMr & Mrs Rob & Sue MarshallDr Ruth MarshallMrs Lee MasonMrs Barbara MayMs Fiona MorganMr Alex NicolDr Kenneth and Dr Glenys O'Brien

Dr John OvertonThe Hon Carolyn PicklesMr & Mrs Michael & Susan Rabbitt

Mr & Mrs Ian & Jen RamsayMr A L ReadMr Richard RowlandMrs Jill RussellMr 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 WilliamsDr 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 Wickham

Plus 13 anonymous donors

The ASO also thanks the 613 patrons who gave other amounts in the past 12 months.

Donations from 1 Oct 2013 to 28 Oct 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

AMERICAN SONGBOOK - Adelaide Symphony Orchestra · PDF fileGershwin Arr. Sebesky 'S Wonderful, 'S Marvelous, 'S Gershwin! Julie Lea Goodwin - Soprano Rodney Earl Clarke - Bass Baritone