DAZZLING RACHMANINOV - Adelaide Symphony … · DAZZLING RACHMANINOV Masters 3 ... Sergei Rachmaninoff is one of the greatest ... 1990 and began to play the piano at the age of five

Friday 23 & Saturday 24 MayAdelaide Town Hall

DAZZLING RACHMANINOV

see. hear. feel.

Adelaide Symphony Orchestra

3ADELAIDE SYMPHONY MASTER SERIES

Adelaide Town Hall 23 & 24 May

This concert runs for approximately 130 minutes including interval. Friday evening’s concert will be recorded for broadcast on ABC Classic FM.

SE NADELAIDE SYMPHONY ORCHESTRA 2014

DAZZLING RACHMANINOV Masters 3

www.aso.com.au

Classical Conversations - one hour prior to each concert

British conductor Martyn Brabbins joins Celia Craig (ASO Principal Oboe) to discuss tonight’s program and their love of William Walton’s music.

Martyn Brabbins ConductorBehzod Abduraimov Piano

Peter Maxwell Davies Overture: St Francis of Assisi, Op 302

Rachmaninov Piano Concerto No 3 in D minor, Op 30

Allegro ma non tantoIntermezzo (Adagio) –Finale (Alla breve)

Walton Symphony No.1 in B flat minor

Allegro assaiPresto con maliziaAndante con malinconiaMaestoso – Brioso ed ardentemente – Vivacissimo – Maestoso

Interval


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martyn brabbins conductor

British conductor Martyn Brabbins is Chief Conductor of the Nagoya Philharmonic Orchestra, Principal Guest Conductor of the Royal Flemish Philharmonic and Music Director to the Huddersfield Choral Society. He was previously Artistic Director of the Cheltenham International Festival of Music (2005-2007) and Associate Principal Conductor of the BBC Scottish Symphony Orchestra (1994-2005). After studying composition in London and conducting with Ilya Musin in Leningrad, his career was launched when he won first prize at the 1988 Leeds Conductors Competition.

He is a frequent guest with leading orchestras across the globe. Highlights include performances with the Royal Concertgebouw Orchestra, London Symphony Orchestra, Teatro alla Scala, English National Opera, Deutsche Oper Berlin and the BBC Proms with the BBC Symphony Orchestra. He made his debut at the Bavarian State Opera conducting a double bill of Korngold and Ravel and took Alexander Raskatov’s A Dog’s Heart to Lyon in January 2014. Other recent highlights include Harrison Birtwistle’s Gawain in concert at the Barbican Centre with the BBC Symphony Orchestra and Bluebeard’s Castle at the Flemish Opera.

Martyn Brabbins’ discography includes Birtwistle’s The Mask of Orpheus with the BBC Symphony Orchestra (winner of a Gramophone Award), and Korngold’s Die Kathrin with the BBC Concert

Orchestra (winner of the Cannes Opera Award). He has recorded more than 50 discs with Hyperion, many with the BBC Scottish Symphony Orchestra and more recently the Royal Flemish Philharmonic. His recordings of the Walton symphonies with the BBC Scottish Symphony were released by Hyperion in May 2011, and his recording of Jonathan Harvey’s Wagner Dream was awarded the Grand Prix du Disque for opera in 2013.

What do you love about the piece and the composer?

Sergei Rachmaninoff is one of the greatest composers of the end of the 19th and the beginning of 20th century. His art is distinguished by vital truthfulness, sincerity and unbelievable emotional diversity. The composer’s feeling of nostalgia to his homeland, which, in my opinion, is central in Rachmaninov’s mature creativity, is close to my heart. It is embodied with the great completeness in his large works, especially in the 2nd and 3rd piano concertos, and is refracted in simultaneously lyric and tragic aspects in his late compositions.

The third concerto became one of the peaks of Rachmaninoff’s creativity. It is possible to call it a “concerto - symphony” because of its relevancy of the content, and its scale of imaginative and dramatic development. It has a reputation of being one of the most technically difficult piano works ever written.

How do you prepare for such a big competition such as the London International Piano Competition?

You just practice, practice and practice ;)

What is your favourite venue that you’ve performed in? Why?

There are so many famous venues with great acoustics in the world that it’s difficult to pick one, but of course I’ve enjoyed more performing in the concert halls such as Concertgebouw in Amsterdam, Symphony Hall in Boston, Sydney Opera House, etc and many others which I very much look forward to perform in the future.

Do you get to visit your hometown of Tashkent, Uzbekistan often?

With the busy concert schedule I don’t visit Tashkent as often as I wanted to, but I always try to find time to go back for a few days at least once or twice a year.

We are very much looking forward to having you back in Adelaide. What did you enjoy most about our city when you came in 2012?

I’ve very much enjoyed warm, friendly and enthusiastic audiences in Adelaide and of course working with the ASO. I very much look forward going back to Adelaide next week!

v

STAGEBACK

We spoke to Behzod Abduraimov about Rachmaninov’s Third Piano Concerto.


behzod abduraimov piano

Behzod Abduraimov’s captivating performances are rapidly establishing him as one of the forerunners of his generation. He has collaborated with conductors such as Vladimir Ashkenazy, Valery Gergiev, Krzysztof Urbański, Vasily Petrenko, Charles Dutoit, Vladimir Jurowski and Pinchas Zukerman.

Highlights of the 2013/14 season include his debut with the Boston Symphony Orchestra (including a tour of China); appearances with the English Chamber Orchestra and NHK Symphony Orchestra; and his first concerts as Artist in Residence with the Netherlands Philharmonic Orchestra.

During 2014/15 he makes his debut with the Czech Philharmonic and returns to the London Philharmonic Orchestra for a performance at the Royal Festival Hall. He takes part in the Mariinsky Orchestra’s Prokofiev piano concerto cycle in Vienna and Dortmund, debuts with the Helsinki Philharmonic Orchestra and features in recital and concerto appearances at the Piano aux Jacobins Festival. In North America he makes his debut with the Detroit Symphony Orchestra and tours the US with the Mariinsky Orchestra, including a performance at Carnegie Hall. He returns to the hall to make his recital debut as part of their ‘Distinctive Debuts’ series and performs at the Aspen Music Festival and the Vancouver Recital Series. Further afield, he makes his debut with the

Hong Kong Philharmonic Orchestra under Thomas Dausgaard.

Behzod Abduraimov was born in Tashkent in 1990 and began to play the piano at the age of five. He was a pupil of Tamara Popovich at the Uspensky State Central Lyceum in Tashkent, and is currently studying with Stanislav Ioudenitch at the International Center for Music at Park University, Kansas City.

10 11ADELAIDE SYMPHONY MASTER SERIES ADELAIDE SYMPHONY MASTER SERIES

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 Elizabeth Layton**(Guest Concertmaster)Margaret Blades** (Guest Associate Concertmaster)Shirin Lim* (Principal 1st Violin)

Musical Chair supported by Dr Georgette Straznicky

Michael Milton** (Principal 2nd Violin)

Musical Chair supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Musical Chair supported by Robert & Deborah Pontifex

Ann AxelbyMinas Berberyan

Musical Chair supported by Merry Wickes

Gillian BraithwaiteJulia BrittainHilary Bruer

Musical Chair supported by Marion Wells

Elizabeth Collins Jane Collins

Alison HeikeDanielle Jaquillard Alexis MiltonJennifer 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

Imants Larsens~ Martin ButlerLesley CockramMartin ButlerRosi McGowranCarolyn MoozMichael RobertsonCecily Satchell

CELLOS Ewen Bramble** (Acting Principal)

Musical Chair supported by Barbara Mellor

Lanny Paykin~

(Guest Associate)Sarah DenbighChristopher Handley

Musical Chair supported by Johanna and Terry McGuirk

Sherrilyn Handley Musical Chair supported by Johanna and Terry McGuirk

Gemma Phillips

David Sharp Musical Chair supported by Aileen Connon AM

Cameron Waters

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 in thanks of David’s father for improving my sight – Betsy

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 ANGLAISPeter 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 CLARINET Mitchell Berick*

Musical Chair supported by Nigel Stevenson & Glenn Ball

CONTRA BASS CLARINETPeter Handsworth

BASSOONS Mark Gaydon**

Musical Chair supported by Pamela Yule

Leah Stephenson Musical Chair supported by Liz Ampt

CONTRA BASSOON Jackie Hansen*

Musical Chair supported by Norman Etherington & Peggy Brook

HORNS Sarah Barrett** (Acting Principal)Heath Parkinson~

(Guest Associate)Bryan Griffiths Philip PaineAnna HandsworthNicole John

Adelaide Symphony OrchestraASO BOARDColin Dunsford AM (Chair)Anthony Steel AM (Deputy Chair)Jillian AttrillCol EardleyKaren HannonChris MichelmoreMichael MorleyRobert PontifexNigel Stevenson

ASO MANAGEMENT

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TRUMPETS Matt Dempsey**

Musical Chair supported by R & P Cheesman

Robin Finlay~

(Guest Associate)Gregory FrickIsaac White

TROMBONES Cameron Malouf**

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

Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBA Peter Whish-Wilson*

Musical Chair supported by Ollie Clark AM & Joan Clark

TIMPANI Robert Hutcheson*Andrew Penrose

PERCUSSION Jamie Adam** (Guest Principal) Gregory RushAmanda GriggAndrew Penrose

** denotes Section Leader* denotes Principal Player~ denotes Associate Principal


Overture: St Francis of Assisi, Op 302

AUSTRALIAN PREMIERE

Although Peter Maxwell Davies’s musical origins lie with the post-war European avant-garde, he has over the course of six decades amassed a body of work that encompasses every genre, from ten profoundly argued symphonies to light, witty orchestral miniatures. For the past 40 years he has lived on the Orkney Islands off Scotland’s northeast coast, where he founded the St Magnus Festival in 1977. His reputation as one of Britain’s pre-eminent composers was recognised in 2004, when he was made Master of The Queen’s Music, a position previously held by such composers as Edward Elgar, Arnold Bax and Malcolm Williamson.

The composer writes:

“This is the overture to an opera I planned to write 25 years ago, and will probably never complete. In 1988 I wrote a Trumpet Concerto for John Wallace, in which the soloist represented the voice of the Saint – and I outlined several scenes in the work, including the famous sermon to the birds. However, I thought it hardly worth continuing with the project under the shadows of a recent monumental hagiographic opera on this subject, and the idea lay dormant until now, brought back to life by recent visits to Italy,

and consequent re-reading of source material including near-contemporary biographies by Belano and St. Bonaventure, Francis’ own writings, and modern studies by Julien Green and Anthony Mockler.

The work is permeated by the plainsong Franciscus, pauper et humilis, transforming material for the aforementioned trumpet concerto, as well as material from my recent violin concerto which was far from exhausted, in terms of this chant.

I imagined the events of Francis’s life taking place in Kirkwall [the ‘capital’ of the Orkneys] rather than Assisi – perhaps permissible in terms of the commission – and this certainly affects the work’s sound world.”

Davies’s work opens with dissonant trumpet calls and rushing woodwind scales. In a lento passage, clarinets and low strings are interrupted by pointillistic trombone motifs. An allegro in 13/16 time (3+3+3+4) is characterised by powerful ostinatos. An andante for strings is distilled into a passage for string quartet, followed by an allegro where cor anglais has a chant-like theme against emphatic horn calls and upward-running scale motifs from tuned percussion and violins. Trumpets sail over pervasive short-long ‘Lombard rhythms’ (or ‘Scotch snaps’) in trombone and timpani. High trumpet writing gives way to a gradual slowing and thinning of the texture, whereupon a simple 4/4 adagio, with a dolce clarinet against string

peter maxwell davies born 1934

harmonics, is occasionally interrupted by urgent sextuplets.

An E minor chord from the trombones, taken over by low strings, supports a chorale-like chant passed from horns, to trombones, to trumpets and finally a low solo flute. The music revisits the faster music from the start, and the work ends in an adagio with strings and winds playing the chant material, and chords marked ‘bell-like’ with timpani flourishes.

© Gordon Kerry 2014

Commissioned by BBC Radio 3, the St Francis of Assisi Overture was premiered by the BBC Scottish Symphony Orchestra under Ilan Volkov in Glasgow as part of the composer’s 75th birthday celebrations in 2009. This is the first performance of the work in Australia.

Duration 12 minutes.


Piano Concerto No 3 in D minor, Op 30

Allegro ma non tanto

Intermezzo (Adagio) –

Finale (Alla breve)

Behzod Abduraimov piano

Having just completed what is now regarded as one of the most famously difficult piano concertos of all time, the composer’s resort to the use of a ‘dummy’ keyboard as he worked to master it is, perhaps, darkly ironic. But that he did, as he sailed the Atlantic to America for its premiere. His performance with the New York Symphony and Walter Damrosch on 28 November 1909 was greeted enthusiastically, as was a repeat performance at Carnegie Hall the following January with the New York Philharmonic under Gustav Mahler. However, unlike his Second Piano Concerto, which was taken up by other pianists immediately, the popularity of the Third was slow to build. Arguably, it was not until the young Vladimir Horowitz made his European recording debut with the work in 1930 that it found a wider audience.

The concerto was written on the cusp of the

so-called ‘modern’ age, the point at which the maximalist excesses of the Romantic were undercut by a preference for sparseness, as is notable in many later 20th-century works. As a composer, Rachmaninov was very much aware of the changing trend, his own turning-point coming directly after his massive, formally designed Second Symphony, completed in 1907. While the inflections common in many performances of the Third Concerto often emphasise its extravagances, many modernising twists are to be found, especially in the work’s unique structure.

An example is the treatment of the first movement’s two main themes, which return at various places in later movements. The famous opening melody – about which commentators often relate Joseph Yasser’s unconvincing attempts to connect it to the composer’s subconscious recollection of a liturgical chant – recurs in the second movement as an impassioned outburst in the violins, and as a jaunty clarinet waltz. In the final movement, the cellos reflect on it briefly as the music winds toward a full restatement of the second theme, which is also reincarnated (incognito) as the underlying motto of the central scherzando section.

Rachmaninov wrote alternate cadenzas for the opening movement, the longer and more

sergei rachmaninov 1873-1943

extreme being the original of the two. In that reading, the mighty restatement of the main theme in double-octave chords clearly marks the point of recapitulation, while in the shorter and lighter second cadenza the recapitulation is less obvious. This tendency to recast by cutting back is a harbinger of the composer’s uncertainty over issues of length and scope, which becomes increasingly prevalent in his later years. This issue similarly underscores the numerous, often disfiguring, cuts that he made in both performance and recording, truncations that were assiduously followed by many subsequent interpreters. These days the concerto is typically played complete, save for a couple of the more adventurous ossias (or alternative passages), which include variant figurations so demanding that they are close to impossible (such as the suggestion of even faster double-octaves in the closing lines).

Rather than using a formally structured theme as the basis for the second movement, as he typically did, a short four-note motif provides the melodic impetus. The writing is some of his most idiosyncratic, and a high level of craft can be discerned in the way each iteration differs in length, allowing successive moments of ever-greater impact to be reached. In the finale, the outer portions of the threefold structure offer pianists some of the most physically challenging passages in the repertoire, an exceptional degree of strength being a prerequisite. The second subject – an ebullient, fast-flowing melody – offers only momentary respite.

With the release of the film Shine in 1996, the concerto has witnessed even higher levels of fame (or infamy, depending on one’s view). While its iconic status now seems entrenched, it is perhaps worth noting that Rachmaninov’s success as a pianist was built on ideals that were

novel for the time, including understatement, an abhorrence of virtuosity, and faithfulness to the score. A subtle illustration of this perhaps lies in the closing moments, where the music returns – in the style of Grieg and Tchaikovsky’s earlier models – to the lyrical second subject. In this instance, however, Rachmaninov does not allow for wallowing excess; rather, the concerto proceeds to its conclusion in a forthright and headlong manner.

Scott Davie © 2012/2014

The Adelaide Symphony Orchestra first performed Rachmaninov’s Third Piano Concerto on 22-24 March 1956 with conductor Tibor Paul and soloist Irene Kohler, and most recently on 1 May 2009 with Arvo Volmer and Barry Douglas.



Symphony No.1 in B flat minor

Allegro assai

Presto con malizia

Andante con malinconia

Maestoso – Brioso ed ardentemente – Vivacissimo – Maestoso

By the mid-1930s, Walton must have felt he had it made. Born in modest circumstances in Lancashire, he became a chorister at Christ Church Cathedral, Oxford at the age of ten, supported by a scholarship and the personal generosity of the Dean, Thomas Strong. Strong showed some of the teenage composer’s choral works to Sir Hubert Parry, who reportedly said ‘There’s a lot in this chap, you must keep an eye on him!’ Walton became an undergraduate in 1918 and was soon taken up by the Sitwell family, with whom he lived and whose financial and moral support was vital to his survival as a young composer. Edith Sitwell, of course, provided the poetry that Walton set in the quirky ‘entertainment’ Façade, composed between 1922 and 1926, as well as various solo songs, and her brother Osbert assembled the libretto for Belshazzar’s Feast, which in 1931 seemed to breath new life into the English oratorio. During the 1920s Walton had produced several

orchestral works, including the overture Portsmouth Point and the Viola Concerto, premiered by Paul Hindemith. But Walton was always diffident about his musical education and his ability to create satisfying large-scale works.

With the success of Façade and Belshazzar’s Feast, and a film-scoring career that burgeoned during the 1930s, Walton found himself financially secure and so became increasingly independent of the Sitwells. Writing for film, Walton felt, mitigated his lack of proper training and honed his technical skills, though the First Symphony, appearing as it does at the start of this period in his life, undermines his protests by being a work of superb craftsmanship.

The work was keenly awaited, so much so that when Walton ran into difficulty with the finale he allowed the first three movements to be premiered by Irish composer-conductor Hamilton Harty in December 1934; Harty played the completed work the following year. It was greeted, according to a headline quoted by Norman Lebrecht, as a ‘Historic night for British music’.

The piece is in four substantial movements, the first of which begins in a way that has frequently been described as ‘Sibelian’, and indeed the Finnish master’s spirit is evident in several passages: at the start, quiet, mysterious horn calls give way to a plangent oboe solo,

william walton 1902-1983

but, using short, urgently reiterated motifs, the music builds to an impressive climax and launches into the main thematic argument of the piece. Running like a thread through the whole movement is a five-note motif heard in various guises: as a broad theme from the cellos early on; as the subject of a passage of almost late-Wagnerian anguish in the movement’s quiet centre, and as generator of the inexorably powerful march rhythms with which it ends.

Walton’s second movement is a scherzo that bears the unique, and perplexing, marking con malizia (‘with malice’). Urgent and insistent, with constantly surprising bursts of sound and changes of metrical emphasis, it prefigures the ‘Dies irae’ scherzo of Britten’s Sinfonia da Requiem.

After malice, melancholy: the slow movement that follows is a study in that emotion, beginning with simple textures that feature solo woodwinds and introduce ever-longer melodic arcs which, in keeping with the Sibelian tone of the work, are frequently given out by lower strings. The movement reaches an emotionally wrenching climax and subsides into quiet resignation.

Many commentators have noted that at this time Walton’s love-life was complicated, and that this may account for the emotions of the second and third movements, and, more importantly, the ‘composer’s block’ encountered while writing the finale. Walton had sketched the arresting opening of the movement and its exciting conclusion, but had difficulty finding a way of providing a substantial bridge. Encouraged by his new lover, Lady Alice Wimborne, he took the advice of colleague Constant Lambert and composed an extended fugue whose intricacy enhances the simple, direct rhetoric that characterises the work’s final minutes. There are

moments of introspection, suspense and finally, glimmering grandeur rounded off by a series of marcato chords, à la Sibelius’ Fifth.

© Gordon Kerry 2014

The Adelaide Symphony Orchestra first performed Walton’s Symphony No.1 on 2-4 October 1952 under Henry Krips, and most recently on 16-17 October 2009 with James Judd.



“With Beethoven you never stop learning.”

Beethoven’s Open Haus

Saturday 13 September 10am - 12.30pm Adelaide Town Hall

Nicholas McGegan Conductor

Here is your chance to join the Orchestra! Spend the morning rehearsing Beethoven’s extraordinary Symphony No 5 led by our wonderful Beethoven Festival conductor.

Join us! Apply to take part at www.aso.com.au/learning. Applications close 1 August 2014

Part of the SA Power Networks Learning Program

COME & PLAY BEETHOVEN

Belinda Kendall-Smith, Bass

Claudio Abbado, conductor with a lifetime dedicated to music

Concertmaster Natsuko Yoshimoto

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

Associate Principal Cello Ewen Bramble

Musical Chair supported by Barbara Mellor

Principal Viola Juris Ezergailis

Musical Chair supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble

Musical Chair supported by Robert & Deborah Pontifex

Principal 1st Violin Shirin Lim

Musical Chair supported by Dr Georgette Straznicky

We thank the following Musical Chair donors, and the fabulous musicians they support. For more information about this individual and rewarding program, please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]

Violin Hilary Bruer

Musical Chair supported by Marion Wells

Violin Emma Perkins

Musical Chair supported by Peter & Pamela McKee

Violin Minas Berberyan

Musical Chair supported by Merry Wickes

Cello Sarah Denbigh

Musical Chair supported by an anonymous donor

Cello Chris Handley

Musical Chair supported by Johanna and Terry McGuirk

Cello David Sharp

Musical Chair supported by Aileen Connon AM

Cello Sherrilyn Handley

Musical Chair supported Johanna and Terry McGuirk

Associate Concertmaster Ike See

Musical Chair supported in memory of Maria & Johann Baska

musical chair sponsored playersPrincipal Bass David Schilling

Musical Chair supported by Mrs Maureen Akkermans

Principal Bass Clarinet Mitchell Berick

Musical Chair supported by Nigel Stevenson & Glenn Ball

Principal Bassoon Mark Gaydon

Musical Chair supported by Pamela Yule

Principal Tuba Peter Whish-Wilson

Musical Chair supported by Ollie Clark AM & Joan Clark

Principal Clarinet Dean Newcomb

Musical Chair supported by Royal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Musical Chair supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Musical Chair supported by Dr JB Robinson

Principal Trumpet Matt Dempsey

Musical Chair supported by R & P Cheesman

Bassoon Leah Stephenson

Musical Chair supported by Liz Ampt

Principal Piccolo Julia Grenfell

Musical Chair supported by Chris & Julie Michelmore

Principal Contra Bassoon Jackie Hansen

Musical Chair supported by Norman Etherington & Peggy Brock

Associate Principal Trumpet Martin Phillipson

Musical Chair supported by Rick Allert AO

Bass David Phillips

Musical Chair supported in thanks of David’s father for improving my sight – Betsy

Principal Percussion Steven Peterka


Principal Trombone Cameron Malouf

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

Bass Harley Gray

Musical Chair supported by Bob Croser

Is this you?

Violin Janet Anderson

Musical Chair supported by...

Principal Oboe Celia Craig

Musical Chair sponsored byPenelope & Geoffrey Hackett-Jones

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

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Plus nine anonymous donors

Soloist Patron ($500 - $999)

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Plus eight anonymous donors

Tutti Patron ($250 - $499)

Mr Rob BaillieMr Brenton BarrittDr Gaby BerceMr Ben Beresford

Dr Adam BlackMr Mark BlumbergDr & Mrs J & M BrooksR W & D A ButtroseMrs J Y ClothierMrs Bridget ConybeareDr R B CooterMr Stephen CourtenayMr & Mrs Michael & Jennifer CritchleyGeorge & Ilana CulshawMrs M D Daniel OAMFr John DevenportDr Alan DownLady Mary DownerMr & Mrs Stephen & Emma EvansMr J H FordMr Otto FuchsMr John GazleyMr & Mrs Andrew & Helen GilesDr David & Mrs Kay GillThe Hon R & Mrs L GoldsworthyMrs E A GunsonMrs Josephine HailsMr Neil HallidayMrs Jill HayMr & Mrs Michael & Janet HayesMr John H Heard AMDr Robert & Mrs Margaret HeddleMr & Mrs Peter & Helen HerrimanMr & Mrs Michael & Stacy Hill SmithMrs Kate HislopMr D G W HowardAlex & Natalia HubczenkoMs Rosemary HuttonMrs R J KeaneMr Angus KennedyMrs Bellena KennedyMr William LangmanMiss Jackie LeslieMr J H LoveMrs M P LynchMr Colin MacdonaldMrs Beverley MacmahonRobert MarroneDr Ruth MarshallMrs Barbara MayMcGuirk Management ConsultantsMrs Maureen MilneMrs Alyson MorrisonMargaret Mudge

Mr John NewsonK & K PalmerDenys PasitschnykMrs Coralie PattersonDr B W PhillipsMs Debbie PhillipsMr D G PittMr Frank PrezMrs Catherine L OsborneMr & Mrs Ian & Jen RamsayA L & J M ReadW D, E M & M D RicemanMrs Nan RobertsDr I & Dr K Roberts-ThomsonDr Ben RobinsonMr Trevor RowanMr Richard RowlandMrs Jill RussellMrs Meredyth Sarah AMDr W T H & Mrs P M ScalesMr David ScownMr Roger SiegeleMr & Mrs Antony & Mary Lou SimpsonMr Grant SpenceMr & Mrs Graham & Maureen StorerMrs Anne SutcliffeMrs Verna SymonsDr G M Tallis & Mrs J M Tallis AMMr & Mrs R & J TaylorDr Peter TillettDr M G Tingay & Mrs A N RobinsonMr David TurnerMrs Neta Diana VickeryDr Barbara WallProf Robert WarnerMr & Mrs F A & G M WayteMrs Pamela WhittleMr Peter WiadrowskiMrs Gretta WillisHon David Wotton AM & Mrs Jill Wotton

Plus 19 anonymous donors The ASO also thanks the 654 patrons who gave other amounts in the last 12 months.


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 AMRymill House Foundation

Plus two anonymous donors

Richard Hugh Allert AOMr & Mrs Keith & Sue Langley & the Macquarie Group FoundationTerry & Johanna McGuirkPeter & Pamela McKeeMrs Diana McLaurinSan Remo Macaroni Company Pty LtdMr & Mrs Norman & Carol Schueler

Mrs Maureen AkkermansMs Liz AmptDr Margaret ArstallMr Ollie Clark AM & Mrs Joan ClarkLegh & Helen DavisMr Colin Dunsford AM & Mrs Lib DunsfordMr Donald Scott GeorgeMrs Jacqelyn GreenGeoffrey & Penelope Hackett-JonesMr & Mrs Simon & Sue HatcherMr Robert Kenrick

Mrs Barbara MellorMrs Pauline MenzMr & Mrs Chris & Julie MichelmoreRobert & Deborah PontifexRoyal Overseas League South Australia IncorporatedMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyVirginia Weckert & Charles Melton of Charles Melton WinesDr Betsy Williams & Mr Oakley DyerMrs Pamela Yule

Plus three 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 to sustain and expand the ASO. Your donation makes a difference.

Friends of the Adelaide Symphony OrchestraMr & Mrs Anthony & Margaret GerardMs Merry Wickes

Plus one anonymous donor

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 the: Secretary, Friends of the ASO, GPO Box 2121, Adelaide SA 5001

Name

Address

Postcode

Phone (home) Phone (work)

Mobile E-mail

Payment

Please tick membership requirements

Government Support

57 FilmsAbsorb – Paper Products Australian Education Union – SA BranchBoylen colourthinking – Corporate ConsultantCoopers Brewery Ltd Corporate Conversation

Elite MarketingHaigh’s ChocolatesHickinbotham GroupNova 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 2013–14 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

DAZZLING RACHMANINOV - Adelaide Symphony … · DAZZLING RACHMANINOV Masters 3 ... Sergei Rachmaninoff is one of the greatest ... 1990 and began to play the piano at the age of five