Lortie Plays Schumann - Adelaide Symphony Orchestra · 6 ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES Louis Lortie piano French-Canadian pianist Louis Lortie has attracted critical acclaim

Lortie Plays Schumann 17 & 18 Apr 2015

ADELAIDE TOWN HALL

3ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES

17 & 18 April, Adelaide Town Hall

This concert runs for approximately 100 minutes including interval. Friday night’s concerts will be broadcast live on ABC Classic FM.

Lortie Plays Schumann Master 2

aso.com.au

Classical ConversationOne hour prior to the concerts, free for ticket holdersASO double bassist Belinda Kendall-Smith and Associate Principal Trumpet Martin Phillipson explore the music of Berlioz, Schumann and Sibelius

Berlioz Béatrice et Bénédict: Overture

Schumann Piano Concerto in A minor, Op 54

Allegro affettuoso Intermezzo (Andantino grazioso) – Allegro vivace

Louis Lortie Piano

Sibelius Symphony No.1 in E minor, Op 39

Andante, ma non troppo – Allegro energico Andante (ma non troppo lento) Scherzo: Allegro Finale (quasi una fantasia): Andante – Allegro molto

Interval

Yan Pascal Tortelier Conductor

Louis Lortie Piano

4 ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES

Yan Pascal Tortelier conductor

Yan Pascal Tortelier enjoys a distinguished career as guest conductor of the world’s most prestigious orchestras. He began his musical career as a violinist, and at 14 won first prize for violin at the Conservatoire de Paris, making his soloist debut with the London Philharmonic Orchestra shortly afterward. Following general musical studies with Nadia Boulanger, he studied conducting with Franco Ferrara at the Accademia Musicale Chigiana in Siena, and from 1974 to 1983 he was Associate Conductor of the Orchestre National du Capitole de Toulouse.

Further positions since then have included Principal Conductor and Artistic Director of the Ulster Orchestra (1989-1992), Principal Guest Conductor of the Pittsburgh Symphony Orchestra (2005-2008) and Principal Conductor of the São Paulo Symphony Orchestra (2009-2011). Following his outstanding work as Chief Conductor of the BBC Philharmonic (1992-2003), he was given the title of Conductor Emeritus and continues to work with the orchestra regularly. He also holds the position of Principal Guest Conductor at the Royal Academy of Music in London.

Highlights of the 2014/15 season and beyond include appearances with the Pittsburgh, San Francisco, Minnesota and Baltimore Symphony Orchestras; European performances with the Iceland and Bochum Symphony Orchestras and the Royal Liverpool Philharmonic Orchestra; and a return to Australia to conduct the Queensland, Melbourne, Adelaide and Sydney Symphony Orchestras.

Yan Pascal Tortelier’s extensive catalogue of recordings includes award-winning cycles of the orchestral music of Ravel (featuring his own orchestration of Ravel’s Piano Trio), Debussy, Franck, Roussel and Dutilleux. Recent releases include the Ravel piano concertos coupled with Debussy’s Fantaisie (with pianist Jean-Efflam Bavouzet), and a disc of works by Florent Schmitt with the São Paulo Symphony Orchestra.


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Louis Lortie piano

French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia and the United States. He has performed complete Beethoven sonata cycles at London’s Wigmore Hall, Berlin’s Philharmonie and the Milan Conservatory. As both pianist and conductor with the Montreal Symphony Orchestra, he has performed all five Beethoven concertos and all of the Mozart concertos. He has also won widespread acclaim for his interpretation of Ravel and Chopin, and performed Ravel’s complete works for solo piano in London and Montreal for the BBC and CBC. Last season he returned to Carnegie Hall for a complete performance of Liszt’s Années de pèlerinage.

In 2014-2015, Louis Lortie returns to the Sydney and Adelaide Symphony Orchestras, Chicago Symphony Orchestra, Kraków Philharmonic Orchestra, Toronto Symphony Orchestra, Baltimore Symphony Orchestra, Rotterdam Philharmonic and the San Diego Symphony. He performs recitals in London, Sydney, Dusseldorf, Vienna, Berlin, Milan, Calgary and Brussels. With Hélène Mercier, his regular recital partner, he performs a duo-piano recital at the Aix-en-Provence Festival.

Louis Lortie has made more than 30 recordings, including a disc of works by Schumann and Brahms that was named one of the best CDs of the year by BBC

Music Magazine. His interpretation of Liszt’s complete works for piano and orchestra with the Residentie Orchestra of The Hague was a Gramophone Editor’s Choice.

Louis Lortie made his debut with the Montreal Symphony Orchestra at the age of 13. In 1984 he won First Prize in the Ferruccio Busoni International Piano Competition and was also prize winner at the Leeds International Piano Competition. He is an Officer of the Order of Canada.

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

The Advertiser. Proud sponsor of the arts in South Australia.

ACCESSALL AREAS


Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Associate Guest Conductor Nicholas Carter

VIOLINS

Elizabeth Layton** (Guest Concertmaster)

Cameron Hill** (Associate Concertmaster)

Shirin Lim** (Principal 1st Violin)

Supported 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)

Supported in the memory of Deborah Pontifex

Janet AndersonAnn AxelbyErna BerberyanMinas Berberyan

Supported by Merry Wickes

Gillian BraithwaiteJulia BrittainJane CollinsDanielle JaquillardZsuzsa Leon

Alexis Milton Sponsored by Patricia Cohen

Jennifer Newman Julie NewmanEmma Perkins

Supported by Peter & Pamela McKee

Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Imants Larsens** (Acting Principal)

Supported by Mr & Mrs Simon & Sue Hatcher

Michael Robertson ~

(Acting Associate)Martin ButlerLesley CockramAnna HansenLinda GarrettCarolyn MoozCecily Satchell

CELLOS Simon Cobcroft**

Supported by Andrew & Gayle Robertson

Ewen Bramble~ Supported by Barbara Mellor

Sarah Denbigh

Christopher Handley Supported by Johanna and Terry McGuirk

Gemma Phillips

David Sharp Supported by Dr Aileen F Connon AM

Cameron Waters

DOUBLE BASSES David Schilling**

Supported by Mrs Maureen Akkermans

Hugh Kluger~

Jacky Chang

Harley Gray Supported by Bob Croser

Belinda Kendall-SmithEsther Toh

FLUTES Julia Grenfell*

Supported by Chris & Julie Michelmore

Lisa Gill

PICCOLOLisa Gill*

OBOES Celia Craig**

Supported by Penelope & Geoffrey Hackett-Jones

Renae Stavely Supported by Roderick Shire & Judy Hargrave

CLARINETS

Dean Newcomb** Supported by the Royal Over-Seas League Inc

Darren Skelton

BASSOONS Mark Gaydon**

Supported by Pamela Yule

Leah Stephenson Supported by Liz Ampt

HORNS Adrian Uren**Sarah Barrett~

Supported by Margaret Lehmann

Bryan Griffiths Alex MillerPhilip Paine

TRUMPETS Hedley Benson** (Guest Principal)Martin Phillipson~

Supported by Richard Hugh Allert AO

Robin Finlay

TROMBONES Cameron Malouf**

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian Denbigh

BASS TROMBONECassandra Pope*

TUBA Peter Whish-Wilson*

Supported by Ollie Clark AM & Joan Clark

TIMPANI Robert Hutcheson*

Supported by an anonymous donor

PERCUSSION Gregory Rush**

HARP Suzanne Handel*

Supported by Shane Le Plastrier

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

denotes Musical Chair Support

Correct at time of print.


ASO BOARD

Colin Dunsford AM (Chair)Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreMichael MorleyAndrew RobertsonNigel Stevenson

ASO MANAGEMENT

EXECUTIVE

Vincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director

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

OPERATIONS

Heikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra ManagerKingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Operations Assistant

MARKETING AND DEVELOPMENTPaola Niscioli - General Manager, Marketing and DevelopmentVicky Lekis - Director of DevelopmentTom Bastians - Customer Service ManagerAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistAlexandra Bassett - Marketing and Development CoordinatorBen Bersten - Audience Development Coordinator

FRIENDS OF THE ASO EXECUTIVE COMMITTEE

Alison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsJudy Birze - Treasurer/SecretaryJohn Gell - Assistant Secretary/ Membership


Béatrice et Bénédict: Overture

Berlioz ended his composing career in 1860-2 with a comedy, Béatrice et Bénédict – an Indian summer, following his epic opera The Trojans. The Overture fits Berlioz’s description of the opera: ‘a caprice written with the point of a needle, and demanding excessive delicacy of execution’. Berlioz commented wryly on the critics’ response: ‘They have discovered that I have melody, that I can be gay and even comic.’

Berlioz was obsessed with Shakespeare. Well-known is his infatuation with the actress Harriet Smithson, who came to Paris in a touring Shakespeare company, and whom he married. Berlioz’s Shakespeare-inspired music includes Roméo et Juliette and the King Lear Overture. He had been contemplating a Romeo and Juliet opera, or an Antony and Cleopatra, when the commission for a new opera came from Edouard Bénazet, to inaugurate the new theatre he was building at the fashionable spa in Baden-Baden.

Berlioz chose to base the opera on his adaptation of a Shakespeare comedy – light relief after his struggles getting The Trojans finished and performed. He had been toying with the idea of setting Shakespeare’s Much Ado about Nothing since as early as 1833, when he made a few preliminary sketches.

His life since then had made Shakespeare’s play even more meaningful. A tragi-comedy, originally called Benedick and Beatrix, the play celebrates a marriage between two high-spirited young people. Beatrice and Benedict achieve a true partnership in spite of themselves, love triumphing in the end over independent-mindedness, cynicism, and raillery. Berlioz saw the irony of his choice of subject – his own marriages, with Harriet Smithson and Marie Récio, brought him much unhappiness.

The opera, premiered in 1862, was a success, but the overture remains its best-known music. Composed last, it is a brilliant précis, a weaving-together, or patchwork, of melodies from the opera (at least seven of them); a quicksilver scherzo, with episodes of soft emotion. ‘Racing, headlong, yet ironically poised, brilliant but touched with warmth of heart and a delicate spirit of fantasy’ is Berlioz biographer David Cairns’ summary of the overture, and he comments with wonder that it was the creation of a man in pain and longing for death. Though Berlioz lived seven more years, Béatrice et Bénédict was his last major composition. The overture quotes at the beginning the duet Béatrice and Bénédict sing about the love that has broken down their defences: ‘a flame, a will o’ the wisp, coming from no one knows where, gleaming and vanishing to distract our souls’.

Hector Berlioz 1803-1869


Hector Berlioz 1803-1869

David Garrett © 2011

The Adelaide Symphony Orchestra first performed this overture on 13 April 1967 with conductor Stanford Robinson, and most recently in December 2010 under Luke Dollman.

Duration 8 minutes.


Piano Concerto in A minor, Op 54Allegro affettuoso Intermezzo (Andantino grazioso) – Allegro vivace

Louis Lortie piano

Following their wedding in September 1840, composer Robert Schumann and Clara Wieck, a prominent piano virtuoso, set up house in Leipzig. The couple soon had children, and finding money to support a growing family was a constant worry. Clara had no intention of abandoning her successful musical life. She took pride in earning money from her performances; she also helped popularise Robert’s piano works by including them in her concert programs. Robert revered his wife’s extraordinary musicianship, but his pride struggled with the greater fame accorded Clara, especially when they travelled on concert tours together. Though a respected music journalist and an acclaimed composer of piano works, songs and chamber music, he had yet to write the symphonies and large-scale works that would later enhance his artistic reputation.

A piano concerto by Robert that Clara could perform would thus serve several

purposes. Before marrying, Robert had experimented with various ideas for piano concertos, none of which evolved beyond sketches. But during the newlyweds’ first year, he completed a Phantasie for Piano and Orchestra, conceived and orchestrated during 16 days in May 1841. A private performance led to the first of several revisions, but Robert could not find a publisher for his single-movement work.

He set it aside for four years, during which time he wrote more chamber music (including his popular Piano Quintet and Piano Quartet) as well as the Spring Symphony, and moved his family to Dresden. From there he undertook a tour to Russia with Clara that left him exhausted and ill, triggering a severe nervous breakdown. He sought therapy by studying the works of Bach and writing fugues. Taking a break from counterpoint exercises, he added two movements – a final rondo and a connecting Intermezzo – to the reworked Phantasie, and thus created his Concerto for Piano and Orchestra.

Ferdinand Hiller, a conductor to whom Robert dedicated the concerto (hoping to heal a rift in their friendship), led the premiere in his Dresden subscription concert of 4 December 1845 with Clara as soloist. But the true dedicatee is Clara, for whom Robert characterised his devotion in the opening movement’s tempo indication of

Robert Schumann 1810-1856


Allegro affettuoso, the Phantasie’s original title. Clara took pleasure in the results; she had long wanted a more brilliant vehicle for display of her virtuosity than the Phantasie. Felix Mendelssohn, the Schumanns’ great friend, who expressed highest regard for Clara’s playing and supported (with occasional private misgivings) Schumann’s work as a composer, organised and conducted the Leipzig premiere on New Year’s Day 1846. Thereafter, the concerto was performed in important cities, often with Robert conducting; it remained a central work in Clara’s repertoire, and is a lasting testament to the couple’s remarkable personal and artistic partnership, cut short by Robert’s death at age 46 in the Endenich asylum, where he recalled, in a letter to Clara, the concerto ‘that you played so splendidly’.

With an abrupt, chromatic cascade of chords, the soloist’s opening entrance commands immediate attention, heralding the oboe’s statement of the primary theme, echoed by the piano. The theme’s three-note descending motif dominates deliberations between the orchestra and soloist. The opening key of A minor yields, via the second theme, to triumphant C major, then to an expressive reverie in A flat major, showcasing the piano accompanied by radiant strings and plaintive woodwind. A return to earlier debates interrupts this dream, restores the opening theme and launches the soloist into an extended cadenza, capped by a quick coda that ends emphatically.

The second-movement Intermezzo (Andantino grazioso) hosts a more congenial but equally passionate dialogue. Short musical ideas are exchanged politely between soloist and orchestra, but as they

warm to their topic, an eloquent contrasting theme sings out richly from the cellos, ornamented expansively by the piano. As the conversation fades, clarinets and bassoons recall the opening movement’s three-note motif, first in A minor, then in A major. Without pause, the piano seizes the major motif and launches into a robust, triple-metre rondo marked Allegro vivace, driven by the soloist’s extensive bravura passagework. The third-movement theme (itself a transformation of the primary first-movement theme, subtly strengthening the concerto’s structural unity) surfaces buoyantly through harmonic sequences that build to an exhilarating conclusion.

Samuel C. Dixon © 2003

The Adelaide Symphony Orchestra first performed this concerto on 4-6 September 1947 with conductor Eugene Goossens and soloist Eunice Gardiner, and most recently in October 2010 with Arvo Volmer and Bernd Glemser.

Duration 31 minutes.


Symphony No.1 in E minor, Op 39

Andante, ma non troppo – Allegro energico

Andante (ma non troppo lento)

Scherzo: Allegro

Finale (quasi una fantasia): Andante – Allegro molto

In July 1900, Sibelius wrote to his wife, Aino, from Germany: ‘I can win a place, I believe, with my music. No, I don’t believe; I know I can.’

Sibelius had every right to feel optimistic. His First Symphony had premiered, to great acclaim, by the Orchestra of the Helsinki Philharmonic Society under the composer himself in 1899, and, in a revised version, was performed by Robert Kajanus and the orchestra on an extended European tour in mid-1900. European critics were, generally, no less effusive, with Hamburg critic Ferdinand Pfohl declaring, ‘a work full of unrestrained strength, full of passionate vivacity and astonishing audacity is – to state the matter plainly – a remarkable work, one that steps out on new paths, or rather rushes forward like an intoxicated god.’

Sibelius was by no means inexperienced at orchestral composition by this time. Born into the Swedish-speaking minority, in a

country ruled in increasingly repressive fashion by Russia, Sibelius was largely unaware of the richness of ethnic Finnish culture until he became engaged to Aino Järnefelt in 1890. The Järnefelt family introduced Sibelius to the mythological and literary culture of the Finns, and the result was a series of works that celebrated Kalevala, the Finnish national epic. Sibelius produced a sprawling choral Kullervo Symphony, as well as the group of pieces based on four legends of the mythic hero, Lemminkäinen; the 1890s also saw works of regional celebration like the Karelia Suite and the piece that, since 1900, has been known as Finlandia. In other words, Sibelius had more than mastered orchestral composition, and had developed a musical language in which he could express, and combine, states of mysticism and patriotism.

After Sibelius’ death, his secretary recalled the composer saying, ‘I was not thinking about Kalevala during the composition of the first symphony.’ Sibelius elsewhere insisted that symphonies had to be self-contained and supported by internal coherence alone, and, even though he toyed at first with a program of Romantic commonplaces, the First Symphony has the air of a work which seeks to do no more nor less than make perfect sense in its own terms. (We might note, though, that the 1900 tour was part of a charm

Jean Sibelius 1865-1957


offensive to gain recognition for Finnish self-determination in Europe and was thus interpreted as ‘nationalistic’.) As a student in Vienna in 1890, Sibelius had come under the spell of Anton Bruckner’s Third Symphony. While his tastes eventually changed, certain aspects of Bruckner’s work such as his ability to create large-scale, inexorable structures, and the dynamic use of ostinatos, or repeated figures, remained central to Sibelius’ method. The other figure with palpable influence on the First Symphony is Tchaikovsky: paradoxically, music associated with freedom from Russian rule owes a fully acknowledged debt to Russia’s greatest 19th-century composer.

The symphony begins, uniquely, with a soft, chromatic solo clarinet melody answered, at first, only by the distant thunder of soft timpani. Out of this introspective Andante emerges the surging Allegro material that forms the body of the movement. Massive sonorities of strings and brass are offset by the delicate wind writing we hear in some of Tchaikovsky’s ballet scores. After one such passage a texture of ostinato figures, gradually increasing in speed, launches the music into sections of ever more dramatic contrasts. After the movement’s provisional-sounding climax, the accelerating ostinato texture brings it to a close, which is articulated by two simple plucked string chords.

The slow movement continues the use of dramatic juxtaposition, using rondo form to contain some turbulent outbursts in a generally lyrical frame. The Scherzo likewise pits the kind of emphatic rhythmic material we hear in late Bruckner with more ephemeral wind writing.

The Finale ‘quasi una fantasia’ bears the full weight of the work, beginning with the

opening clarinet melody, fully scored and harmonised. The main material that follows consists of two themes, one marked Allegro molto which frequently leads into stormy weather, and a passionately lyrical Andante tune that reappears at the movement’s climax in glowing colours and almost static harmony. Significantly, though, the piece does not end triumphantly, but returns to an anguished minor-key mood and closes with those enigmatic pizzicato chords from the end of the first movement.

© Gordon Kerry 2013

The Adelaide Symphony Orchestra first performed Sibelius’ First Symphony at a War Funds concert on 16 November 1945 under conductor Percy Code, and most recently in June 2007 with Arvo Volmer.

Duration 38 minutes.

Concertmaster Natsuko Yoshimoto

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

Associate Principal CelloEwen Bramble

Supported by Barbara Mellor

Principal ViolaJuris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton

Supported by The Friends of the ASO

Associate Principal 2nd Violin Lachlan Bramble


Principal 1st ViolinShirin Lim


For more information please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan


ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported byMr & Mrs Simon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley

Supported byJohanna and Terry McGuirk

CelloDavid Sharp

Supported by Dr Aileen F Connon AM

CelloSherrilyn Handley

Supported Johanna and Terry McGuirk

Principal BassDavid Shilling

Supportedby Mrs Maureen Akkermans

BassDavid Phillips

Supported for‘a great bass player with lots of spirit - love Betsy’

BassHarley Gray

Supported by Bob Croser

Musical chair players and donors

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson


Principal TimpaniRobert Hutcheson


Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

Principal TrumpetMatt Dempsey

Supported by R & P Cheesman

BassoonLeah Stephenson

Supportedby Liz Ampt

Principal PiccoloJulia Grenfell


Principal Contra BassoonJackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal TromboneCameron Malouf


Principal OboeCelia Craig

Sponsored byPenelope & Geoffrey Hackett-Jones

Concertmaster Natsuko Yoshimoto

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

Associate Principal CelloEwen Bramble

Supported by Barbara Mellor

Principal ViolaJuris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton


Associate Principal 2nd Violin Lachlan Bramble


Principal 1st ViolinShirin Lim


For more information please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan


ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported byMr & Mrs Simon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley

Supported byJohanna and Terry McGuirk

CelloDavid Sharp

Supported by Dr Aileen F Connon AM

CelloSherrilyn Handley

Supported Johanna and Terry McGuirk

Principal BassDavid Shilling

Supportedby Mrs Maureen Akkermans

BassDavid Phillips

Supported for‘a great bass player with lots of spirit - love Betsy’

BassHarley Gray

Supported by Bob Croser

Musical chair players and donors

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson


Principal TimpaniRobert Hutcheson


Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

Principal TrumpetMatt Dempsey

Supported by R & P Cheesman

BassoonLeah Stephenson

Supportedby Liz Ampt

Principal PiccoloJulia Grenfell


Principal Contra BassoonJackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka


Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal TromboneCameron Malouf


Principal OboeCelia Craig

Sponsored byPenelope & Geoffrey Hackett-Jones

Our inspirational donors

Diamond Patron ($25,000+)Mr & Mrs Anthony & Margaret GerardAndrew Thyne Reid Charitable TrustMs Merry WickesKim Williams AM

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

Dr Aileen F Connon AMThe Friends of the Adelaide Symphony OrchestraEstate of the late David Malcolm Haines QCEstate of the late Winifred J. LongbottomPlus two anonymous donors

Gold Patron ($5,000 - $9,999)Richard Hugh Allert AOMr Bob CroserMr Donald Scott GeorgeMr & Mrs Keith & Sue Langley & the Macquarie Group FoundationJohanna & Terry McGuirkPeter & Pamela McKeeMrs Diana McLaurinMr Norman Schueler OAM and Mrs Carol SchuelerMrs Pamela YulePlus two anonymous donors

Silver Patron ($2,500 - $4,999)Mrs Maureen AkkermansMs Liz AmptR & P CheesmanMr Ollie Clark AM & Mrs Joan ClarkMrs Patricia CohenLegh & Helen DavisMr Colin Dunsford AM & Mrs Lib DunsfordNorman Etherington & Peggy BrockGeoffrey & Penelope Hackett-JonesMr & Mrs Simon & Sue HatcherMr Robert KenrickShane Le PlastrierMrs Margaret LehmannMrs Joan LyonsMrs Barbara MellorMrs Pauline Menz

Mr & Mrs Chris & Julie MichelmoreRobert PontifexMs Marietta ResekMr & Mrs Andrew & Gayle RobertsonDr Ben RobinsonRoyal Over-Seas League South Australia IncorporatedMr Ian SmailesMr Nigel Stevenson & Mr Glenn BallDr Georgette StraznickyMrs M W WellsDr Betsy Williams & Mr Oakley Dyer

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The Hon Carolyn PicklesKrystyna PindralMr Frank PrezMr & Mrs Michael & Susan Rabbitt

Mr & Mrs Ian & Jen RamsayMr A L ReadMrs Jill RussellMr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMDr W T H & Mrs P M ScalesChris SchachtMr David ScownMs Gweneth ShaughnessyBeth & John ShepherdR & L SiegeleMrs Elizabeth P SimpsonMr & Mrs Jim & Anne Spiker

Eric StaakMr & Mrs Graham & Maureen Storer

Mrs Anne SutcliffeDr Anne Sved WilliamsMrs Verna SymonsMr & Mrs R & J TaylorThe Richard Wagner Society of South Australia Inc

Dr Peter TillettAnita Robinson & Michael Tingay

Mr & Mrs John & Janice Trewartha

Mr David TurnerKeith and Neta VickeryMr & Mrs Glen & Robina Weir

Mrs Ann WellsMr & Mrs Peter & Dawn Yeatman

Plus 16 anonymous donors The ASO also thanks the 603 patrons who gave other amounts in the past 12 months.

Proud supporter of the Adelaide Symphony Orchestra

Tasting Notes

BBR1707

BBR1707 ASO Programme Ad 6/6/06 9:18 AM Page 1


What your donations support Give proudly

full-time musicians

casual employees

hours of concerts

students & teachers engaged with the ASO

hours of rehearsals in the Grainger Studio

composers currently under commission

pages of sheet music turned

75125 232

10,107400

3

13 ,800

The Adelaide Symphony Orchestra reaches over 100,000 people in our community every year and it’s thanks to individuals like you who help make it possible. With ticket sales only accounting for 28% of the Orchestra’s operational costs, private giving makes a significant impact in delivering world class concerts to the community. Please help the ASO to share the power of live music by donating generously.

Support Us

Donate nowSupporting your ASO is easy (donations over $2 are fully tax deductible and exempt of credit card charges). Give online at aso.com.au/donateOr, if you’d like further information or to discuss other ways to support the ASO, contact Director of Development, Vicky Lekis on 8233 6260 or [email protected].

A Bequest for the futureImagine a world in which concerts are only on YouTube and music only heard on recordings. Where would we be without the great orchestral performances that transcend time and place and move us beyond our imagination?

Help us to preserve the world of music and share your lasting passion for the ASO by making a gift in your Will. Your generosity will create enduring benefits for the ASO and ensure that the pleasure of music will be passed on to future generations.

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

The ASO receives Commonwealth Government funding through the Australia Council, it arts funding and advisory body. The Orchestra is funded by the Government of South Australia through Arts SA. The Adelaide City Council supports the ASO during the 2014-15 financial year.

Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 Fax (08) 8233 6222 | Email [email protected] | aso.com.au

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

57 FilmsBoylen – Website Design & DevelopmentCoopers Brewery LtdHaigh’s ChocolatesHickinbotham Group

M2 GroupNormetalsPeregrine TravelPoster Impact

Thank you

DISCLAIMER: Every effort has been made to ensure that performance dates, times, prices and other information contained herein are correct at time of publication. Due to reasons beyond the ASO’s control, details may change without notice. We will make every effort to communicate these with you should this eventuate.

Join us

Santos and the ASO – great South Australian performersFor sixteen seasons Santos and the Adelaide Symphony Orchestra have partnered together to deliver outstanding performances to audiences across South Australia. This proud tradition continues in 2015.

With our head office here in Adelaide, Santos has been part of South Australia for over 60 years.

We search Australia to find gas and oil to help provide energy to our nation. But we also put our energy into supporting the communities in which we live and work.

Each year Santos supports a wide range of community events and organisations across South Australia.

By 2017, this support will add up to $60m over a ten-year period.

At Santos, we believe that contributing to a vibrant culture is good for everyone. We don’t just look for energy - we help create it.

Proudly working in partnership

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SA

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Documents

Lortie Plays Schumann - Adelaide Symphony Orchestra · 6 ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES Louis Lortie piano French-Canadian pianist Louis Lortie has attracted critical acclaim