ADEL AIDE SYMPHONY ORCHESTRA

MAHLER 5

21 & 22 NOVEMBER ADEL AIDE TOWN HALL

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MAHLER 5 Adelaide Town Hall 21 November 8pm & 22 November 6.30pm Mark Wigglesworth Conductor Jean-Efflam Bavouzet Piano Liszt

Piano Concerto No 2 In A Major Adagio sostenuto assai – Allegro agitato assai – Allegro moderato – Allegro deciso – Marziale, un poco meno allegro – Un poco meno mosso – Allegro animato

Jean-Efflam Bavouzet - Piano Interval

Mahler

Symphony No 5 In C# Minor Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (With measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo-Finale (Allegro)

This concert runs for approximately 110 minutes including interval. Friday evening’s performance will be recorded for live broadcast on ABC Classic FM. Classical Conversations - one hour prior to each performance in the Adelaide Town Hall. Free for ticketholders. The charismatic French pianist Jean-Efflam Bavouzet joins Geoffrey Collins (Principal Flute) to introduce the musical world of Franz Liszt. ADELAIDE SYMPHONY MASTERS SERIES

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Adelaide’s No.1

mark wigglesworth conductor Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music. He has since worked with most of the orchestras in the United Kingdom, and has guest conducted the Royal Concertgebouw Orchestra; Royal Stockholm Philharmonic Orchestra; La Scala Philharmonic; New York Philharmonic; The Cleveland Orchestra; the Boston, Chicago, San Francisco, Montreal and Toronto Symphony Orchestras; and the Hong Kong Philharmonic. He regularly visits the Minnesota Orchestra and has an ongoing relationship with the New World Symphony. Highlights of the 2014/15 season and beyond include returns to the Royal Opera House, a new production of Owen Wingrave for the Aldeburgh and Edinburgh Festivals, and debuts with the Royal Flemish Philharmonic and Orquestra Sinfônica do Estado de São Paulo.

His recordings include live performances of Mahler's Symphonies Nos. 6 and 10, issued by the Melbourne Symphony Orchestra on the MSO Live label; a disc of English music with the Sydney Symphony Orchestra; a project with BIS Records to record all the symphonies of Shostakovich; and most recently the two Brahms piano concertos, played by Stephen Hough and the Mozarteum Orchestra, Salzburg. Mark Wigglesworth will be Music Director of English National Opera from September 2015. Previous appointments include Associate Conductor of the BBC Symphony Orchestra, Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales.

Equally at home in the opera house, Mark Wigglesworth started his operatic career with a period as Music Director of Opera Factory, London. Since then he has worked regularly at Glyndebourne, Welsh National Opera and English National Opera.

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jean-efflam bavouzet piano Jean-Efflam Bavouzet enjoys a prolific recording and international concert career. The 2014/15 season includes a US tour with the London Philharmonic Orchestra under Vladimir Jurowski, and debuts with the Luxembourg Philharmonic Orchestra under Emmanuel Krivine; the Cincinnati Symphony Orchestra under Louis Langrée; and the Orchestra della Svizzera Italiana in Lugano under Vladimir Ashkenazy. He returns to the Orchestre national de France, Hong Kong Philharmonic Orchestra, NHK Symphony Orchestra, and the Sydney and Adelaide symphony orchestras. He is Artist in Residence at the Orquestra Sinfônica do Estado de São Paulo in 2014, and Artistic Director of a new biennial piano festival in Norway’s Lofoten Islands.

An active recitalist, he returns this season to the Louvre in Paris and Wigmore Hall in London, in addition to recitals in Munich, Budapest, Taiwan, Melbourne and Brisbane. He regularly collaborates with the Palazzetto Bru Zane and has devised a chamber music program dedicated to the music of Albéric Magnard. Jean-Efflam Bavouzet’s recordings include the complete Prokofiev piano concertos with the BBC Philharmonic and Gianandrea Noseda, winner of a Gramophone Award in the concerto category. His earlier recordings have earned him multiple prizes, including two Gramophone Awards, two BBC Music Magazine Awards, a Diapason d’Or and Choc de l’année. Ongoing recording projects include Beethoven and Haydn piano sonata cycles.

Other recent highlights include concerts with the Pittsburgh Symphony Orchestra, Beijing Symphony Orchestra, Bavarian State Orchestra, Philharmonia Orchestra, Manchester Camerata and the Warsaw Philharmonic Orchestra, where he performed the complete cycle of Beethoven’s piano concertos. He recently appeared with the Netherlands Philharmonic Orchestra at the Robeco SummerNights in Amsterdam’s Concertgebouw.

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Adelaide Symphony Orchestra Principal Guest Conductor and Artistic Advisor Arvo Volmer Artist in Association Nicholas McGegan Associate Guest Conductor Nicholas Carter Concertmaster Natsuko Yoshimoto

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

VIOLINS Natsuko Yoshimoto** (Concertmaster) Alison Rayner** (Guest Associate Concertmaster) Shirin Lim* (Principal 1st Violin) Musical Chair in the memory of Dr Nandor Ballai

Michael Milton** (Principal 2nd Violin) Musical Chair supported by The Friends of the ASO ~

Lachlan Bramble (Associate Principal 2nd Violin)

Musical Chair supported in the memory of Deborah Pontifex

Janet Anderson Ann Axelby Minas Berberyan Musical Chair supported by Merry Wickes

Gillian Braithwaite Julia Brittain Hilary Bruer* Musical Chair supported by Marion Wells

Elizabeth Collins Jane Collins

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Belinda Gehlert Alison Heike Danielle Jaquillard Alexis Milton Musical Chair supported by Patricia Cohen

Jennifer Newman Julie Newman Emma Perkins Musical Chair supported by Peter & Pamela McKee

Alexander Permezel Judith Polain Marie-Louise Slaytor Kemeri Spurr VIOLAS Imants Larsens** (Acting Principal) Musical Chair supported by Mr & Mrs Simon & Sue Hatcher ~

Linda Garrett (Guest Associate) Martin Butler Lesley Cockram Anna Hansen Rosi McGowran Carolyn Mooz Michael Robertson Cecily Satchell CELLOS Simon Cobcroft**

Principal Cello Chair supported by Andrew & Gayle Robertson

Ewen Bramble~ Musical Chair supported by Barbara Mellor

Sarah Denbigh Musical Chair supported by an anonymous donor

Christopher Handley

Sherrilyn Handley Musical Chair supported Johanna and Terry McGuirk

Gemma Phillips David Sharp Musical Chair supported by Aileen Connon AM

Cameron Waters DOUBLE BASSES David Schilling**

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

Musical Chair supported by Mrs Maureen Akkermans

E FLAT CLARINET Darren Skelton*

Musical Chair supported by Bob Croser

BASS CLARINET Mitchell Berick*

Harley Gray~ (Acting Associate)

Jacky Chang Belinda Kendall-Smith David Phillips Musical Chair supported for a great Bass player, with lots of spirit - love Betsy

Esther Toh FLUTES Geoffrey Collins** Musical Chair supported by Pauline Menz

Lisa Gill Samantha Hennessy PICCOLOS Julia Grenfell** Musical Chair supported by Chris & Julie Michelmore

Samantha Hennessy OBOES Celia Craig** Musical Chair supported by Penelope & Geoffrey Hackett-Jones

Renae Stavely

Musical Chair supported by Johanna and Terry McGuirk

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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 BASSOON Jackie Hansen* Musical Chair supported by Norman Etherington & Peggy Brock

HORNS Adrian Uren** (Guest Principal) Sarah Barrett** Musical Chair supported by Margaret Lehmann

Bryan Griffiths Philip Paine Alex Miller Anna Handsworth Alison Harris

TRUMPETS Matt Dempsey** Musical Chair supported by R & P Cheesman ~

Martin Phillipson

Musical Chair supported by Rick Allert AO

David Khafagi Robin Finlay TROMBONES Cameron Malouf** Musical Chair supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian Denbigh BASS TROMBONE Howard Parkinson* TUBA Peter Whish-Wilson* Supported by Ollie Clark AM & Joan Clark

TIMPANI Robert Hutcheson* Musical Chair supported by an anonymous donor

PERCUSSION Steven Peterka** Musical Chair supported by The Friends of the ASO

Gregory Rush Jamie Adam Amanda Grigg HARP Suzanne Handel* Musical Chair supported by Shane Le Plastrier

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

ASO BOARD

Colin Dunsford AM (Chair) Vincent Ciccarello Col Eardley David Leon Michael Morley Nigel Stevenson

Jillian Attrill Geoffrey Collins Byron Gregory Chris Michelmore Andrew Robertson

ASO MANAGEMENT Executive Vincent Ciccarello - Managing Director Margie Corston - Assistant to Managing Director Artistic Simon Lord - Director, Artistic Planning Katey Sutcliffe - Artistic Administrator Emily Gann - Learning and Community Engagement Coordinator Finance and HR Bruce Bettcher - Business and Finance Manager Louise Williams - Manager, People and Culture Karin Juhl - Accounts/Box Office Coordinator Sarah McBride - Payroll Emma Wight - Administrative Assistant Operations Heikki Mohell - Director of Operations and Commercial Karen Frost - Orchestra Manager Kingsley Schmidtke - Venue/Production Supervisor Bruce Stewart - Librarian David Khafagi - Acting Orchestra Manager Marketing and Development Paola Niscioli - General Manager, Marketing and Development Vicky Lekis - Director of Development Annika Stennert - Marketing Coordinator Kate Sewell - Publicist Tom Bastians - Customer Service Manager

FRIENDS OF THE ASO EXECUTIVE COMMITTEE Alison Campbell - President Liz Bowen - Immediate Past President Alyson Morrison and John Pike - Vice Presidents Vacancy - Honorary Secretary John Gell - Assistant Secretary Membership Judy Birze - Treasurer ADELAIDE SYMPHONY MASTERS SERIES

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franz liszt

(1811-1886)

Piano Concerto No 2 in A, S125 Adagio sostenuto assai – Allegro agitato assai – Allegro moderato – Allegro deciso – Marziale, un poco meno allegro – Un poco meno mosso – Allegro animato

Jean-Efflam Bavouzet Piano

Liszt wrote several works for piano and orchestra, but gave the title ‘concerto’ to only two. When he composed them, his principal career was that of a travelling virtuoso performer, a profession virtually invented by him (with some inspiration from the Italian violinist Nicolò Paganini). From the age of 26, Liszt remained unchallenged in the role of lion of the keyboard, until 1848 after which he spent 40 years in retirement from the concert stage, pursuing, with equal intensity, subsequent careers as composer and teacher. Let us also not forget the romantic liaisons with famous beauties, and the last years as a devout churchman. A life lived to the full! Opinions on Liszt’s work as a composer were – and still are – varied but there was international unanimity about his prowess as a pianist. From his first appearance at age nine, he amazed listeners with his technical dexterity, musical understanding and his ability to play anything at

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sight. His training under the strict and methodical Carl Czerny probably gave an edge of discipline to his wild pianism, and he was noted particularly for his uncanny ability to combine power and delicacy. He had a wide palette of tone colours and was famous for making the piano sound like an orchestra, an effect he was very proud of. While all of Europe was in awe of his playing, there was great criticism of his work as a composer. Clara Schumann said, ‘I could almost detest him as a composer’; the feared Viennese critic Eduard Hanslick wrote: ‘false, bogus music, characterised by tangible symptoms of decay’. Even today, he has as many supporters as detractors, and the latter often describe his music as shallow, banal and uninspired. Some of his admirers sound slightly hesitant, as if they feel somewhat guilty about such a weakness. Yet all of his major works for piano are as often played today as ever, and his orchestral and later works are full of astonishing invention. Interestingly, his greatest champions have always been other composers, such as Wagner, Ravel, Saint-Saëns and Scriabin, who were all influenced by his works, both consciously and unconsciously. Liszt was a great disturber of comfortable musical forms (‘new wine needs new bottles’), and it was this aspect that interested many 20th-century composers. Bartók said that Liszt’s invention indicated ways of development that were only

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fully utilised by his successors. Liszt’s music needs to be approached in a mood of heightened poetic intensity, and with a willingness to accept wholeheartedly his world of extremes. The Piano Concerto No.2 is a splendid example of what must have been his playing style. He worked on several versions of the piece before publishing it in 1863, dedicating it to his student Hans von Bronsart, who had premiered it in Weimar in 1857 with the composer conducting. It features extreme contrasts between the pathetic and the bombastic, the religiously contemplative and the wildly passionate. In a letter to his mother, Liszt’s son Daniel (who was to die of consumption before the age of 20) claimed that it was an exact portrait of his father in all his contrasting aspects. The opening orchestral bars contain almost all the material to listen for in this concerto. The melodic and harmonic details form the basis of a theme which undergoes astonishing transformations, changing key, time signature, speed and character throughout the concerto. Liszt was justly proud of this compositional technique of thematic transformation. The theme reappears in every possible guise: some of the more surprising include the one for solo cello with piano accompaniment in the slow section, the fortissimo march version, and the declamatory piano solo in the second half of the work.

the first in E flat, but perhaps this is because it is marginally less showy. It is certainly just as virtuosic and even more poetic. It is written, as are all Liszt’s works for piano and orchestra, in a continuous unfolding cyclic structure, which often sounds like several different movements. From a Classical viewpoint, this type of structure might seem a disaster, but at no stage in the work are we in any doubt as to what is happening, and how it relates to what has gone before. Throughout, the melodic development in the solo piano part is constantly interesting and beautiful, while the coda is one of shining ingenuity. George Bernard Shaw, in his obituary for Liszt in the Pall Mall Gazette, wrote: ‘Liszt was a man who loved his art, despised money, attracted everybody worth knowing in the 19th century, lived through the worst of it, and got out of it at last with his hands unstained.’

Stephen McIntyre © 2004

The Adelaide Symphony Orchestra first performed Liszt’s Piano Concerto No 2 on 28 and 30 August 1943 with conductor Percy Code and soloist Raymond Lambert. Duration 21 minutes

The concerto is not considered as ‘popular’ as

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gustav mahler

(1860-1911)

Symphony No 5 In C# Minor Part I Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt) [Funeral march (with measured pace, stern, like a funeral procession)] Stürmisch bewegt. Mit grösster Vehemenz [Stormy, with utmost vehemence] Part II Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast] Part III Adagietto (Sehr langsam) [Very slow] Rondo-Finale (Allegro)

When the Fifth Symphony had its first public performance in Cologne in 1904, Mahler wrote, ‘The Fifth is an accursed work. No one understands it.’ That judgment was not borne out by history, of course. The Fifth is one of the most-played of Mahler’s works – certainly the most popular of his purely instrumental symphonies. Musicologist Michael Kennedy has called it ‘Mahler’s Eroica’, meaning that, like Beethoven’s Third Symphony, the work charts a simple but compelling trajectory from tragedy, through confused alarms of struggle and flight, to joy.

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Mahler, then the Director of the Vienna Court Opera, only had time to compose during his summer break. The Fifth was written during the summer of 1902 at a lakeside holiday retreat. He worked in a hut in the woods, while his new bride Alma, herself a talented composer, made fair copies of the material that Gustav produced, and offered various bits of advice on the scoring and the use of a Brucknerian brass ‘chorale’ as the climax of the final movement. The Fifth appeared at a critical time in Mahler’s life; it is also a transitional piece within his output. His first four symphonies, three of which include a vocal component, are all in some way programmatic (that is, have an extra-musical narrative that determines the structure), and all re-use music from Mahler’s song-settings of poetry from the folk-collection Des Knaben Wunderhorn. The Fifth also makes some use of self-quotation, but the overall form of the piece derives from its own internal architecture, which has a dual aspect. The piece falls into five movements, but these are grouped to form three larger parts. Part I is the opening funeral march and the stormy, fast movement that follows. The March, in the relatively unusual key of C sharp minor, begins with the almost-Beethovenian trumpet-fanfare (derived from the Fourth Symphony), whose rhythm pervades these

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first two movements. The theme of the March itself is derived from a Wunderhorn song, ‘Der Tambourg’sell’, where an imprisoned drummer boy is being taken from his cell to be executed. The March contains two contrasting sections, or trios. The philosopher Theodor Adorno noted that where we might expect a lyrical response to the formal grief of the March, the first trio ‘gesticulates [and] raises a shriek of horror at something worse than death’. He goes on to say it evokes historical atrocities where ‘the gestures of the hetman, inciting to murder, are confused with the wails of the victims’. After this ‘pogrom music’, as Adorno calls it, the March returns in its restrained formality, leading to a quotation from Mahler’s Kindertotenlieder from flute, clarinet and violins. The line it references is ‘I bless the light that gladdens all the world’, and with this intimation of hope, the second trio begins. This is scored for strings only, and while its theme was first given in the brass in the first trio, here the mood is of understated nostalgia. Mahler gradually brings in other instruments, starting with the horn, and builds a shattering climax before a final dissipation of the trumpetcall, echoed by flute. The ‘stormy’ second movement follows straight away, and, threaded through with trumpet calls and demonic laughter, develops the feeling of the anguished first trio. There is what Kennedy describes as a ‘consoling’ theme passed from clarinets and cellos to horns,

and a D major climax that looks forward to the more satisfying resolution of the final movement.

Mahler and Alma

The Scherzo constitutes Part II of the symphony. It was this movement that gave the composer pause. He wrote that ‘each note is endowed with supreme life and everything in it revolves as though in a whirlwind or the tail of a comet’ but, in a letter to Alma written after the first rehearsal in Cologne, he wondered what conductors would say to ‘this primeval music, this foaming raging, roaring sea of sound, to these dancing stars, to these breath-taking iridescent and flashing breakers?’. It is certainly one of the most colourful pieces of orchestration in Mahler with its demanding solo part for the horn, and a glittering array of sounds. The outer sections

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gustav mahler

(1860-1911)

are a kind of hyper-Viennese dance music, with a contrastingly introspective central trio featuring horn and strings. Nothing could be further from the exuberance of the Scherzo than the celebrated Adagietto with which Part III begins. After the flashy, kaleidoscopic scoring of the former, Mahler now writes for harp and strings only, echoing the yearning second trio from the first movement. Once again, the thematic material refers to, if not literally quoting, an extant song: ‘Ich bin der Welt abhanden gekommen’ (I am lost to the world), a setting of a poem by Friedrich Rückert, author of the Kindertotenlieder poems. Mahler’s genius here is to conjure a wealth of orchestral sonorities from strings alone, and to depict a state of unfulfillable longing – a staple of much late-Romantic art. But this intense feeling is ameliorated by humour as soon as the RondoFinale starts. After a single-note horn-call, the bassoon announces a motif drawn from Mahler’s setting of the Wunderhorn song ‘Lob des hohen Verstandes’ (In praise of higher understanding), a folk-tale in which a cuckoo and a nightingale enter a singing contest; a donkey, because of his big ears, is the judge. As Kennedy puts it: ‘Mahler serves notice that he is about to give a display of academic prowess, fugue and all.’ And so he does, with evident great enjoyment in his own facility, in a long but constantly engaging movement. Mahler’s mastery of technique is

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...continued

always evident, and it is surely significant that he brings back the melody from the Adagietto, now by no means lost to the world but fully engaged with it, and concludes with a fully realised version of the climactic ‘chorale’ from the end of the second movement. The grief and terror of Part I and the searing anguish of the Adagietto are here well and truly banished by energy and joy. What’s not to understand?

© Gordon Kerry 2014

The Adelaide Symphony Orchestra first performed the Adagietto from Mahler’s Fifth Symphony in August 1946 under Bernard Heinze. The complete work was performed by the ASO for the first time in 1979 with conductor Elyakum Shapirra. Duration 1 hour 8 minutes

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In tune with the Adelaide Symphony Orchestra KPMG has a 16-year history of sponsoring the ASO and is proud to be a World Artist Partner. It’s tangible expression of our commitment to supporting the arts and communities in which we live and work. We look forward to celebrating music and hitting the right notes together. kpmg.com.au

© 2014 KPMG, an Australian partnership. All rights reserved. The KPMG name, logo and “cutting through complexity” are registered trademarks or trademarks of KPMG International. October 2014. NSW12335MKT.

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27 & 28 NOVEMBER

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ADELAIDE TOWN HALL

B O O K AT B A S S 1 3 1 2 4 6 o r b a s s . n e t . a u

A great Christmas tradition

musical chair players & donors For more information please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected] Concertmaster Natsuko Yoshimoto

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

Associate Principal Viola Imants Larsens

Supported by Mr & Mrs Simon & Sue Hatcher

Principal 1st Violin Shirin Lim

Principal Cello Simon Cobcroft

Supported in the memory of Dr Nandor Ballai

Supported by Andrew & Gayle Robertson

Principal 2nd Violin Michael Milton

Associate Principal Cello Ewen Bramble

Supported by The Friends of the ASO

Supported by Barbara Mellor

Associate Principal 2nd Violin Lachlan Bramble

Cello Sarah Denbigh

Supported in the memory of Deborah Pontifex

Supported by an anonymous donor

Violin Hilary Bruer

Cello Chris Handley

Supported by Marion Wells

Supported by Johanna and Terry McGuirk

Violin Minas Berberyan

Cello Sherrilyn Handley

Supported by Merry Wickes

Supported by Johanna and Terry McGuirk

Violin Alexis Milton

Cello David Sharp

Supported by Patricia Cohen

Supported by Aileen Connon AM

Violin Emma Perkins

Principal Bass David Schilling

Supported by Peter & Pamela McKee

Supported by Mrs Maureen Akkermans

Principal Viola Juris Ezergailis

Bass Harley Gray

Supported in the memory of Mrs JJ Holden

Supported by Bob Croser

Bass David Phillips

Principal Contra Bassoon Jackie Hansen

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

Supported by Norman Etherington & Peggy Brock

Principal Flute Geoffrey Collins

Horn Sarah Barrett

Supported by Pauline Menz

Supported by Margaret Lehmann

Principal Piccolo Julia Grenfell

Principal Trumpet Matt Dempsey

Supported by Chris & Julie Michelmore

Supported by R & P Cheesman

Principal Oboe Celia Craig

Supported by Penelope & Geoffrey Hackett-Jones

Principal Cor Anglais Peter Duggan

Associate Principal Trumpet Martin Phillipson

Supported by Rick Allert AO Principal Trombone Cameron Malouf

Supported by Dr JB Robinson

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Principal Clarinet Dean Newcomb

Timpani Robert Hutcheson

Supported by Royal Over-Seas League SA Inc

Supported by an anonymous donor

Principal Bass Clarinet Mitchell Berick

Principal Tuba Peter Whish-Wilson

Supported by Nigel Stevenson & Glenn Ball

Supported by Ollie Clark AM & Joan Clark

Principal Bassoon Mark Gaydon

Principal Percussion Steven Peterka

Supported by Pamela Yule

Supported by The Friends of the ASO

Bassoon Leah Stephenson

Harp Suzanne Handel

Supported by Liz Ampt

Supported by Shane Le Plastrier

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

Diamond Patron ($25,000+) Friends of the Adelaide Symphony Orchestra Mr & Mrs Anthony & Margaret Gerard Ms Merry Wickes Kim Williams AM Plus one anonymous donor

Platinum Patron ($10,000 - $24,999) Dr Aileen F Connon AM The Estate of the late David Malcolm Haines QC

Plus two anonymous donors

Gold Patron ($5,000 - $9,999) Richard Hugh Allert AO Mr Donald Scott George Geoffrey & Penelope Hackett-Jones Mr & Mrs Simon & Sue Hatcher Mr & Mrs Keith & Sue Langley & the Macquarie Group Foundation

Johanna & Terry McGuirk Peter & Pamela McKee Mrs Diana McLaurin Mr & Mrs Norman & Carol Schueler Plus two anonymous donors

Silver Patron ($2,500 - $4,999) Mrs Maureen Akkermans Ms Liz Ampt R & P Cheesman Mr Ollie Clark AM & Mrs Joan Clark Mr Bob Croser Legh & Helen Davis Mr Colin Dunsford AM & Mrs Lib Dunsford Norman Etherington & Peggy Brock Mr Robert Kenrick Shane Le Plastrier Mrs Margaret Lehmann Mrs Barbara Mellor Mrs Pauline Menz Mr & Mrs Chris & Julie Michelmore 20

Robert Pontifex Mr & Mrs Andrew & Gayle Robertson Dr Ben Robinson Royal Overseas League South Australia Incorporated Mr Ian Smailes Mr Nigel Stevenson & Mr Glenn Ball Dr Georgette Straznicky Virginia Weckert & Charles Melton of Charles Melton Wines Mrs M W Wells Dr Betsy Williams & Mr Oakley Dyer Mrs Pamela Yule Plus two anonymous donor

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Maestro Patron ($1,000 - $2,499) ASO as winner of Adelaide Critics Circle ACColade Mr Neil Arnold Dr Margaret Arstall Australasian Double Reed Society SA Prof Andrew & Mrs Elizabeth Bersten The Hon D J & Mrs E M Bleby Dianne & Felix Bochner Dr Ivan Camens Mrs Patricia Cohen Tony & Rachel Davidson Mrs Lorraine Drogemuller In Memory of Jim Frost RJ, LL & SJ Greenslade Mr P R Griffiths Mr Donald Growden Rhys & Vyvyan Horwood Mrs M Janzow Mrs Alexandra Jarvis Dr I Klepper Mrs Joan Lyons Mr & Mrs Peter & Rosalind Neale Mrs Christine & The Late Dr Donald Perriam Ms Marietta Resek Mr Richard Ryan AO & Mrs Trish Ryan Mr Roger Salkeld Philip Satchell AM & Cecily Satchell Larry & Maria Scott Mr & Mrs H W Short Dr & Mrs Nigel & Chris SteeleScott OAM Ms Guila Tiver Dr D R & Mrs L A Turner Mr J W Vale Dr Richard & Mrs Gweneth Willing Plus eight anonymous donors Soloist Patron ($500 - $999) Dr E Atkinson & Mr J Hardy Ms Dora O'Brien Barbara Bahlin Mr John Baker Mr & Mrs R & SE Bartz Mrs Susan Bethune Liz, Mike & Zoe Bowen Mr Rob Broughton Mr Vincent Ciccarello Mr Bruce Debelle AO Fr John Devenport

Dr Chrstopher Dibden Mrs A E Dow Lady Mary Downer Mrs Jane Doyle Mr L J Emmett Mr & Mrs Jiri & Pamela Fiala Mr Douglas Fidock Mr Otto Fuchs Dr Noel & Mrs Janet Grieve Mrs Eleanor Handreck Dr Robert Hecker Mr & Mrs Michael & Stacy Hill Smith Dr Douglas & Mrs Tiiu Hoile Dr Wilfrid Jaksic Mr & Mrs G & L Jaunay Ms Elizabeth Keam AM Mrs Joan Lea Mr Michael McClaren & Ms Patricia Lescius Mr Melvyn Madigan Mrs Skye McGregor Mrs Caroline Milne Dr D G & Mrs K C Morris Ms Jocelyn Parsons Mr Tom F Pearce Captain R S & Mrs J V Pearson Mr Martin Penhale Mr & Mrs John & Jenny Pike J M Prosser Mr Mark Rinne Mrs Janet Ann Rover Trevor & Elizabeth Rowan Mr A D Saint Ms Linda Sampson Mr & Mrs W Scharer Proffessor Ivan Shearer, AM Beth & John Shepherd Mr W & Mrs H Stacy Mrs Verna Symons The Honourable Justice Ann Vanstone Mr Nick Warden Mrs Pamela Whittle Ms Janet Worth Hon David Wotton AM & Mrs Jill Wotton Plus eight anonymous donors Tutti Patron ($250 - $499) Julie Almond Mr & Mrs Rob & Cathy Anderson Mr & Mrs David & Elaine Annear Mr Rob Baillie Mr Brenton Barritt Mrs Jillian Beare

Dr Gaby Berce Dr Adam Black Mr & Mrs Andrew & Margaret Black Mrs Betty A Blackwood Mr Mark Blumberg Prof & Mrs John & Brenda Bradley Dr & Mrs J & M Brooks Ms Rosie Burn R W & D A Buttrose Mr Stephen Courtenay Mr Don R R Creedy Mrs Betty Cross Ms Barbara Deed Dr Alan Down Mrs Margaret Duncan Dr Joan Durdin Mr & Mrs Stephen & Emma Evans Dr Laurence J Ferguson Ms Barbara Fergusson Mr J H Ford Mr William Frogley Mr John Gazley Mr & Mrs Andrew & Helen Giles Dr David & Mrs Kay Gill The Hon R & Mrs L Goldsworthy Mr Neil Halliday Mrs Jill Hay Mr John H Heard AM Dr Robert & Mrs Margaret Heddle Mrs Judith Heidenreich Mr & Mrs Peter & Helen Herriman Mrs N G Hewett Ms Rosemary Hutton Mrs Rosemary Keane Mr Angus Kennedy Mrs Bellena Kennedy Lodge Thespian, No. 195 Inc Mr J H Love Mr Colin Macdonald Mrs Beverley Macmahon Mr Ian Maitland Robert Marrone Mr & Mrs Rob & Sue Marshall Dr Ruth Marshall Mrs Lee Mason Mrs Barbara May Ms Fiona Morgan Mr Alex Nicol Dr Kenneth and Dr Glenys O'Brien Dr John Overton The Hon Carolyn Pickles

Mr & Mrs Michael & Susan Rabbitt Mr & Mrs Ian & Jen Ramsay Mr A L Read Mr Richard Rowland Mrs Jill Russell Mr Frank and Mrs Judy Sanders Mrs Meredyth Sarah AM Dr W T H & Mrs P M Scales Chris Schacht Mr David Scown Dr Peter Shaughnessy Mr Roger Siegele Mr & Mrs Antony & Mary Lou Simpson Mr & Mrs Jim & Anne Spiker Mr & Mrs Graham & Maureen Storer Mrs Anne Sutcliffe Dr Anne Sved Williams Dr G M Tallis & Mrs J M Tallis AM Mr & Mrs R & J Taylor Dr Peter Tillett Dr M G Tingay & Mrs A N Robinson Mr & Mrs John & Janice Trewartha Mr David Turner Mrs Neta Diana Vickery Prof Robert Warner Mr & Mrs Glen & Robina Weir Mrs Ann Wells Dr Nicholas Wickham Mrs Gretta Willis Plus 16 anonymous donors

The ASO also thanks the 610 patrons who gave other amounts in the past 12 months. Donations from 1 Nov 2013 to 11 Nov 2014 (does not include subscription donations).

As a lover of orchestral music, we invite you to enrich your musical interests, add beautiful lowcost 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 Please tick membership requirements $35 - Individual Friend

$30 - Individual Country Friend

$20 - Individual Concession Friend

$45 - Joint Friends

$40 - Joint Country Friends $15 - Student

$35 - Joint Concession Friends Pension/Student Card Number:

Payment Cheque made payable to FASO $ Mastercard

Visa

Expiry:

/

Please charge my credit card for $

Card No. _ _ _ _ /_ _ _ _ /_ _ _ _ /_ _ _ _

Name of card holder:

Signature:

thank you to our partners

57 Films Absorb – Paper Products Boylen – Website and Development colourthinking – Corporate Consultant Coopers Brewery Ltd Corporate Conversation Haigh’s Chocolates

Hickinbotham Group M2 Group Normetals Nova Systems Peregrine Travel Poster Impact The Playford Adelaide

Government Support

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.

Standing behind our community

When Australia’s valuable Whennot notunlocking unlocking Australia’s valuable energy resources, we’re behind the scenes energy resources, we’re behind the scenes supporting a wide range of cultural supporting a wide range of cultural and and community activities. community activities. Santos been Principal Partner of the Santos hashas been thethe Principal Partner of the Adelaide Symphony Orchestra for 15 years, Adelaide Symphony Orchestra for 15 years, helping deliver popular community events helping deliver popular community events such as the Symphony Under the Stars. such as the Symphony Under the Stars. Not meaning to beat our own drum, Not beat our own drum, but butmeaning in 2013,towe backed South Australian andSouth organisations incommunity 2012 alone, events we backed Australianto the tune of $9events million. community and organisations to the tune of $6 million. At Santos, we believe that contributing to vibrant and contributing diverse communities Atthe Santos, we culture believe that to of South Australia is well worth the effort. the vibrant culture and diverse communities we’re not justworth an energy company, ofBecause South Australia is well the effort. we’re a company with energy. Because we’re not just an energy company, we’re a company with energy.