Symphonic Dances August Fri 16, 8pm Sat 17, 6.30pm - Adelaide Town Hall - Adelaide Symphony Orchestra
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A D E L A I D E S Y M P H O N Y O R C H E S T R A S E A S O N 2 019 MASTER SERIES 6 Symphonic Dances August Fri 16, 8pm Sat 17, 6.30pm P R E S E NTI N G PA R TN E R Adelaide Town Hall
2
MASTER SERIES 6
Symphonic Dances
August Dalia Stasevska Conductor
Fri 16, 8pm Louis Lortie Piano
Sat 17, 6.30pm
Adelaide Town Hall
John Adams The Chairman Dances: Foxtrot for Orchestra
Ravel Piano Concerto in G
Allegramente
Adagio assai
Presto
Louis Lortie Piano
Interval
Rachmaninov Symphonic Dances, Op.45
Non allegro
Andante con moto (Tempo di valse)
Lento assai - Allegro vivace
Duration Listen Later
This concert runs for approximately 1 hour This concert will be recorded for delayed
and 50 minutes, including 20 minute interval. broadcast on ABC Classic. You can hear it
again at 2pm, 25 Aug, and at 11am, 9 Nov.
Classical Conversation
One hour prior to Master Series concerts in the Meeting Hall. Join ASO Principal Cello
Simon Cobcroft and ASO Double Bassist Belinda Kendall-Smith as they connect the
musical worlds of John Adams, Ravel and Rachmaninov.
The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and
work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal
and Torres Strait Islander Elders, past, present and future.
3
Vincent Ciccarello
Managing Director
Good evening and welcome to tonight’s Notwithstanding our concertmaster,
concert which marks the ASO debut women are significantly underrepresented
of Finnish-Ukrainian conductor, in leadership positions in the orchestra.
Dalia Stasevska. Things may be changing but there is still
much work to do.
Ms Stasevska is one of a growing
number of young women conductors Girls and women are finally able to
who are making a huge impression consider a career as a professional
on the international orchestra scene. conductor as a genuine possibility.
Last week, she gave her first concerts Institutions of higher education and
at the BBC Proms in her role as Principal training are changing. The number of role
Guest Conductor of the BBC Symphony models and mentors is still very small but
Orchestra. growing. And orchestras around the world
are now more alert to not falling victim to
I refer to Ms Stasevska’s gender if only
age-old biases.
to highlight an example of the gender
blindness that has afflicted our profession Last week, the ASO was very pleased to
for decades (if not centuries). be able to collaborate once again with
Simone Young, one of the world’s leading
Generally speaking, Australian orchestras
conductors, a trailblazing Australian
fare reasonably well on gender parity.
and the first woman ever to conduct the
The gender balance resulting from
Vienna Philharmonic Orchestra.
orchestral auditions – conducted
behind screens to best safeguard the Last year, we were thrilled to work with
anonymity of candidates – is often held Karina Canellakis, who has since been
up in management textbooks as a model appointed Chief Conductor of the
of merit-based recruitment. Indeed, Netherlands Radio Philharmonic Orchestra
membership of the ASO is evenly split and Principal Guest Conductor of the
between women and men. Rundfunk-Sinfonieorchester Berlin.
However, has the system equally We will soon announce our 2020 Season,
prepared both men and women to but I’m pleased to be able to share with
best represent themselves in the blind you this evening that it will include the
auditions? Regardless of the screen, debuts of at least three exciting young
it is the inherent confidence, systemic female conductors.
support and role modelling that allows
Programming is another area of gender
one to perform at their best. This is
blindness that we’ll be turning our
also an area where we have room for
attention to – and I look forward to
continuous growth and development
updating you on our plans in the
throughout our music education.
months ahead.
Enjoy the concert.
4
Dalia Stasevska
Conductor
Dalia Stasevska’s charismatic and Away from the concert stage, Dalia is
dynamic musicianship is establishing her a keen supporter of young musicians.
as a conductor of exceptional versatility. In her Finnish homeland she founded
the Kamarikesä Festival in Helsinki, of
Recent engagements have included
which she is also the Artistic Director.
Royal Stockholm Philharmonic Orchestra,
Gothenburg Symphony, Deutsches Dalia Stasevska was born into a
Symphonie-Orchester Berlin and, last Finnish-Ukrainian family of painters.
Summer, she opened the 2016 Helsinki Originally educated as a violinist,
Festival where she conducted both violist and composer at the Tampere
the Helsinki Philharmonic and the Conservatoire and the Sibelius Academy.
Finnish Radio Symphony orchestras As a conductor her teachers include
in a programme featuring two new Jorma Panula, Leif Segerstam, Hannu
commissions by Magnus Lindberg Lintu, Jukka-Pekka Saraste, Susanna
(Two Episodes) and Lauri Porra. Mälkki, Mikko Franck and Sakari Oramo.
In 2017/18 Dalia will return to the Oslo
Philharmonic, Gothenburg Symphony
orchestra to celebrate the Finnish 100th
Independence Anniversary, and will
debut with Gürzenich-Orchester Köln,
Swedish Radio Symphony Orchestra,
BBC National Orchestra of Wales,
Orchestra of Opera North and Aalborg
Symphony Orchestra. She will also
continue her relationship with the
Trondheim Symfoniorkester.
A passionate opera conductor, Dalia
will return to Finnish National Opera in
autumn 2017 for a revival of The Cunning
Little Vixen following her triumphant
debut there. She will also make her
debut with Norwegian Opera in spring
2018 conducting Lucia di Lammermoor
directed by David Alden. In 2016/17 she
conducted the Finnish National Ballet
and their production of Seven Brothers
by Eero Ojanen.
5Louis Lortie
Piano
For over three decades, French- complete Liszt Annees de Pelerinage
Canadian pianist Louis Lortie has which was named one of the ten best
performed world-wide, building a recordings of 2012 by the New Yorker
reputation as one of the world’s great magazine, and all of Chopin’s solo
pianists. He extends his interpretative works. His recording of the Lutoslawski
voice across a broad spectrum of Piano Concerto with Edward Gardner
repertoire rather than choosing to and the BBC Symphony received high
specialise in one particular style, and praise, as did a recent Chopin recording
his performance and award-winning which was named one of the best
recordings attest to his remarkable recordings of the year by the New York
musical range. Times. Recently released albums are
Chopin Waltzes (“This is Chopin playing
Mr. Lortie is in demand internationally.
of sublime genius” – Fanfare Magazine),
As Artist in Residence of the Shanghai
Saint-Saens’ Africa, Wedding Cake, and
Symphony, he performed four different
Carnival of the Animals with Neeme Jarvi
programs with them throughout the 2017-
and the Bergen Philharmonic, and with
2018 season. He also performed with
Helene Mercier, Rachmaninov’s complete
the symphony orchestras of Sao Paulo,
works for two pianos and the Vaughn-
Perth, BBC, Dallas, Taipei, Philadelphia,
Williams Concerto for Two Pianos.
Budapest, Detroit, Ottawa and Toronto,
For the Onyx label, he has recorded
and many recitals including two at
two acclaimed albums with violinist
the Wigmore Hall in London and one
Augustin Dumay.
presented by the Chicago Symphony.
Louis Lortie is the Master in Residence
Upcoming concerts include returns
at The Queen Elisabeth Music Chapel
to the New York Philharmonic, and to
of Brussels. His long-awaited LacMus
the orchestras of Atlanta, Milwaukee,
International Festival (www.lacmusfestival.
Dallas, BBC, Hamburg NDR, Sao Paulo,
com) on Lake Como, Italy, made its debut
Vancouver Toronto, Sydney, Adelaide
in 2017. He studied in Montreal with
and New Zealand. His complete Liszt
Yvonne Hubert (a pupil of the legendary
Annees de Pelerinage will be heard at Cal
Alfred Cortot), in Vienna with Beethoven
Performances, Berkeley; and to celebrate
specialist Dieter Weber, and subsequently
Beethoven’s 250th birthday year in 2020,
with Schnabel disciple Leon Fleischer.
he performs complete Beethoven sonata
In 1984, Mr. Lortie won First Prize in
cycles and all of the Beethoven concertos
the Busoni Competition and was also
in North America and in Europe.
prizewinner at the Leeds Competition.
He has made over 45 recordings for the Mr. Lortie has lived mostly in Europe in
Chandos label, covering repertoire from the last decades with homes in Berlin,
Mozart to Stravinsky, including a set of Canada and Italy.
the complete Beethoven sonatas, the
6ASO Members Offer Upgrade your stay Book a studio apartment at Adina Apartment Hotel Adelaide Treasury and receive a complimentary upgrade to a one bedroom apartment. Also included in the offer is high speed internet access and midday late checkout. * All bookings are subject to availability and conditions apply Enquire now Adina Apartment Hotel Adelaide Treasury 2 Flinders Street, Adelaide SA 5000 Australia Tel: (+61 8) 8112 0000 meet.adelaide@adinahotels.com.au adinahotels.com
ADELAIDE SYMPHONY ORCHESTRA
Principal Guest Artist in Association
Conductor Pinchas Zukerman
Mark Wigglesworth
VIOLINS CELLOS BASSOONS HARP
Natsuko Yoshimoto** Simon Cobcroft** Mark Gaydon** Suzanne Handel*
(Concertmaster) Ewen Bramble~ Leah Stephenson
Cameron Hill** Sarah Denbigh PIANO
(Associate
Concertmaster) Christopher Handley CONTRA BASSOON Jamie Cock*(Guest
Sherrilyn Handley Jackie Newcomb* Principal)
Shirin Lim* (Principal 1st
Violin) Gemma Phillips
Michael Milton** ** denotes Section
David Sharp HORNS
Principal
(Principal 2nd Violin)
Cameron Waters Adrian Uren**
~ denotes Associate
Lachlan Bramble
Sarah Barrett~ Principal
~(Associate Principal 2nd
Violin) DOUBLE BASSES Emma Gregan * denotes Principal
Player
Janet Anderson David Schilling** Benjamin Messenger
Helen Ayres Jonathon Coco~ Philip Paine
Ann Axelby Louis Cann TBC
Minas Berberyan David Phillips TRUMPETS
Gillian Braithwaite Harley Gray Martin
Belinda Kendall-Smith Phillipson**(Acting
Julia Brittain
Principal)
Hilary Bruer
David Khafagi~(Guest
Nadia Buck FLUTES Associate)
Elizabeth Collins Geoffrey Collins** Gregory Frick
Jane Collins Lisa Gill Timothy Keenihan
Judith Coombe
Alison Heike PICCOLO TROMBONES
Danielle Jaquillard Julia Grenfell* Colin Prichard**
Alexis Milton Ian Denbigh
Jennifer Newman OBOES
Julie Newman Rachel Bullen** (Guest BASS TROMBONE
Principal)
Emma Perkins Howard Parkinson*
Renae Stavely~
Kemeri Spurr
TUBA
COR ANGLAIS
VIOLAS Peter Whish-Wilson* In tonight’s program,
Peter Duggan* Adelaide Symphony
Caleb Wright**
Orchestra Concertmaster
David Wicks~(Guest TIMPANI Natsuko Yoshimoto will
Associate) CLARINETS be playing ‘The Adelaide’
Paul Simpson-
Dean Newcomb** violin. Crafted in Milan in
Martin Butler Smith*(Guest Principal) 1753-7 by Giovanni Batista
Lesley Cockram Darren Skelton Guadagnini. Natsuko is the
current custodian of ‘The
Anna Hansen PERCUSSION Adelaide’ which is held in
Rosi McGowran Eb CLARINET Jamie Adam**(Guest trust by UKARIA.
Carolyn Mooz Darren Skelton* Principal)
Michael Robertson Samuel Butler
Flowers supplied by
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9John Adams
(born 1947)
The Chairman Dances: Foxtrot for Orchestra
John Adams describes The Chairman hall, then strips down to a cheongsam,
Dances as an ‘out-take’ of Act III of his skin-tight from neck to ankle and slit up
opera Nixon in China, based on Richard the hip. She signals the orchestra to play
Nixon’s historic visit to China in 1972. In and begins dancing by herself. Mao is
1985, with a commission overdue to the becoming excited. He steps down from
Milwaukee Symphony, Adams received his portrait on the wall, and they begin to
the scenario of the final act of the opera, foxtrot together. They are back in Yenan,
in which the main characters privately dancing to the gramophone…
reminisce about their younger years.
This fired Adams’ imagination, and his
response was The Chairman Dances, © Symphony Services International
which ‘began as a “foxtrot” for Chairman
Mao and his bride, Chiang Ch’ing, the
fabled “Madame Mao”, firebrand,
revolutionary executioner, architect of
China’s calamitous Cultural Revolution, and
(a fact not universally realised) a former
Shanghai movie actress’. Powered along
by a relentless chugging rhythm, the music
‘takes full cognisance of her past as a
movie actress. Themes, sometimes slinky
and sentimental, at other times bravura
and bounding, ride above a bustling fabric
of energised motives.’
The original scenario for the piece (altered
from the final one in the opera), as devised
by the opera’s director Peter Sellars and Adelaide Symphony Orchestra first
librettist Alice Goodman, is as follows: performed this work in April 1988
under conductor Nicholas Braithwaite,
Chiang Ch’ing, a.k.a. Madame Mao, has and most recently in September 2010
gatecrashed the Presidential Banquet. with Kristjan Järvi.
She is first seen standing where she is
most in the way of the waiters. After a few
minutes, she brings out a box of paper Duration: 12 minutes
lanterns and hangs them around the
10Reconnec�ng you with the sounds you love.
Can:Do Hearing is the official hearing health provider of the
ASO. To celebrate, we are offering a free hearing test*
and/or hearing aid trial on men�on of this adver�sement.
Hearing Assessments
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Clinics across metropolitan Adelaide
Call 8100 8209 candohearing.com.au
A member of the
* Terms and condi�ons apply. New clients over the age of 26 only.Maurice Ravel
(1875-1937)
Piano Concerto in G For all its hipness, there is no mistaking
that this is a ‘classical’ concerto in the
Allegramente
strict, Mozartian sense of the term. Ravel
Adagio assai believed that ‘the music of a concerto
should…be lighthearted and brilliant,
Presto
and not aim at profundity or dramatic
It is scarcely surprising that Ravel wrote effects’. Indeed, so keen was Ravel to
two of the greatest piano concertos of the keep the concerto from self-indulgent
20th century. He was, after all, a concert solemnity that he considered calling it a
pianist himself, as well as a composer of ‘Divertissement’. In any case, it became
the highest calibre for solo piano, and a true concerto in which fun, self-parody
arguably the greatest orchestrator of and exquisite beauty all play their part;
his generation. What was unexpected, but there is a ‘brittleness’ in the concerto’s
however, was that he took so long to get high spirits, not to mention a pervasive
around to the task, only writing the Piano and ‘in-spite-of-itself’ sadness to the
Concerto for the Left Hand and the Piano slow movement.
Concerto in G simultaneously at the end
It begins, appropriately enough, with a
of his career.
crack-of-the-whip and it barely stops
During the 1920s Ravel began frequenting racing during the entire first movement.
Paris’ jazz clubs, and in 1928, while on a Scored with virtuosic dexterity and
concert tour in America, he encountered lightness, the jazzy rhythm drives on
Gershwin’s Rhapsody in Blue and met the through spiky arpeggios in the piano, a
composer. This influence is most clearly piccolo solo, tremolos and pizzicati in the
observable in the G major Piano Concerto. strings, and a trumpet solo. Even the harp
His admiration for Rhapsody is obvious takes the spotlight, while a mixture of
in the first movement of his concerto, broad, lurching, Gershwin-esque themes
where the themes have a distinctly dominates the middle section. The sense
Gershwin-esque feel. Ravel originally of purpose never falters, and before
intended to perform the solo part of the breath can be drawn, the movement
concerto himself (which may explain why hurtles to its abrupt conclusion.
it is written with much more of a jazz
The sublime Adagio was modelled on the
feel than the Left Hand Concerto written
equivalent movement in Mozart’s Clarinet
for Paul Wittgenstein), but in the end his
Quintet. Writing painstakingly, Ravel
ailing health prevented him from doing
agonised over this movement for months,
so. Instead, the concerto was premiered
confessing later that it ‘almost killed him’.
by Marguerite Long at the Salle Pleyel in
Its prevailing mood is that of a nocturne,
1932, with Ravel conducting.
and the piano’s achingly beautiful main
theme seems almost hesitant,
yet somehow inexorable and assured.
12The finale is supposedly a rondo
(although at this frenetic pace it’s not
easy to tell), and is filled with jazz sounds
and dazzling piano effects. It presents
percussive flourishes, trombone glissandi
and brief snatches of big band imitations
from brass and woodwind, before racing
on to its sudden but emphatic end.
Abridged from a note by Martin Buzacott
© Symphony Australia
Adelaide Symphony Orchestra first
performed this concerto in May
1965 with conductor Ladislav Slovah
and pianist Lance Dossor, and most
recently in March 2016 with Nicholas
Carter and pianist Dejan Lazić.
Duration: 23 minutesSergei Rachmaninov
(1873-1943)
Symphonic Dances, Op.45 The orchestral style Rachmaninov
cultivated in his later years was marked
Non allegro
by great clarity of texture, a freer and
Andante con moto (Tempo di valse) more independent approach to brass
and woodwind writing, and a tendency
Lento assai - Allegro vivace to express ideas more concisely
After Rachmaninov left Russia in 1917, than in his earlier large-scale pieces.
the seizure of his Russian income by the Harmonically and rhythmically, his
Soviet government meant he had to earn music of the 1930s bears the influence
a living as a performing musician, and so of Prokofiev and Stravinsky, but very
he set about establishing his career as much on Rachmaninov’s own terms. His
a concert pianist. Although famous for melodies still move, on the whole, in
interpreting his own music, he had never stepwise fashion, in the manner of Russian
been called upon to perform music by Orthodox chant, and although he clothes
other composers in public, and now, at his melodies in lighter textures, he is not
the age of 44, he began building up a ashamed to write tunes that could be
soloist’s repertoire. This left little time for called ‘vintage Rachmaninov’.
composition, and he wrote no original The result was too ‘modern’ and lean-
work for another nine years. Then the sounding for audiences who wanted
urge to compose began to reassert itself. him to keep rewriting the Second Piano
A fitful procession of ‘Indian summer’ Concerto, and too conservative for critics,
pieces emerged between 1926 and whose twin gods were Stravinsky and
1940, many of which are now regarded Schoenberg. Collectively, the Symphonic
as among his finest compositions. But at Dances represent perhaps the richest
the time most of these works met with results of Rachmaninov’s new approach
indifference from audiences and hostility to the orchestra. They were also his last
from critics. His success as a pianist far original composition.
outstripped that of his music.
The idea of a score for a programmatic
Among the first fruits of his period in the ballet had been at the back of
West were the Fourth Piano Concerto Rachmaninov’s mind since 1915,
(1926) and the Variations on a Theme and when Michel Fokine successfully
of Corelli (1931). Neither was successful. choreographed the Paganini Rhapsody
The public and critical acclaim for his in 1939 the opportunity presented itself
Rhapsody on a Theme of Paganini (1934) again. He wrote the Dances the following
gave him the confidence to write his year, giving the three movements the
Third Symphony (1936), to which, in the titles Midday, Twilight and Midnight
composer’s words, ‘audiences and critics respectively. At this point the work was
responded sourly’. This indifference to his called Fantastic Dances. Fokine was
music sapped his confidence once again. enthusiastic about the music but non-committal about its balletic possibilities.
His death a short time later cooled
Rachmaninov’s interest in the ballet
idea. He deleted his descriptive titles,
substituted the word ‘Symphonic’ for
‘Fantastic’, and dedicated the triptych to
his favourite orchestra, the Philadelphia,
and its chief conductor Eugene
Ormandy.
It is a work full of enigmas which
Rachmaninov, surely one of the most
secretive of composers, does nothing to
clarify. In the coda of the first movement,
for example, there is a transformation
from minor to major of a prominent
theme from his first symphony, which at
that time Rachmaninov thought he had
destroyed (it was reconstructed from
orchestral parts after his death). The
premiere of that work in 1897 had been
such a fiasco that Rachmaninov could
not compose at all for another three
years. The reference in this new piece
had a meaning that was entirely private.
There is also the curious paradox that
the word ‘dance’, with its suggestion of
life-enhancing, joyous activity, is here put
at the service of a work that is essentially
concerned – for all its vigour and sinew
– with endings, with a chromaticism that
darkens the colour of every musical step.
The sense of foreboding and finality
is particularly strong in the second
movement, with its evocations of a
spectral ballroom, and in the bell-tolling
and chant-intoning that pervade the
finale. Here the extensive use of the
Dies irae (Day of Wrath) theme from
the Mass for the Dead (a regular source Adelaide Symphony Orchestra first
for Rachmaninov) and the curious performed this work in April 1982
inscription ‘Alliluya’, written in the score under conductor Elyakum Shapirra,
above the last motif in the work to be and most recently in August 2009
derived from Orthodox chant, suggest with Arvo Volmer.
the most final of endings mingled with
a sense of thanksgiving.
Duration: 35 minutes
Abridged from a note by Phillip Sametz
© 1999
15Support Us
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integral to our success.
Thanks to your generous support, we can
continue to share the music, perform the works
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We invite you to be part of our story.
Vincent Ciccarello
Managing Director
Annual Giving Grainger Circle
Our Annual Giving program is the backbone A lasting way to support the ASO is to leave
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If you are leaving a bequest to the ASO, we
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In appreciation of your support, you will
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Donor Relations Manager
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16Philanthropic Partners
We gratefully acknowledge Friends of the Adelaide Symphony Orchestra
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support of the orchestra has Dr Sing Ping Ting
been transformative.
Artistic Leadership Team
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Supported by Conductors’ Circle donors
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The Friends of the ASO Pauline Menz
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in honour of her mother, Boileau Family Trust
Grace Margaret McArthur
17Musical Chairs
Musical Chair donors form
a deeper engagement
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& Lib Dunsford The Baska Family
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Principal 1st Violin Hilary Bruer Ewen Bramble
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Principal 2nd Violin
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The Friends of the Judith Coombe Cello
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Associate Principal
2nd Violin Cello
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Violin Violin Cello
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In memory of Peter & Johanna &
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Violin Principal Viola Cello
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Viola Cello
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Cello
Violin Principal Cello Cameron Waters
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Bass Darren Skelton Colin Prichard
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& Susie Langley Barbara Fergusson
Bass
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Smith Bass Clarinet
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Bass Principal
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“a great bassist who
Mark Gaydon Ian Kowalick AM
plays with enthusiam
and skill - love Betsy” Pamela Yule & Helen Kowalick
Principal Tuba
Bassoon Peter Whish-Wilson
Principal Flute
Leah Stephenson
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Julia Grenfell Adrian Uren The Friends of
Chris & Roderick Shire & the ASO in memory
Julie Michelmore Judy Hargrave of Bev McMahon
Associate
Principal Oboe Associate
Renae Stavely Principal Horn
Sarah Barrett
Roderick Shire &
Judy Hargrave Margaret Lehmann
Horn
Principal Emma Gregan
Cor Anglais The Richard Wagner
Peter Duggan Society of South
Dr Ben Robinson Australia Inc.
Principal Clarinet Section Princpal
Dean Newcomb Principal Trumpet Double Bass
Owen Morris David Schilling
Hon David Wotton
AM & Jill Wotton David Leon Could this be you?ASO Annual Giving
The Annual Giving program supports the Adelaide Symphony Orchestra’s main activities
and helps keep us on the stage. Thank you to all of our generous donors.
Diamond Patron ($25,000+) Silver Patron ($2,500 - $4,999)
The Friends of the Adelaide Symphony Orchestra Liz Ampt
FWH Foundation The Baska Family
Lang Foundation Vincent & Sandra Ciccarello
Peter & Pamela McKee Joan & Ollie Clark AM
Diana McLaurin Dr Aileen Connon AM
Roger & Helen Salkeld Ruth Creedy
In memory of Frida Sapgir Dr M Crotty
Mary Louise Simpson Jan & Peter Davis
Dr Sing Ping Ting Legh & Helen Davis
Anonymous (2) Margaret Davis
Mary Dawes BEM
Platinum Patron ($10,000 - $24,999) Bruce & Pam Debelle
R & M Champion De Crespigny Foundation Norman Etherington AM & Peggy Brock
Graeme & Susan Bethune Andrew & Barbara Fergusson
Boileau Family Trust Drs Kristine Gebbie & Lester Wright
Coopers Brewery Ltd In memory of Keith & Susie Langley
Colin Dunsford AM & Lib Dunsford David Leon
Anthea Heal David & Ann Matison
Robert Kenrick Johanna & Terry McGuirk
Joan Lyons Chris & Julie Michelmore
Pauline Menz David Minns
Robert Pontifex AM K & K Palmer
Andrew & Gayle Robertson Christine Perriam
Pamela Yule John & Jenny Pike
Anonymous (1) John & Emmanuelle Pratt
Dr J B Robinson
Nigel Stevenson & Glenn Ball
Gold Patron ($5,000 - $9,999) Dr Nora Straznicky
Patricia Cohen Dr Tom & Sharron Stubbs
Bob Croser The Richard Wagner Society of South Australia Inc
Ian Kowalick AM & Helen Kowalick David & Linnett Turner
Margaret Lehmann John Turnidge AO & Patricia Rayner
Hugh & Fiona MacLachlan OAM Merry Wickes
David & Pam McKee Dr Betsy Williams
Milk and Honey Enterprises Dr Richard Willing
Nunn Dimos Foundation Jane Wilson
Perpetual Foundation – The Henry and Patricia Dean Hon David Wotton AM & Jill Wotton
Endowment Fund
Linda Sampson Anonymous (2)
Norman Schueler OAM & Carol Schueler
Ian Scobie AM
Roderick Shire & Judy Hargrave
Nick Warden
Anonymous (3)
20Maestro Patron Jocelyn Parsons Kay Dowling Trevor & Tanya Rogers
($1,000 - $2,499) Tom F Pearce Jane Doyle David & Anne Rohrsheim
Neil Arnold Ann Piper Pamela Fiala, in memory Jill Russell
A. Prof Margaret Arstall David & Janet Rice of Jiri Arnold D Saint AM
Australian Decorative Garry Roberts & Lynn Otto Fuchs Frank & Judy Sanders
& Fine Arts Society Charlesworth John Gazley Robin Sanderson
Adelaide David Robinson Joan & Len Gibbins David Scown
Rob Baillie Lee Ross-Solomon Dr Peter Goldsworthy AM Tony & Cathy Smith
Peggy Barker Richard Ryan AO & Trish & Lisa Temple W & H Stacy
Judy Bayly Ryan Sally Gordon & Gary Katherine Stanley-Murray
Prof Andrew & Prof Warren & Margaret Smith
Geoffrey Syme
Elizabeth Bersten Scharer Byron Gregory
Verna Symons
The Hon D J & E M Bleby Larry & Maria Scott Dieter & Eva Groening
Geoffrey Taylor
Liz Bowen Gwennyth Shaughnessy Eleanor Handreck
John & Annette Terpelle
Gillian Brocklesby Beth & John Shepherd Dr Tony Hobby
Lynn & Christine
David Bullen Dorothy Short D G W Howard Trenorden
Richard & Kathy Carter Nigel Steele Scott Don Howell Leonard Turner
In memory of Emeritus Anne Sutcliffe Diana Jaquillard Dr Robert Waltham
Professor Brian Coghlan Stephanie Thomson Gregory & Lynette Jaunay Robert Warner
Josephine Cooper Guila Tiver Dr Iwan Jensen G C & R Weir
Graham Crooks Anne Tonkin Rosemary Keane Robert Willis
Tony & Rachel Davidson Jenny & Mark Tummel Bellena Kennedy Janet Worth
Von Davis James W Vale Professor Graeme Koehne Dawn Yeatman
Bruce Debelle AO, QC Ann Wells AO & Melinda Parent
Anonymous (17)
Anne Eleanor Dow Dr Richard Willis AM Pat Lescius & Michael
Deborah Down Anonymous (12) McClaren
Tutti Patron
Dr Alan Down & The Hon Mark Lloyd & Libby
Raupach ($250 - $499)
Catherine Branson AC
QC Susan Lonie 124 donors. A complete
Soloist Patron list of these donors can
Donald Scott George Margaret Lyall
($500 - $999) be found at aso.com.au/
Kate Gould Don Manifold aso-donors
Dr E Atkinson & J Hardy
Lois and Jane Greenslade Melvyn Madigan
Charles & Catherine
RJ, LL & SJ Greenslade Bagot Ruth Marshall and Tim Donor
Peter R Griffiths Muecke
Barbara Bahlin ($2 - $249)
Donald Growden Lee Mason
Liz Baines The ASO would like to
In memory of Geoffrey Barbara May thank the 671 donors
John Baker
Hackett-Jones Peter McBride who gave other amounts.
Lesley Baker
Daniel & Sue Hains Janet & Ian McLachlan
R & SE Bartz
Michael & Janet Hayes Joanna McLachlan
Ruth Bloch In memory of Alfred McLeod,
Robert Hecker Rory & Sally Mooney former Trombonist, donated
Dianne & Felix Bochner
Margo Hill-Smith Dr Craig Mudge AO & by the ASO Players Association.
Stephen Bone
Clayton & Susan Hunt Maureen Mudge
Dr James & M Brooks
Alexandra Jarvis Dora Avella-O’Brien
Elizabeth & Max Bull
Elizabeth Keam AM Christine L Odgers
Rob & Denise Buttrose
Dr Ian Klepper Dr Oseka Onuma & Sonja
John & Flavia Caporn Latzel
Hon Diana Laidlaw AM
R Corney Rosemary and Lew
Brett Dixon
Stephen Courtenay Owens
Dr Scott C Y Ma
Suzette Crees Captain R. S. Pearson,
Frank Markus
Michael Critchley CSC & Jan Pearson
Bob Maynard
Drs Ruth & David Davey Martin Penhale
Melissa Bochner
Michael Davis AO Donald G Pitt
Jacqueline McEvoy
Mark de Raad & Adrian Josephine M Prosser
Skye McGregor Bennett Mark Rinne
Dr Neil & Fay McIntosh Duncan Hugh Dean & Drs I C & K F Roberts-
Kerrell & David Morris Judith Peta Fradd Thomson
Matthew Norton Correct at at 29 July 2019
Fr John Devenport Teresa Robinson
21T H A N K YO U TO O U R PA R T N E R S
G OV E R N M E NT PA R TN E R S
The ASO receives Commonwealth funding through the
Australia Council; its arts funding and advisory body
P L AT I N U M PA R T N E R
M A J O R PA R TN E R S
P H I L A NTH R O P I C PA R TN E R S & PA FS
FWH Foundation Dr Sing Ping Ting
WO R LD A R TI ST PA R TN E R S
C O R P O R AT E PA R T N E R S
M E D IA PA R TN E R S CO M M U N IT Y PA R TN E R
C O R P O R AT E C L U B
Haigh’s Chocolates Hickinbotham Group Isentia Normetals SEA Gas Size Music
I N D U S T RY C O L L A B O R ATO R S
Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233
Fax (08) 8233 6222 | Email aso@aso.com.au | aso.com.auWITH
ADELAIDE SYMPHONY ORCHESTRA
NOW ON SALE
A D E L A I D E E N T E RTA I N M E N T C E N T R E
SAT 7 D E C , 6 P M
Sweet symphony!
The Advertiser is a proud supporter of the arts in South Australia.
Bringing you closer to the Adelaide Symphony Orchestra than ever before!P R E S E NTI N G PA R TN E R
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