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Adelaide Symphony Orchestra

12 November, 6.30pmAdelaide Town Hall

HUNGARIAN DANCES

COMPOSERS IN FOCUS

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3MORGANS COMPOSERS IN FOCUS SERIES

Adelaide Town Hall 12 November 6.30pm

Gérard Korsten Conductor Ike See Violin Ewen Bramble Cello Celia Craig Oboe Mark Gaydon Bassoon

Presented by Dr Richard Chew

Kodály Dances of GalántaLento – Andante maestoso – Allegretto moderato – Andante maestoso – Allegro con moto, grazioso – Andante maestoso – Allegro – Poco meno mosso – Allegro vivace – Andante maestoso – Allegro molto vivace

Haydn Sinfonia concertanteAllegro Andante Allegro con spirito

Kodály Concerto for orchestraAllegro risoluto – Largo – Tempo primo – Largo – Tempo I

Brahms Hungarian Dances No 1 in G major Allegro molto No 3 in F major Allegretto No 5 in G minor Allegro vivace (arr. Parlow) No 6 in D major Vivace (arr. Parlow) No 10 in F major Presto

This concert runs for approximately 95 minutes including interval.

Interval

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HUNGARIAN DANCES

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gérard korsten conductor

Gérard Korsten is Principal Conductor of the Symphonieorchester Vorarlberg Bregenz. He was previously Principal Conductor of the State Theatre in Pretoria, Principal Conductor of the Uppsala Chamber Orchestra and Music Director of the Orchestra del Teatro Lirico di Cagliari. In 2009 he was appointed Music Director of the London Mozart Players, a position he relinquished at the end of last season.

In addition to appearances with the world’s most notable opera companies, Gérard Korsten has appeared in concert with the Budapest Festival Orchestra, Leipzig Gewandhaus Orchestra, Orchestre National de Lyon, Mozarteum Salzburg, RAI National Symphony Orchestra, Chamber Orchestra of Europe, Scottish Chamber Orchestra, Irish Chamber Orchestra, Camerata Salzburg, Deutsche Kammerphilharmonie Bremen, Swedish Radio Symphony Orchestra, German Radio Philharmonic Orchestra and Yomiuri Nippon Symphony Orchestra.

Recent highlights have included debuts with the Deutsche Oper Berlin (La traviata) and the Hungarian State Opera (Don Pasquale). In the 2014/15 season he brings Symphonieorchester Vorarlberg to the Vienna Musikverein and returns to the Adelaide Symphony Orchestra, Yomiuri Nippon Symphony Orchestra and Opéra de Lyon for a new production of Idomeneo.

Born in South Africa, Gérard Korsten began his career as a violinist after studying with Ivan Galamian at the Curtis Institute and Sándor Végh in Salzburg. Following his studies in the US and Europe he became Concertmaster and Assistant Music Director of the Camerata Salzburg and later Concertmaster of the Chamber Orchestra of Europe.

His 2011 DVD recording of The Marriage of Figaro at La Scala was awarded a Diapason d’Or and was ‘Critic’s Choice’ in Opera News.

6 MORGANS COMPOSERS IN FOCUS SERIES


ike see violin

Singapore-born violinist Ike See has performed extensively in Asia, Australia, Europe, and North America, and has played as soloist with the Singapore Symphony and National Youth Orchestras. In his performance with the Orchestra of the Music Makers, Ike was praised for his “warmth and purity of tone, with unfailing musicality ... natural and unforced virtuosity” (The Straits Times)

Winning his first national competition at the age of ten, Ike won two more first prizes in 2001 and 2003, in the intermediate and senior categories of the biennial Singapore National Violin Competition. A recipient of diplomas from the Royal Schools of Music and Trinity College London, Ike began lessons at the age of four with Sylvia Khoo, and later studied with Qian Zhou, Head of Strings at the Yong Siew Toh Conservatory of Music. In 2010, he was awarded the National Arts Council (Singapore) Overseas Arts Scholarship. Ike entered the Curtis Institute of Music in 2006, studying with renowned violinists Joseph Silverstein and Pamela Frank.

Ike has been a member of the Verbier and Pacific Music Festival Orchestras, and has performed at the Amelia Island Chamber Music Festival, Kirishima International Music Festival, Singapore Arts Festival, Singapore Chamber Music Festival and Heifetz International Music Institute. In 2011, Ike was invited on Curtis on Tour, performing chamber music across Europe with colleagues as well as Curtis faculty members Roberto Díaz and Pamela Frank.

Possessing a passion for orchestral and chamber music, Ike has led the Orchestra of the Music Makers, Singapore Armed Forces String Ensemble, Singapore National Youth Orchestra and Singapore Youth Festival Orchestra, and has served as Principal 2nd Violin of the Curtis Symphony Orchestra and Associate Concertmaster of Symphony in C. He studied chamber music with members of the Guarneri, Orion and Vermeer Quartets, and has shared the stage with musicians such as James Dunham, Clive Greensmith, Gary Hoffman, Anthony McGill and members of the Berlin Philharmonic. Ike moved to Australia in 2012 to take up the position of Associate Concertmaster with the Adelaide Symphony Orchestra, and has recently joined the Australian Chamber Orchestra.


Ewen grew up in Melbourne, beginning his cello studies at age six. During his school years he studied with Cordula Neil, before going on to the University of Melbourne to complete a Bachelor of Music Performance (Honours) under Nelson Cooke, Christian Wojtowicz and Janis Laurs, during which time he won the University’s Concerto and Chamber Music competitions.

Ewen has made recital appearances at the Port Fairy Chamber Music Festival, Adelaide Symphony Orchestra Schumann Festival, Adelaide International Cello Festival, University of Melbourne and the Urrbrae House Recital Series. He has performed alongside artists such as David Geringas, Simon Trpceski and the Australian String Quartet. In 2011 Ewen made his concerto debut with the Adelaide Symphony Orchestra and has appeared on several occasions as soloist with both the Unley and Burnside Symphony Orchestras.

Ewen is well known to music lovers nationwide as Cellist of the Benaud Trio, who won the Piano Trio Prize at the 2005 Asia-Pacific Chamber Music Competition. In 2006 the trio travelled to Canada to perform at the Banff International Arts Festival whilst studying with the St Lawrence String Quartet and Mark Steinberg. More recently the Benaud Trio have released two records with a third on the way, and can be heard regularly on ABC Classic FM.

As an orchestral musician Ewen has been fortunate to tour nationally and internationally. He has appeared regularly with the Melbourne Symphony Orchestra and the Melbourne Chamber Orchestra as Guest Principal, before joining the Adelaide Symphony Orchestra in 2009. Also a keen teacher, Ewen has lectured in Cello and Chamber Music at the Elder Conservatorium of Music, University of Adelaide.

Ewen’s instrument is the 2011 Adelaide International Cello Festival Cello.

ewen bramble cello


celia craig oboe

Celia Craig studied with Nicholas Daniel as Scholar at the Purcell School, winning the National Festival of Music of Youth Oboe Competition in 1988, later as Exhibitioner at the Royal Adademy of Music, where she won the Harold Craxton Prize for Chamber Music. Celia was awarded an Honorary Associateship by the Royal Academy of Music in 1997 for her musical achievements.

Celia has featured as soloists at The Proms, the Barbican Centre, the Three Choirs Festival and in 2010 gave the Southern Hemisphere Premiere of Messian’s Concert a Quatre in New Zealand with the Christchurch Symphony Orchestra.

Currently Principal Oboe of the Adelaide Symphony Orchestra, she has been a regular guest principal with London Symphony Orchestra, London Philharmonic, London Chamber Players, Sydney Symphony, Melbourne Symphony, New Zealand Symphony, Royal Scottish National, and City of Birmingham Symphony Orchestras in addition to four full time orchestral positions.

Commercial Credits – some recorded at the legendary Abbey Road Studios – include Dr Who, Australia, Daybreakers, PS I love You, Australian Idol, Rugrats, South Solitary, Legend of the Guardians among others. She has performed several times for the Royal Family most notably the Queen’s 80th birthday concert in The Royal Albert Hall including an audience with Her Majesty. Celia served as president of the Australiasian Double Reed Society for six years, teaches at the Elder Conservatorium and is an instrumental coach for the Australian Youth Orchestra. She has been a member of Artistic and Advisory Panels for Musica Viva, State Opera of South Australia and the Australian Music Examinations Board.

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H A N D E L ’ S

M AT T H E W H A L L S C O N D U C T O R S I O B H A N S TA G G S O P R A N O R I C H A R D B U T L E R T E N O R C H R I S T O P H E R F I E L D C O U N T E R T E N O R C H R I S T O P H E R P U R V E S B A S S

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A great Christmas tradition


mark gaydon bassoon

Mark has been Principal Bassoonist with the Adelaide Symphony Orchestra since 2003. During this time he has appeared as soloist with the orchestra on numerous occasions performing solo works by Mozart, Weber, Zwilich, Williams, Franciax and Strauss. He has also appeared as guest principal bassoon with the Sydney Symphony, the New Zealand Symphony, the Queensland Symphony and the Tasmanian Symphony orchestra. As a chamber musician he has performed with Ellision Ensemble, The Southern Cross Soloists, the New London Chamber Ensemble, the Tancibudek Wind Quintet and his own group Ensemble Le Monde. An avid teacher, Mark has been Associate Instructor at the Indiana University School of Music, a guest artist at the Australian National Academy of Music, bassoon tutor for the Australian Youth Orchestra, AYO National Music Camp and Young Symphonists programs, and Bassoon Instructor at the Elder Conservatorium since 2005. Mark has a PhD in music from the University of Adelaide and was awarded a Dean of Graduate Studies Special Commendation for Thesis Excellence. In 2005 he won the ABC Young Performer of the Year wind, brass and percussion section and in 1999 was awarded grand prize in the Indianapolis Matinee Musicale Competition in the USA competing against players of all instruments. Mark is a keen supporter of Australian composers and

has commissioned and premiered works for the bassoon by Gerard Brophy, Andrew Schultz, Katy Abbott, James Cuddeford, Luke Altmann and Charles Bodman Rae. In December 2013 many of the commissioned works were featured on ABC Classic Fm's New Waves Podcast series forming a bassoon odyssey into new Australian bassoon works. In 2011 he was a featured artist on 3MBS's Musical Portraits series and performed Berio's notorious Sequenza XII for solo in a live radio broadcast. Mark's teachers include Kim Walker and Stephane Levesque.

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H A N D E L ’ S

M AT T H E W H A L L S C O N D U C T O R S I O B H A N S TA G G S O P R A N O R I C H A R D B U T L E R T E N O R C H R I S T O P H E R F I E L D C O U N T E R T E N O R C H R I S T O P H E R P U R V E S B A S S

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A great Christmas tradition


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) Ike See** (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 AxelbyMinas Berberyan

Musical Chair supported by Merry Wickes

Gillian BraithwaiteJulia Brittain Hilary Bruer*

Musical Chair supported by Marion Wells

Elizabeth Collins Jane CollinsAlison Heike

Danielle Jaquillard Alexis Milton

Musical Chair supported by Patricia Cohen

Jennifer Newman Julie Newman Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Imants Larsens** (Acting Section Leader)

Musical Chair supported by Mr & Mrs Simon & Sue Hatcher

Linda Garrett ~

(Guest Associate) Martin ButlerLesley CockramRosi McGowranCarolyn MoozMichael RobertsonCecily Satchell

CELLOS Simon Cobcroft**

Principal Cello Chair supported by Andrew & Gayle Robertson

Gemma Phillips~

(Acting Associate)Sarah Denbigh

Musical Chair supported by an anonymous donor

Christopher Handley Musical Chair supported by Johanna and Terry McGuirk

Sherrilyn Handley Musical Chair supported Johanna and Terry McGuirk

David Sharp Musical Chair supported by Aileen Connon AM

Cameron Waters

DOUBLE BASSES David Schilling**

Musical Chair supported by Mrs Maureen Akkermans

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

Musical Chair supported by Bob Croser

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

Esther Toh

FLUTES Geoffrey Collins**

Musical Chair supported by Pauline Menz

Lisa Gill

PICCOLOJulia Grenfell*

Musical Chair supported by Chris & Julie Michelmore

OBOES Celia Craig**

Musical Chair supported by Penelope & Geoffrey Hackett-Jones

Renae Stavely

COR ANGLAIS Peter Duggan*

Musical Chair supported by Dr JB Robinson

CLARINETS Dean Newcomb**

Musical Chair supported by the Royal Over-Seas League SA Inc

Darren Skelton

E FLAT CLARINETDarren Skelton*

BASSOONS Mark Gaydon**

Musical Chair supported by Pamela Yule

Leah Stephenson Musical Chair supported by Liz Ampt

CONTRA BASSOONJackie Hansen*

Musical Chair supported by Norman Etherington & Peggy Brock

HORNS Adrian Uren** (Guest Section Leader)Alex Miller~

(Guest Associate)Bryan Griffiths Philip Paine

TRUMPETS Matt Dempsey**

Musical Chair supported by R & P Cheesman

Martin Phillipson~ Musical Chair supported by Rick Allert AO

Timothy Frahn

TROMBONES Cameron Malouf**

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

Ian Denbigh

BASS TROMBONEHoward Parkinson*

Adelaide Symphony Orchestra


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TUBA Peter Whish-Wilson*

Supported by Ollie Clark AM & Joan Clark

TIMPANI Robert Hutcheson*

Musical Chair supported by an anonymous donor

PERCUSSION Gregory Rush** (Acting Section Leader)Jamie Adam

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)

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Kodály is a name well known to music educators, but much less familiar to concert-goers, despite a composing career spanning seven decades. This is largely because the bulk of his music was written for the human voice and especially for choirs, with instruments or alone, rather than for the pure symphony orchestra. Singing was the cornerstone of the method he developed for teaching music in schools: singing especially of folk songs – for their simplicity and beauty, their embodiment of heritage and their perfect relationship of music and language. The Kodály Method was inspired by his vision of filling every child ‘at least once with the life-giving stream of good music’.

And folk songs were something that Kodály knew better than almost anyone. In 1905 he made the first of many journeys into the Hungarian countryside, recording the village folk as they sang their traditional songs. His first field trip yielded some 150 songs; by the 1950s, as head of the folk-music research group at Hungary’s Academy of Sciences, he had guided the classification and editing of more than 100,000 folk songs. Folk-music research constituted the bulk not just of Kodály’s extensive scholarly activity, but of his whole work. It was through folk music that he met Béla Bartók and the two became firm and lasting friends, with Kodály commenting on their collaboration: ‘The vision of an educated Hungary, reborn from the people, rose before us. We decided to devote our lives to its realisation.’

Dances of Galánta (Galántai táncok)

Lento – Andante maestoso – Allegretto moderato – Andante maestoso – Allegro con moto, grazioso – Andante maestoso – Allegro – Poco meno mosso – Allegro vivace – Andante maestoso – Allegro molto vivace

Kodály grew up in the town of Galánta on the border between Hungary and Austria, where the passing traffic, including gypsies and wandering musicians, may well have left an aural impression. For the Dances of Galánta (1933), Kodály took as his source a compendium of dances from the early 1800s, ‘the gypsy dances from Galánta’, and selected, orchestrated and linked some of them.

Based on the verbunkos (similar to the csárdás or the ‘tavern’ tunes of Hungary and its surrounding regions), these dances have two moods: pensively slow and fiercely fast. Chiefly linking these two emotional opposites with broad and impassioned string writing, Kodály also allows solo passages to play a significant role.

Throughout the first major section or first ‘dance’ (Lento – Andante maestoso) and indeed the rest of the suite, the clarinet receives special attention from Kodály. It seems to act as a melodic fulcrum, linking and leading harmonic and rhythmic changes.

zoltán kodály (1882-1967)


Kodály maintains tension by clever use of rubato and rhythmic variation, as with the syncopated rhythms of the fiery csárdás. The ‘gypsy scale’ is a prominent melodic feature. There is also a Jewish feel – the clarinet in particular conjures the sound of klezmer music in its sense of abandonment and melancholy.

A solo flute and piccolo accompanied by pizzicato strings introduce the second dance (Allegretto moderato). There is a decidedly Eastern flavour to this section, and the whirring strings, when released from pizzicato, are particularly striking as they return to the first, clarinet-inspired, introspective dance themes.

An oboe introduces the third dance (Allegro con moto, grazioso). This melody is so simple and insubstantial that it seems to need reinforcement from the other woodwinds, brass and strings. It is eventually overwhelmed by the return of the melancholic first theme, which in turn is interrupted just as suddenly by a fierce syncopated dance (Allegro) with the whole orchestra in full cry.

Two dances quickly follow, with melodies reminiscent of Kodály’s opera Háry János – there are grace-noted bassoons, horns swinging across the bar-line and a dotted rhythm returning in the clarinet (Poco meno mosso). This mildly comic excursion by Kodály sets up a frantic finale, beginning with the muted insistence of the timpani. The theme is then launched by the winds, and captured in virtuoso

brilliance by the strings, with powerful syncopation throughout the orchestra (Allegro vivace). Instead of a predictably triumphant close, the first brooding melody returns in an arresting G sharp minor. Kodály is perhaps reminding the listener that behind all this exuberance lies darkness. But such introspection is thrust aside in the final bars (Allegro molto vivace) where the dance is at an end: exhilarating, exhausting!

David Vivian Russell Symphony Australia © 2000

Kodály wrote the Dances of Galánta for the 80th anniversary of the Budapest Philharmonic in 1933. The Adelaide Symphony was the first of the Australian state symphony orchestras to perform the work, on 20-22 June 1946, under Walter Susskind.

Duration 16 minutes

Kodály – Concerto for orchestra

Allegro risoluto – Largo – Tempo primo – Largo – Tempo I

Bartók is the name that first comes to mind when we hear the title ‘Concerto for orchestra’ – an acknowledged masterpiece in which Bartók achieved

zoltán kodály (1882-1967) ...continued


the synthesis of Eastern European folk music and the great traditions and techniques of the West that he had sought for decades. But Kodály wrote his Concerto for orchestra before Bartók; it was in fact Bartók who took Kodály’s piece to the United States for its premiere in 1941.

Neither work conforms to the standard Classical three-movement concerto form: Kodály’s is a single-movement piece in alternating fast and slow sections; Bartók’s is in five movements. Both composers looked for their models to an earlier form, the Baroque concerto grosso, in which a small ensemble of solo instruments is contrasted with the full orchestra. Kodály’s single-movement concerto corresponds to the patchwork structure of some of Corelli’s concerti grossi, itself derived from the 17th-century canzona with its several contrasting short sections. But there is another model: the Hungarian verbunkos, with its alternating friss (fast) and lassú (slow) sections.

The fast sections of Kodály’s Concerto for orchestra recall the friss passages of a verbunkos in their strong syncopation. The strings open the concerto with a leaping melody – typical of verbunkos style – played in unison; the theme is immediately repeated a fifth higher (another folk technique), now with the woodwinds joining in, and the horns and tuba offering a countermelody which anticipates the syncopated second theme.

The largo sections have an entirely timeless quality.

Notated in triple time but sounding as if there are no bar-lines at all, the first largo begins with a solo cello playing a smooth, floating line over a long held bass note. Other solo strings join in, then a solo clarinet; the orchestra is eventually all playing in a fluid counterpoint which has been compared to the texture of Renaissance consort music, though the harmonies become decidedly Romantic as the section progresses. The music builds to a fortissimo climax, with the harp, it has been suggested, taking a role analogous to that of the cimbalom, a zither-like traditional Hungarian instrument.

The allegro returns, with the opening themes developed with great contrapuntal ingenuity. The following largo is crowned with arabesques from the flute, piccolo and clarinet in bitonal opposition to the shimmering harmonies of the strings. The concerto ends with a brief return to the allegro material, building unrelentingly to the final unison flourish.

Natalie Shea Symphony Australia © 2005

Kodály wrote his Concerto for orchestra to commemorate the 50th anniversary of the Chicago Symphony Orchestra, who gave the premiere performance under Frederick Stock on 6 February 1941. This is the first performance of the work by the Adelaide Symphony Orchestra.

Duration 22 minutes


Sinfonia concertante in B flat, Hob.I:105

Allegro Andante Allegro con spirito

Ike See Violin Ewen Bramble Cello Celia Craig Oboe Mark Gaydon Bassoon

One of the offshoots of the development of professional orchestras playing for public concerts rather than in the service of a court was the desire to show off the individual virtuosi who played with each ensemble. The 1770s and 1780s saw a veritable rash of concertantes or sinfonie concertante – pieces featuring more than one soloist from within the orchestra. Mozart wrote one for wind instruments, another for violin, viola and orchestra – these were inspired by his contacts with the orchestras in Mannheim, Munich and Paris.

The fashion had spread to England, and at the time of Haydn’s first visit there, his pupil Ignaz Pleyel was achieving great success with his sinfonie concertante in the ‘Professional Concert’ series in London. The violinist and impresario Johann Salomon, who had brought Haydn to

London, obviously wished to counter his rivals’ success by presenting a sinfonia concertante by the celebrated Haydn himself, in his own concert series.

Haydn obliged with a work featuring important solos for Salomon to play, and it was premiered at Salomon’s fourth concert of the season. It was so successful that it had to be repeated and the Morning Herald wrote:

‘A new Concertante from HAYDN, combined with all the excellencies of music; it was profound, airy, affecting and original, and the performance was in unison with the merit of the composition. SALOMON particularly exerted himself on this occasion, in doing justice to the music of his friend HAYDN.’

It is only in the last 30 years that the piece has recaptured the popularity it enjoyed in the 1790s – as well it might, for it combines the maturity of style and certainty of orchestral writing of Haydn’s Paris and London symphonies with a lighter tone of unashamed entertainment music. Unlike most of the sinfonie concertante of its time, Haydn uses the soloists mainly as a group, without neglecting the characteristic timbre of each instrument.

The first movement is the most symphonic in style, and is richly scored for horns, trumpets and drums as well as winds. It features a

joseph haydn (1732-1809)


fully written-out cadenza by Haydn for the four soloists together. (Mozart likewise wrote out the cadenza for his K364 violin and viola concertante.)

The Andante begins delightfully with the solo instruments playing against pizzicato strings, the first of many textural felicities. The last movement gives Salomon an opportunity to shine with a device Haydn had used in some of his early symphonies. Recitative passages for the solo violin provide it with the opportunity to behave as though it were a dramatic soprano, complete with written-out appoggiaturas (‘leaning’ notes).

David Garrett © 1997

This is the first performance of this work by the Adelaide Symphony Orchestra.

Duration 21 minutes


Hungarian Dances

In 1848, the Hungarian uprising was crushed, and a stream of refugees flooded into Brahms’ native Hamburg en route to North America. Thus the 15-year-old Brahms first came into contact with ‘Hungarian music’ – or more precisely, with gypsy styles, which the Germans of the time mistook for Hungarian folk music. The violinist Eduard Hoffmann (or Reményi, in Hungarian) was among the Hungarians who arrived in Hamburg. In 1850, Brahms was captivated when he heard Reményi play and accepted the violinist’s invitation to accompany him on tour a few years later.

From Reményi, Brahms learnt how to play alla zingarese (gypsy-style) and even after Brahms shifted his focus to symphonic music, he retained his love of folk music. The Hungarian Dances, published in two sets in 1869 and 1880 respectively, have a lightness that we do not normally associate with the North German symphonist.

In the accompanying letter Brahms sent to his publisher in 1869, he expressly disclaimed authorship of the melodies, which he described as ‘genuine gypsy children’. But at least three of the complete dances (Nos 11, 14 and 16) contain original melodies, and it is worth remembering that when Brahms wanted a touch of the exotic in

his own music, he would often go to the gypsies for his models.

The 21 Hungarian Dances originally appeared in versions for piano four hands, with Brahms himself subsequently preparing orchestrations for only three: Nos 1, 3 and 10. Among the composers hired to orchestrate the remaining 18 was Antonín Dvořák, whose own Slavonic Dances, inspired by the success of Brahms’ first Hungarian set, had established his international reputation only a few years before. Dances 5 (the most famous of the set) and 6, heard this evening in orchestrations by Albert Parlow, are in a broad ternary form with a contrasting middle section.

G.K. Williams Symphony Australia © 2002

The Adelaide Symphony was the first of the Australian state symphony orchestras to perform any of Brahms’ Hungarian Dances, on 13 and 15 October 1938, when it performed Nos 5 and 6 under conductor Malcolm Sargent.

Duration 15 minutes

johannes brahms (1833-1897)

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musical chair players & donors

Concertmaster Natsuko Yoshimoto

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

Associate Principal Cello Ewen Bramble

Supported by Barbara Mellor

Associate Principal Viola Imants Larsens

Supported by Mr & Mrs Simon & Sue Hatcher

Principal Cello Simon Cobcroft

Supported by Andrew & Gayle Robertson

Principal 2nd Violin Michael Milton

Supported by The Friends of the ASO

Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Principal 1st Violin Shirin Lim

Supported in the memory of Dr Nandor Ballai

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported by Peter & Pamela McKee

Violin Alexis Milton

Supported by Patricia Cohen

Principal Viola Juris Ezergailis

Supported in the memory of Mrs JJ Holden

Violin Minas Berberyan

Supported by Merry Wickes

Cello Sarah Denbigh

Supported by an anonymous donor

Cello Chris Handley

Supported by Johanna and Terry McGuirk

Cello David Sharp

Supported by Aileen Connon AM

Cello Sherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal Bass David Schilling

Supported by Mrs Maureen Akkermans

Bass Harley Gray

Supported by Bob Croser

Principal Bass Clarinet Mitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Bassoon Leah Stephenson

Supported by Liz Ampt

Principal Tuba Peter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal Clarinet Dean Newcomb

Supported by Royal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr JB Robinson

Harp Suzanne Handel

Supported by Shane Le Plastrier

Principal Piccolo Julia Grenfell

Supported by Chris & Julie Michelmore

Bass David Phillips

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

Principal Percussion Steven Peterka

Supported by The Friends of the ASO

Principal Oboe Celia Craig

Supported byPenelope & Geoffrey Hackett-Jones

Principal Bassoon Mark Gaydon

Supported by Pamela Yule

Principal Trumpet Matt Dempsey

Supported by R & P Cheesman

Principal Contra Bassoon Jackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal Trumpet Martin Phillipson

Supported by Rick Allert AO

Principal Trombone Cameron Malouf

Supported byVirginia Weckert & Charles Melton of Charles Melton Wines

Timpani Robert Hutcheson

Supported by an anonymous donor

Horn Sarah Barrett

Supported by Margaret Lehmann


our inspirational donors

Diamond Patron ($25,000+)

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

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

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

Dr Aileen F Connon AM

Plus two anonymous donors

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

Johanna & Terry McGuirk

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

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

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

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

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

Friends of the Adelaide Symphony OrchestraMr & Mrs Anthony & Margaret GerardMs Merry WickesKim Williams AM

Plus one anonymous donor

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

ASO as winner of Adelaide Critics Circle ACColade

Mr Neil ArnoldDr Margaret ArstallAustralasian Double Reed Society SA

Prof Andrew & Mrs Elizabeth Bersten

Mrs Susan BethuneThe Hon D J & Mrs E M BlebyDianne & Felix BochnerDr Ivan CamensMrs Patricia CohenTony & Rachel DavidsonMrs Lorraine DrogemullerIn Memory of Jim FrostRJ, LL & SJ GreensladeMr P R GriffithsMr Donald GrowdenDr Robert HeckerRhys & Vyvyan HorwoodMrs M JanzowMrs Alexandra JarvisDr I KlepperMr Ian Kowalick AM & Mrs Helen Kowalick

Mrs Joan LyonsDr & Mrs Neil & Fay McIntoshMr & Mrs Peter & Rosalind Neale

Mrs Christine & The Late Dr Donald Perriam

J M ProsserMs Marietta ResekMr Richard Ryan AO & Mrs Trish Ryan

Mr Roger SalkeldPhilip Satchell AM & Cecily Satchell

Larry & Maria ScottMr & Mrs H W ShortDr & Mrs Nigel & Chris Steele-Scott OAM

Ms Guila TiverDr D R & Mrs L A TurnerMr J W ValeDr Richard & Mrs Gweneth Willing

Plus eight anonymous donors

Soloist Patron ($500 - $999)

Mr & Mrs David & Elaine Annear

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

Mr & Mrs R & SE BartzLiz, Mike & Zoe BowenDr & Mrs J & M BrooksMr Rob BroughtonMr Vincent CiccarelloMr Bruce Debelle AOFr John DevenportDr Chrstopher DibdenMrs A E DowLady Mary DownerMrs Jane DoyleMr L J EmmettMr & Mrs Jiri & Pamela FialaMr Douglas FidockMr Otto FuchsDr Noel & Mrs Janet GrieveMrs Eleanor HandreckMr & Mrs Michael & Stacy Hill Smith

Dr Douglas & Mrs Tiiu HoileDr Wilfrid JaksicMr & Mrs G & L JaunayMs Elizabeth Keam AMMrs Joan LeaMr Michael McClaren & Ms Patricia Lescius

Mr Melvyn MadiganMrs Skye McGregorMrs Caroline MilneDr D G & Mrs K C MorrisMs Jocelyn ParsonsMr Tom F PearceCaptain R S & Mrs J V PearsonMr Martin PenhaleMr & Mrs John & Jenny PikeMr & Mrs David & Janet RiceMr Mark RinneMrs Janet Ann RoverTrevor & Elizabeth RowanMr A D SaintMs Linda SampsonMr & Mrs W ScharerProf Ivan Shearer AMBeth & John ShepherdMr W & Mrs H StacyMrs Verna SymonsThe Honourable Justice Ann Vanstone

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

Plus 10 anonymous donors

Tutti Patron ($250 - $499)

Julie AlmondMr & Mrs Rob & Cathy Anderson

Mr Rob BaillieMr Brenton BarrittMrs Jillian BeareDr Gaby BerceDr Adam BlackMr & Mrs Andrew & Margaret Black

Mrs Betty A BlackwoodMr Mark BlumbergProf & Mrs John & Brenda Bradley

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

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

Dr Laurence J FergusonMs Barbara FergussonMr J H FordMr William FrogleyMr John GazleyMr & Mrs Andrew & Helen Giles

Dr David & Mrs Kay GillThe Hon R & Mrs L Goldsworthy

Mr Neil HallidayMrs Jill HayMr John H Heard AMDr Robert & Mrs Margaret Heddle

Mrs Judith HeidenreichMr & Mrs Peter & Helen Herriman

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

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

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

Mr & Mrs Ian & Jen RamsayMr A L ReadMr Richard RowlandMrs Jill RussellMr Frank and Mrs Judy Sanders

Mrs Meredyth Sarah AMDr W T H & Mrs P M ScalesChris SchachtMr David ScownDr Peter ShaughnessyMr Roger SiegeleMr & Mrs Antony & Mary Lou Simpson

Mr & Mrs Jim & Anne SpikerMr & Mrs Graham & Maureen Storer

Mrs Anne SutcliffeDr Anne Sved WilliamsDr G M Tallis & Mrs J M Tallis AM

Mr & Mrs R & J TaylorDr Peter TillettDr M G Tingay & Mrs A N Robinson

Mr & Mrs John & Janice Trewartha

Mr David TurnerMrs Neta Diana VickeryProf Robert WarnerMr & Mrs Glen & Robina WeirMrs Ann WellsDr Nicholas Wickham

Plus 13 anonymous donors

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

Donations from 1 Oct 2013 to 28 Oct 2014 (does not include 2015 subscription donations)

As a lover of orchestral music, we invite you to enrich your musical interests, add beautiful low-cost concerts to your musical diary and widen your social network, while assisting in raising valuable funds to help ensure the future of the ASO. Why would you hesitate? Everyone wins!

become a friend

OF THE ASO Benefits of becoming a Friend of the ASO

• Supporting one of South Australia’s most valuable assets

• Opportunities to meet orchestra members

• Receptions to meet local and visiting international artists

• Access to rehearsals and education concerts

Friends of the ASO also receive discounts at the following businesses:

• ABC Shop Myer Centre, Rundle Mall, Adelaide, Phone 8410 0567 (10% on total bill)

• John Davis Music 6 Cinema Place, Adelaide, Phone 8232 8287

• Hilton Adelaide Hotel 233 Victoria Square, Adelaide, Phone 8217 2000 (10% Brasserie)

• Hotel Grand Chancellor - Bistro 65 65 Hindley Street, Adelaide, Phone 8231 5552 (10% on total bill)

• La Trattoria Restaurant 346 King William Street, Adelaide, Phone 8212 3327 (10% on total bill)

• Newman’s Nursery Main North East Road, Phone 8264 2661, Tea Tree Gully (10% plants)

• Rigoni’s Bistro 27 Leigh Street, Adelaide, Phone 8231 5160 (10% on total bill)

Note: Friends must produce Membership Cards as identification for discounts. So join now!

For information about joining, phone (08) 8233 6211. Hours: Wednesday and Friday, 10am to 12 noon.

MEMBERSHIP APPLICATION Please complete and send to: Secretary, Friends of the ASO, GPO Box 2121, Adelaide SA 5001

Name

Address

Postcode

Phone (home) Phone (work)

Mobile E-mail

Payment

Cheque made payable to FASO $ Please charge my credit card for $

Mastercard Visa Expiry: / Card No. _ _ _ _ /_ _ _ _ /_ _ _ _ /_ _ _ _

Name of card holder: Signature:

Please tick membership requirements

$35 - Individual Friend $30 - Individual Country Friend

$20 - Individual Concession Friend $45 - Joint Friends

$40 - Joint Country Friends $35 - Joint Concession Friends

$15 - Student Pension/Student Card Number:

Government Support

57 FilmsAbsorb – Paper Products Boylen – Website and Developmentcolourthinking – Corporate ConsultantCoopers Brewery Ltd Corporate ConversationHaigh’s Chocolates

Hickinbotham GroupM2 GroupNormetalsNova SystemsPeregrine TravelPoster ImpactThe Playford Adelaide

The ASO receives Commonwealth Government funding through the Australia Council; its arts funding and advisory body. The Orchestra continues to be funded by the Government of South Australia through Arts SA. The Adelaide City Council continues to support the ASO during the 2014–15 financial year.

thank youto our partners

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2012 alone, we backed South Australian community events and organisations to the tune of $6 million.

At Santos, we believe that contributing to the vibrant culture and diverse communities of South Australia is well worth the effort.

Because we’re not just an energy company, we’re a company with energy.

Standing behind our community

When not unlocking Australia’s valuable energy resources, we’re behind the scenes supporting a wide range of cultural and community activities.

Santos has been the Principal Partner of the Adelaide Symphony Orchestra for 15 years, helping deliver popular community events such as the Symphony Under the Stars.

Not meaning to beat our own drum, but in 2013, we backed South Australian community events and organisations to the tune of $9 million.

At Santos, we believe that contributing to the vibrant culture and diverse communitiesof South Australia is well worth the effort.

Because we’re not just an energy company,we’re a company with energy.

HUNGARIAN DANCES - Adelaide Symphony Orchestra · PDF filesee. hear. feel. Adelaide Symphony...

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Transcript of HUNGARIAN DANCES - Adelaide Symphony Orchestra · PDF filesee. hear. feel. Adelaide Symphony...