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First and Last1 & 2 May 2015ADELAIDE TOWN HALL

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3ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES

1 & 2 May, Adelaide Town Hall

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

First and Last Master 3

aso.com.au

Classical ConversationOne hour prior to the concerts, free for ticket holders.British viola soloist Lawrence Power joins ASO violist Martin Butler to unwrap James MacMillan’s new Viola Concerto – composed for Lawrence Power.

Haydn Symphony No 1 in D major Presto Andante Finale (Presto)

James MacMillan Viola Concerto

I II III

Lawrence Power Viola

Dvorák Symphony No 9 in E minor, B 178 (Op 95) From the New World

Adagio – Allegro molto Largo Scherzo (Molto vivace) Allegro con fuoco

Interval

Mark Wigglesworth Conductor

Lawrence Power Viola

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4 ADELAIDE SYMPHONY ORCHESTRA MASTER SERIES

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.

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.

His recordings include live performances of Mahler’s Symphony 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; and a project with BIS Records to record all the symphonies of Shostakovich.

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.


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Lawrence Power viola

Lawrence Power is regularly invited to perform with some of the world’s greatest orchestras, including the Chicago and Boston Symphony Orchestras; Royal Concertgebouw Orchestra; Bavarian Radio Symphony Orchestra; Royal Stockholm Philharmonic Orchestra; Philharmonia Orchestra; BBC Scottish Symphony Orchestra; and Royal Liverpool Philharmonic Orchestra. He has performed Penderecki’s Viola Concerto in a series of concerts with Camerata Salzburg conducted by the composer. He was Artist in Residence with the Bergen Philharmonic Orchestra for the 2012/13 season, and enjoys a close relationship with the London Philharmonic Orchestra, with whom he gave the world premiere of James MacMillan’s Viola Concerto. He gave the UK premiere of Olga Neuwirth’s concerto Remnants of Songs, and the world premiere of Luke Bedford’s Wonderful Two-Headed Nightingale and Charlotte Bray’s Invisible Cities. He regularly collaborates with Maxim Vengerov and recently performed with him at the Barbican Centre in London.

Other plans in the 2014/15 season include MacMillan’s Viola Concerto with the Bergen Philharmonic, and the Walton, Rózsa and Schnittke viola concertos with the Netherlands Radio Philharmonic Orchestra, BBC National Orchestra of Wales and Tiroler Symphonieorchester, respectively. Orchestral debuts include the

Brussels Philharmonic, Lucerne Symphony Orchestra and the Barcelona Symphony and Catalonia National Orchestra. He returned to the Verbier and Salzburg festivals at the beginning of the 2014/15 season, and continued his partnership with pianist Simon Crawford-Phillips with a US tour in March. This is his debut with the Adelaide Symphony Orchestra.

Lawrence Power is International Professor of Viola at the Zurich University of the Arts. He is also founder and Artistic Director of the West Wycombe Chamber Music Festival.


Adelaide Symphony OrchestraPrincipal Guest Conductor and Artistic Advisor Arvo Volmer

Artist in Association Nicholas McGegan

Principal Conductor Designate Nicholas Carter

VIOLINS

Elizabeth Layton** (Guest Concertmaster)

Cameron Hill** (Associate Concertmaster)

Shirin Lim** (Principal 1st Violin)

Supported in the memory of Dr Nandor Ballai

Michael Milton** (Principal 2nd Violin)

Musical Chair supported by The Friends of the ASO

Lachlan Bramble~ (Associate Principal 2nd Violin)

Supported in the memory of Deborah Pontifex

Ann AxelbyMinas Berberyan

Supported by Merry Wickes

Gillian BraithwaiteJulia BrittainHilary Bruer

Supported by Marion Wells

Nadia BuckJane CollinsFrances DaviesBelinda GehlertDanielle Jaquillard

Alexis Milton Sponsored by Patricia Cohen

Julie NewmanEmma Perkins

Supported by Peter & Pamela McKee

Alexander PermezelJudith PolainMarie-Louise SlaytorKemeri Spurr

VIOLAS Imants Larsens** (Acting Principal)

Supported by Mr & Mrs Simon & Sue Hatcher

Michael Robertson~

(Acting Associate)Martin ButlerAnna HansenLinda GarrettRosie McGowranCarolyn MoozCecily Satchell

CELLOS Simon Cobcroft**

Supported by Andrew & Gayle Robertson

Ewen Bramble~ Supported by Barbara Mellor

Sarah Denbigh

Christopher Handley Supported by Johanna and Terry McGuirk

Sherrilyn Handley Supported by Johanna and Terry McGuirk

Gemma Phillips

David Sharp Supported by Dr Aileen F Connon AM

Jillian Visser

DOUBLE BASSES David Schilling**

Supported by Mrs Maureen Akkermans

Hugh Kluger~

Jacky Chang

Harley Gray Supported by Bob Croser

Belinda Kendall-SmithDavid Phillips

FLUTES Geoffrey Collins*

Supported by Pauline Menz

Lisa Gill

PICCOLOJulia Grenfell*

Supported by Chris & Julie Michelmore

OBOES Celia Craig**

Supported by Penelope & Geoffrey Hackett-Jones

Renae Stavely Supported by Roderick Shire & Judy Hargrave

Cor Anglais Peter Duggan**

Supported by Dr Ben Robinson

CLARINETS

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

Darren Skelton

E FLAT CLARINETDarren Skelton

BASSOONS Mark Gaydon**

Supported by Pamela Yule

Jackie Hansen Supported by Norman Etherington & Peggy Brock

CONTRA BASSOONJackie Hansen*

HORNS Adrian Uren**Sarah Barrett~

Supported by Margaret Lehmann

Bryan Griffiths Alex MillerPhilip Paine

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

Supported by Richard Hugh Allert AO

Robin Finlay

TROMBONES Cameron Malouf**

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Ian Denbigh

BASS TROMBONEAndrew Ey*

TUBA Peter Whish-Wilson*

Supported by Ollie Clark AM & Joan Clark

TIMPANI Robert Hutcheson*

Supported by an anonymous donor

PERCUSSION Gregory Rush**Jamie AdamAmanda Grigg

HARP Suzanne Handel*

Supported by Shane Le Plastrier

HARPSICHORDJoshua von Konkelenberg*

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

denotes Musical Chair Support

Correct at time of print.


ASO BOARD

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

ASO MANAGEMENT

EXECUTIVE

Vincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director

ARTISTIC

Simon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator

FINANCE AND HR

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

OPERATIONS

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

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

FRIENDS OF THE ASO EXECUTIVE COMMITTEE

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


Symphony No 1 in D major

Presto

Andante

Finale (Presto)

In 1908, with the centenary of Haydn’s death approaching, musicologist Eusebius Mandyczewski published what remains even today the definitive list of Haydn’s symphonies. All 104 works he identified are undeniably authentic. But inevitably, since many of the earliest manuscript scores and copies are undated, the precise order in which he placed them is often queried. Haydn himself gave the number 2 to the work we now call No.37. But even Haydn’s own ordering is questioned by half-a-dozen rival chronologies to Mandyczewski’s, no two of which, it must be pointed out, ever completely agree either.

Haydn uttered his last words on the topic to his friend and biographer Georg August Griesinger. And when Haydn died, in Vienna on 31 May 1809, Griesinger immediately posted off the first instalments of his biography to Leipzig. In the third instalment, in the 19 July issue of publishers Breitkopf and Härtel’s weekly journal, Griesinger established once and for all: ‘While he was music director in the service of Count Morzin Haydn composed his first

symphony’, ensuring there could be no confusion by printing its opening two bars.

Haydn commenced his apparently congenial duties for the Morzins in their palace at rural Dolní Lukavice, 100 kilometres southwest of Prague, late in 1758. But, as Griesinger also reported: ‘Before very long the Count spent his considerable fortune, and therefore had to disband his orchestra.’ So, early in 1761, after only two years with the Morzins (in which short time, however, he composed a dozen symphonies), Haydn found himself even more congenial employment with the much grander Esterházy princes, so congenial that he remained with them for 30 years, and composed most of the rest of his 104 symphonies.

According to Griesinger, Haydn himself counted 118, though these probably also included opera overtures. Indeed, this first concert symphony might as easily have been an opera overture, at a time when a virtually identical format – of three separate, contrasted movements – still served both genres (though not for much longer).

Josef Haydn 1732-1809


Josef Haydn 1732-1809

No 1 might not yet reveal the arresting individuality of Haydn’s brilliant trio of fully-fledged, four-movement symphonies, Nos 6-8, composed two years later for the Esterházys. But it is a terrific display of much more than commonplace competence. His ear already attuned to dramatic opening gestures, Haydn’s first theme is a surging crescendo, from piano to fortissimo, as the first violins ascend over two full D major scales. Rising and falling scales generate much of the energetic string counterpoint throughout the powerful yet poised first movement.

In the Andante, Haydn adhered to local Czech work practices, giving his reed and horn players time out to rest their lips. This allows for a more polite indoors style of conversation among the strings, notably between violins and basses, and between first and second violins.

The winds return for the very brief final Presto in fast triple time. Its theme spells out the notes of a rising D major chord, and descends only to rise again. Subtly varied, it generates most of the music of the piece’s two repeated strains, crescendoing on the violins’ scrubbing semiquavers to each of the three internal cadences and a fourth satisfyingly terminal full close.

Graeme Skinner © 2015

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

Duration 11 minutes.


Viola Concerto

I

II

III

AUSTRALIAN PREMIERE

Lawrence Power viola

A word from the ASO’s Director of Artistic Planning, Simon Lord:

One morning a few years ago an email dropped into my inbox. It presented a great opportunity for the ASO – to be part of an international commissioning consortium for a new viola concerto from the Scots composer James MacMillan for British violist Lawrence Power. Having known and worked with both these musicians in the UK, I was convinced straight away that Jimmy would write something very special for Lawrence. During my time at the BBC Scottish Symphony Orchestra in Glasgow, we performed a lot of MacMillan’s music – the Orchestra gave the world premiere of The Confession of Isobel Gowdie which launched the composer’s career. Once here in Adelaide, it seemed only natural to celebrate his music further. Hopefully, his

direct and powerful expressive voice will speak to musicians and audiences alike here in Australia, and this new concerto will have a long life.

Ever since the BBC Proms premiere in 1990 of The Confession of Isobel Gowdie, Scotland’s James MacMillan has been one of the most sought-after contemporary composers. He followed up Isobel Gowdie with the percussion concerto Veni, veni Emmanuel for Evelyn Glennie, which received nearly 300 performances within ten years of its 1992 premiere.

Tonight’s work, first performed in January 2014 by Vladimir Jurowski and the London Philharmonic Orchestra with its dedicatee, Lawrence Power as soloist, is the 18th of MacMillan’s concertos. Such is MacMillan’s drawing power that the Adelaide Symphony Orchestra is one of four orchestras around the world that co-commissioned the work.

MacMillan’s strengths come from two sources, according to British critic Michael White: one is his ‘great gift for melody’; the other is that his music is driven by ‘an extraordinary kind of fervour’ stemming from his religious and political beliefs. Other commentators may also point out MacMillan’s absorption of influences

James MacMillan born 1959


ranging from the Polish modernists Penderecki and Lutosławski (in his early years) to the local church congregation in Glasgow for whom he has written (weekly) responsorial psalms that can be taught before Mass.

While his early works tended to be programmatic, MacMillan has become increasingly interested in – proud, even – of the abstract nature of music. As he told the Southbank Centre’s Gillian Moore prior to the premiere of tonight’s work: ‘At a fundamental level, music communicates its beauties, its feelings through … organised sounds rather than words or images … music gets into the crevices of the soul in a way that can be quite baffling to our contemporary culture [so dominated by the visual and the verbal].’

MacMillan’s own comments on this work stick just to the notes. He outlines a three-movement structure in the traditional pattern – fast-slow-fast – and sets out some markers that may be useful to first-time listeners. Each of the movements contains elements of its opposite. The first movement includes a brass ‘dance-like theme’ and ‘a terse little tune in semiquavers’ for the soloist, but only after a slow introduction in which ‘the energy … is offset right from the beginning by something much more cantabile and singing’. Each of the sections of the song-like second movement is headlined by a violent ‘outburst’. The last movement is obviously ‘joyful, humorous, and fast’, but there is a ‘tranquil’ middle section where the soloist begins to declaim against a ‘cushion’ of two each of orchestral violas and cellos (like a Renaissance viol consort). A solo flute nods towards the influence of the Japanese shakuhachi.

It would be a shame, though, for the listener

to tick off the structural signposts rather than let the proportions be naturally felt or enjoy the composer’s spanning of the 21st-century orchestral palette. MacMillan has previously commented on the number of great concertos (serving great soloists) in the modern repertoire and the question of the extent to which a composer should ignore or embrace the traditional form (‘near perfection’ in MacMillan’s mind). Perhaps the listener could consider how successfully MacMillan has added to this genre, and how wonderfully this concerto adds to the viola repertoire.

Gordon Kalton Williams © 2015

James MacMillan’s Viola Concerto was a joint commission by the Adelaide Symphony Orchestra, London Philharmonic Orchestra, Bergen Philharmonic Orchestra and the Lucerne Symphony Orchestra.

For the composer’s own detailed notes on the concerto, visit aso.com.au/learning/resources.



Symphony No 9 in E minor, B 178 (Op 95) From the New WorldAdagio – Allegro molto

Largo

Scherzo (Molto vivace)

Allegro con fuoco

Dvorák composed his ninth, and last, symphony in New York between January and May 1893. As his American-born secretary, Josef Kovarík, was about to deliver the score to the conductor of the first performance, Anton Seidl, Dvorák suddenly wrote on the title page, in Czech, ‘From the New World’. That expression had been used in a welcome speech following his arrival in New York the previous September, reflecting the Christopher Columbus quadricentenary: ‘The New World of Columbus and the New World of Music’. Kovarík said the inscription was just ‘the Master’s little joke’; but the ‘joke’ has, ever since, begged the question: how American is the New World Symphony?

Dvorák could have written his ‘New World’ inscription, as in the welcome speech, in English. By writing it in Czech he was seen to be addressing the work, like a picture postcard, to his compatriots back in Europe. At the same time he challenged listeners to identify depictions of America or elements of American music. Either way, the composer

was seen to be meeting the desire of his employer, Mrs Jeannette Thurber, for music which might be identified as American.

Mrs Thurber had persuaded Dvorák to become director of her National Conservatory of Music in New York – the most eminent composer ever to take a teaching position in the USA. Besides teaching students from a wide spectrum of society, he found he was expected to show Americans how to create a national music. So, controversially and perhaps naively, in a country which had not forgotten the Civil War, the egalitarian Dvorák told Americans they would find their future music in their roots, whether native or immigrant, and in particular the songs of the African-Americans.

From his familiarity with gypsies in Europe, Dvorák had famously composed a set of Gypsy Melodies (including ‘Songs my mother taught me’), and was thus receptive when introduced soon after his arrival to the songs of the African-Americans – the sorrow songs and spiritual songs of the plantation. As a devout man of humble rural origins, he responded to the pathos and religious fervour of the poor.

He told the New York Herald that the two middle movements of his new symphony were inspired by Longfellow’s epic poem The Song of Hiawatha, a work he had long ago

Antonin Dvorák 1841-1904


read in Czech and which Mrs Thurber was now suggesting for an opera. The famous slow movement, he said, was inspired by Hiawatha’s wooing of Minnehaha and the Scherzo by dancing at the wedding feast. Without using Native American melodies, he claimed to have given the Scherzo ‘the local colour of Indian music’ – an effect probably limited to repetitive rhythms and primitive harmonies.

At the same time, The New York Daily Tribune, reporting an extensive interview with the composer, declared that America’s ‘most characteristic, most beautiful and most vital’ folksong came ‘from the negro slaves of the South’, adding that ‘if there is anything Indian about Dr Dvorák’s symphony it is only in the mood … of Indian legend and romance.’

On superficial acquaintance, Dvorák found that ‘the music of the Negroes and of the Indians was practically identical.’ But he took care to speak only in generalities as the debate, with all its good publicity, flourished.

As music, the New World Symphony is entirely characteristic of its composer (the ‘simple Czech musician’ he liked to style himself) and owes nothing to any specific ‘borrowings’ from the indigenous or African-American musics Dvorák encountered in the New World. The ersatz-spiritual Goin’ home was actually arranged from Dvorák’s Largo movement by one of his students, not the other way around.

There were strong non-musical impressions of America which doubtless crowded the composer’s mind as he worked on the symphony: the frenetic bustle of New York, the seething cauldron of humanity in the metropolis, and the simple folk caught up in the impersonal whirl – the African-

Americans, the indigenous Americans, the immigrant poor. The surging flow and swiftly changing moods of the outer movements perhaps reflect these images. The vast, desolate prairies Dvorák found ‘sad unto despair’, and this may be felt to underpin the deep yearning of the Largo (together with the composer’s own homesickness for his native Bohemia). As if to emphasise his personal longing for home, Dvorák uses a Czech dance as the central trio section of the third movement.

Musical ideas recur in the New World Symphony, like familiar faces in a crowd, to link the symphonic structure. The two main themes of the first movement are recalled in festive mood in the Largo, at the brassy climax of the famous melody first stated by the cor anglais. They figure again in the coda of the Scherzo, the first theme (somewhat disguised) also making three appearances earlier in the movement. The main themes of both middle movements recur in the development section of the finale, and the main themes of all three preceding movements are reviewed in the final coda. There, a brief dialogue between the themes of the first and last movements is cut short by a conventional cadence, spiced by unexpected wind colouring in the last chord of all.

© Anthony Cane

The Adelaide Symphony Orchestra gave its first complete performance of this symphony at a Celebrity Orchestral concert on 24 June 1939 under Bernard Heinze. The ASO’s most recent performance was in October 2012 with conductor Garry Walker.


Concertmaster Natsuko Yoshimoto

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

Associate Principal CelloEwen Bramble

Supported byBarbara Mellor

Principal ViolaJuris Ezergailis

Supported in the memory of Mrs JJ Holden

Principal 2nd Violin Michael Milton

Supported by The Friends of the ASO

Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Principal 1st ViolinShirin Lim

Supported in the memory of Dr Nandor Ballai

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

Violin Hilary Bruer

Supported by Marion Wells

Violin Emma Perkins

Supported byPeter & Pamela McKee

ViolinMinas Berberyan

Supported by

Merry Wickes

ViolinAlexis Milton

Supported byPatricia Cohen

Associate Principal Viola Imants Larsens

Supported byMr & Mrs Simon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley

Supported byJohanna and Terry McGuirk

CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloSherrilyn Handley

Supported byJohanna and Terry McGuirk

Principal BassDavid Shilling

Supported by Mrs Maureen Akkermans

BassDavid Phillips

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

BassHarley Gray

Supported byBob Croser

Musical chair players and donors

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal BassoonMark Gaydon

Supported byPamela Yule

Principal TubaPeter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal TimpaniRobert Hutcheson

Supported by an anonymous donor

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

Principal TrumpetMatt Dempsey

Supported by R & P Cheesman

BassoonLeah Stephenson

Supported byLiz Ampt

Principal PiccoloJulia Grenfell

Supported by Chris & Julie Michelmore

Principal Contra BassoonJackie Hansen

Supported by Norman Etherington & Peggy Brock

Associate Principal TrumpetMartin Phillipson

Supported byRichard Hugh Allert AO

Principal PercussionSteven Peterka

Supported by The Friends of the ASO

Principal HarpSuzanne Handel

Supported byShane Le Plastrier

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal TromboneCameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Principal OboeCelia Craig

Sponsored byPenelope & Geoffrey Hackett-Jones

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

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

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

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Plus 15 anonymous donors The ASO also thanks the 595 patrons who gave other amounts in the past 12 months.


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

Support Us

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

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

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

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

Proud sponsors of the ASO

HumanResources

Harmony

HUMAN RESOURCE SERVICES

LEVEL 5 81 FLINDERS ST ADELAIDE SA 5000

TELEPHONE 08 8100 8888 FACSIMILE 08 8100 8800www.hender.com.au

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

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

Principal Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Industry collaborators

Friends

Government Support

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

M2 GroupNormetalsPeregrine TravelPoster Impact

Thank you

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

Join us

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

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

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

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

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

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

Proudly working in partnership

kwp!

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