hungarian dances - adelaide symphony orchestra · pdf filesee. hear. feel. adelaide symphony...
TRANSCRIPT
see. hear. feel.
Adelaide Symphony Orchestra
12 November, 6.30pmAdelaide Town Hall
HUNGARIAN DANCES
COMPOSERS IN FOCUS
ALGO
/MOR
2958
For a sound partnership, contact us today or visit us at our Adelaide branch:
t 08 8464 [email protected]/adelaide
Adelaide Offi ceLevel 1, 70 Hindmarsh SquareAdelaide SA 5000
Sound advice. Perfect harmony.Morgans is pleased to support the ASO’s 2014 Composers in Focus Series.
AFSL 235410. ABN 49 010 669 726. A participant of ASX Group.
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
SE NADELAIDE SYMPHONY ORCHESTRA 2014
HUNGARIAN DANCES
Adelaide’s No.1
kwp!
SA
S10
255
5MORGANS COMPOSERS IN FOCUS SERIES
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
7MORGANS 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.
8 MORGANS COMPOSERS IN FOCUS SERIES
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
9MORGANS COMPOSERS IN FOCUS SERIES
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.
Messiah27 & 28 NOVEMBER • ADELAIDE TOWN HALL
BOOK AT BASS 131 246 or bass .net .au
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
A D E L A I D E C H A M B E R S I N G E R S C A R L C R O S S I N D I R E C T O R
A great Christmas tradition
11MORGANS COMPOSERS IN FOCUS SERIES
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.
Messiah27 & 28 NOVEMBER • ADELAIDE TOWN HALL
BOOK AT BASS 131 246 or bass .net .au
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
A D E L A I D E C H A M B E R S I N G E R S C A R L C R O S S I N D I R E C T O R
A great Christmas tradition
12 MORGANS COMPOSERS IN FOCUS SERIES
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
13MORGANS COMPOSERS IN FOCUS SERIES
ASO BOARDColin Dunsford AM (Chair) Jillian AttrillVincent Ciccarello Geoffrey CollinsCol Eardley Byron GregoryDavid Leon Chris MichelmoreMichael Morley Andrew RobertsonNigel Stevenson
ASO MANAGEMENTExecutiveVincent Ciccarello - Managing DirectorMargie Corston - Assistant to Managing Director
ArtisticSimon Lord - Director, Artistic PlanningKatey Sutcliffe - Artistic AdministratorEmily Gann - Learning and Community Engagement Coordinator
Finance and HRBruce Bettcher - Business and Finance Manager Louise Williams - Manager, People and CultureKarin Juhl - Accounts/Box Office CoordinatorSarah McBride - PayrollEmma Wight - Administrative Assistant
OperationsHeikki Mohell - Director of Operations and CommercialKaren Frost - Orchestra Manager Kingsley Schmidtke - Venue/Production SupervisorBruce Stewart - LibrarianDavid Khafagi - Acting Orchestra Manager
Marketing and DevelopmentPaola Niscioli - General Manager, Marketing and DevelopmentVicky Lekis - Director of DevelopmentAnnika Stennert - Marketing CoordinatorKate Sewell - PublicistTom Bastians - Customer Service Manager
FRIENDS OF THE ASO EXECUTIVE COMMITTEEAlison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsVacancy - Honorary SecretaryJohn Gell - Assistant Secretary MembershipJudy Birze - Treasurer
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)
The perfect E SharpAfter a short hiatus the luxuriously appointed ES sedan makes a welcome return to Lexus of Adelaide. Prepare to fall in love all over again. Contact Lexus of Adelaide and arrange a test drive today.
Lexus of Adelaide164 West Terrace Adelaide. 8238 5400 lexusofadelaide.com.au Proud supporters
15MORGANS COMPOSERS IN FOCUS SERIES
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)
16 MORGANS COMPOSERS IN FOCUS SERIES
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
17MORGANS COMPOSERS IN FOCUS SERIES
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
18 MORGANS COMPOSERS IN FOCUS SERIES
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)
19MORGANS COMPOSERS IN FOCUS SERIES
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
20 MORGANS COMPOSERS IN FOCUS SERIES
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)
The Advertiser gets you closer to the Adelaide Symphony Orchestra than ever before. More features. More interviews. More exclusive experiences.
The Advertiser. Proud sponsor of the arts in South Australia.
ACCESSALL AREAS
For more information please contact Vicky Lekis, Director of Development on (08) 8233 6260 or [email protected]
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
24 MORGANS COMPOSERS IN FOCUS SERIES
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.