to read or download the program notes.pdf - Adelaide Symphony

24 Pages·2014·2.35 MB·English

Adelaide Symphony Orchestra
magic
mozart
and
3 October 8pm
see. hear.
feel. Festival Theatre
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ADELAIDE SYMPHONY ORCHESTRA 2014 SE N
MOZART AND MAGIC
Festival Theatre 3 October 8pm
Michael Stern Conductor
Michael Collins Clarinet
Dukas The Sorcerer’s Apprentice
Mozart Concerto for Clarinet In A Major K 622
Allegro
Adagio
Rondo (Allegro)
Michael Collins - Clarinet
Interval
Copland Appalachian Spring: Suite
Very slowly
Fast
Moderate
Fast
Still faster
Very slowly (as at first)
Calm and flowing
Moderate
Stravinsky The Firebird: Suite (1919)
Introduction –
The Firebird and her Dance –
Variation of the Firebird
The Princesses’ Round (Khorovod)
Infernal Dance of King Kashchei
Berceuse
Finale
This concert runs for approximately 120 minutes including interval.
This performance will be recorded for broadcast on ABC Classic FM.
ADELAIDE SYMPHONY GALA SERIES 3
Adelaide’s No.1
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michael stern conductor
Music Director Michael Stern is in his eighth season Michael Stern received his music degree from the
with the Kansas City Symphony, hailed for its Curtis Institute of Music in Philadelphia, and is a
remarkable artistic ascent, original programming, 1981 graduate of Harvard University, where he
organisational development and stability, and the earned a degree in American History.
extraordinary growth of its varied audiences since
his tenure began. Over the past three seasons,
he and the orchestra have ushered in a new
era, performing to critical acclaim and sold-out
audiences in Helzberg Hall at the Kauffman
Center for the Performing Arts. Since 2008, he
and the orchestra have partnered with Grammy
Award-winning Reference Recordings for an
ongoing series of highly praised CDs, including
their latest release in March of 2014, Miraculous
Metamorphoses, with music of Prokofiev, Bartók
and Hindemith.
Michael Stern serves as the founding Artistic
Director and Principal Conductor of IRIS Orchestra
in Germantown, Tennessee, which has garnered
national attention for its unique model and artistic
excellence. Previous appointments include Chief
Conductor of Germany’s Saarbrücken Radio
Symphony Orchestra (the first American chief
conductor in the orchestra’s history); Permanent
Guest Conductor of the Orchestre national de Lyon,
a position he held for five years; and Principal Guest
Conductor of the Orchestre national de Lille. He
has guest conducted major orchestras throughout
North America, Europe, Israel and Asia.
ADELAIDE SYMPHONY GALA SERIES 5
6 ADELAIDE SYMPHONY GALA SERIES
michael collins clarinet
Michael Collins' virtuosity and musicianship have Michael Collins has become increasingly highly
earned him recognition as one of today’s most regarded as a conductor, and in September
distinguished artists and a leading exponent of 2010 took the position of Principal Conductor of
his instrument. He has given world and local the City of London Sinfonia. He is also Artistic
premieres of John Adams’ Gnarly Buttons, Elliott Director of the Liberation International Music
Carter’s Clarinet Concerto, Brett Dean’s Ariel’s Festival in Jersey.
Music, Elena Kats-Chernin’s Ornamental Air and
Mark-Anthony Turnage’s Riffs and Refrains.
He has since performed Riffs and Refrains
with the Hague Philharmonic, Royal Flanders
Philharmonic, Helsinki Philharmonic and London
Philharmonic orchestras. In 2007 he received
the Royal Philharmonic Society’s Instrumentalist
of the Year Award in recognition of the pivotal
role he has played in expanding the clarinet
repertoire.
In great demand as a chamber musician, Michael
Collins performs with musical colleagues such as
the Belcea and Takács quartets, Martha Argerich,
Stephen Hough, Mikhail Pletnev, Lars Vogt,
Joshua Bell and Steven Isserlis. His Residency
at Wigmore Hall saw him in performance with
András Schiff, Piers Lane and the Endellion
String Quartet. His ensemble, London Winds,
celebrated its twenty-fifth anniversary in 2013
and maintains a busy diary with engagements at
the BBC Proms, Aldeburgh Festival, Edinburgh
Festival, City of London Festival, Cheltenham
Music Festival and Bath Mozartfest.
ADELAIDE SYMPHONY GALA SERIES 7
Adelaide Symphony Orchestra
Principal Guest Conductor Frances Davies Sherrilyn Handley COR ANGLAIS
and Artistic Advisor Belinda Gehlert Musical Chair supported Peter Duggan*
Arvo Volmer Johanna and Terry McGuirk
Alison Heike
Artist in Association Danielle Jaquillard Gemma Phillips CLARINETS
Nicholas McGegan Alexis Milton David Sharp Dean Newcomb**
Musical Chair supported Musical Chair supported by
Associate Guest Conductor Jennifer Newman by Aileen Connon AM the Royal Over-Seas League
Nicholas Carter Julie Newman Cameron Waters SA Inc
Darren Skelton
Concertmaster Emma Perkins
DOUBLE BASSES
Natsuko Yoshimoto Musical Chair supported by E FLAT CLARINET
Musical Chair sponsored by Peter & Pamela McKee David Schilling** Darren Skelton*
ASO Chair of the Board Colin Alexander Permezel Musical Chair supported by
Dunsford AM & Lib Dunsford Mrs Maureen Akkermans
Judith Polain Harley Gray~ BASS CLARINET
VIOLINS Marie-Louise Slaytor (Acting Associate Principal) Mitchell Berick*
Natsuko Yoshimoto** Kemeri Spurr Musical Chair supported by Mbyu Nsiicgaell CShteavire snuspopno &rt e d
(Concertmaster) Bob Croser Glenn Ball
Cameron Hill** (Guest VIOLAS Jacky Chang
Associate Concertmaster) Juris Ezergailis** Belinda Kendall-Smith BASSOONS
Musical Chair supported Mark Gaydon**
Shirin Lim* in the memory of David Phillips
(Principal 1st Violin) Mrs JJ Holden Musical Chair supported MPaumsieclaal YCuhlaeir supported by
Musical Chair in the Imants Larsens ~ for a great Bass player,
memory of Dr Nandor Ballai with lots of spirit - love Betsy Leah Stephenson
Michael Milton** MMur s&ic Mal rCs hSaiimr sounp &po Srtueed H bayt c her Esther Toh MLizu sAimcapl tChair supported by
(Principal 2nd Violin) Martin Butler FLUTES Kristina Phillipson
Musical Chair supported by
The Friends of the ASO Lesley Cockram Geoffrey Collins**
Lachlan Bramble~ Anna Hansen Musical Chair supported by CONTRA BASSOON
(Associate Principal Natalie Maegraith Pauline Menz Jackie Hansen*
2nd Violin) Rosi McGowran Lisa Gill Musical Chair supported
by Norman Etherington &
Mmuemsicoarly Cohf aDire sbuoprapho rPteodn tiinfe txhe Carolyn Mooz PICCOLO Peggy Brock
Michael Robertson
Janet Anderson Julia Grenfell* HORNS
Cecily Satchell
Ann Axelby Musical Chair supported by Sarah Barrett**
EMrinnaa sB eBrebrebreyraynan CSEimLLoOn SC obcroft** OBOChErSis & Julie Michelmore (A(AGlecuxtei nsMtg i AlPlesrrsi~no cciipaatel) Principal)
Mbyu Msicearrl yC Whaiicrk seuspported Ewen Bramble~ CelMiau Csircaailg C*h*a ir supported by Bryan Griffiths
Gillian Braithwaite MBaursbiacraal CMheallior rsupported by Penelope & Geoffrey Philip Paine
Julia Brittain Sarah Denbigh Hackett-Jones Anna Handsworth
Peter Duggan
Hilary Bruer Musical Chair supported by
Musical Chair supported TRUMPETS
Musical Chair supported by an anonymous donor by Dr JB Robinson
Marion Wells Christopher Handley Matt Dempsey**
Elizabeth Collins Musical Chair supported by Musical Chair supported
Johanna and Terry McGuirk by R & P Cheesman
Jane Collins
8 ADELAIDE SYMPHONY GALA SERIES
Martin Phillipson~ ASO BOARD Operations
Musical Chair supported by Colin Dunsford AM (Chair) Heikki Mohell - Director of Operations and
Rick Allert AO Jillian Attrill Commercial
Gregory Frick Vincent Ciccarello Karen Frost - Orchestra Manager
Isaac White Geoffrey Collins Kingsley Schmidtke - Venue/Production
Col Eardley Supervisor
TROMBONES Byron Gregory Bruce Stewart - Librarian
Cameron Malouf**
David Leon David Khafagi - Acting Orchestra Manager
Musical Chair supported by
Virginia Weckert & Charles Chris Michelmore
Melton of Charles Melton Michael Morley Marketing and Development
Wines Andrew Robertson Paola Niscioli - General Manager,
Ian Denbigh Nigel Stevenson Marketing and Development
Vicky Lekis - Director of Development
BASS TROMBONE
Annika Stennert - Marketing Coordinator
Howard Parkinson*
ASO MANAGEMENT Kate Sewell - Publicist
TUBA Tom Bastians - Customer Service Manager
David Gill* Executive
Vincent Ciccarello - Managing Director  
TIMPANI Margie Corston - Assistant to Managing FRIENDS OF THE ASO
Robert Hutcheson* Director EXECUTIVE COMMITTEE
Manu asnicoanl yCmhaoiur ss udpopnoorrted by   Elizabeth Bowen - President
Artistic Alyson Morrison - Past President
PERCUSSION Simon Lord - Director, Artistic Planning Alison Campbell and Michael Critchley -
Steven Peterka** Katey Sutcliffe - Artistic Administrator Vice Presidents
Musical Chair supported Emily Gann - Learning and Community Honora Griffith - Honorary Secretary
by The Friends of the ASO Engagement Coordinator John Gell - Assistant Secretary/
Gregory Rush   Membership
Jamie Adam Finance and HR Judy Birze - Treasurer
Andrew Penrose Bruce Bettcher -
Business and Finance Manager
HARP Louise Williams -
Suzanne Handel* Manager, People and Culture
Musical Chair supported by Karin Juhl - Accounts/Box Office
Shane Le Plastrier Coordinator
Sarah McBride - Payroll
PIANO/CELESTE Emma Wight - Administrative Assistant
Dale Ringland*
** denotes Section Leader
* denotes Principal Player
~ denotes Associate Principal
(Orchestra list correct at time
of printing)
ADELAIDE SYMPHONY GALA SERIES 9
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(1865-1935)
The Sorcerer’s Apprentice: the misuse of partially understood power. The
scherzo after a ballad by Goethe apprentice, left alone by his master, enchants
a broom, endowing it with limbs to draw water
from the well. Not knowing the spell to stop the
In 1894, writing in one of his regular columns in broom, the apprentice chops it in half but now
La Revue hebdomadaire, Dukas observed that has two creatures inexorably filling the house
‘the question of the pictorial in music has been with water. The sorcerer returns in time to set
much discussed, but the study of its potential things right with a short, emphatic spell.
for the comic has, on the contrary, been left
Dukas begins mysteriously, with a gradual
almost completely in the shade’. He goes on to
crystallisation of short motifs into themes.
explore various examples of humour in music
The comically lumbering bassoon, the washes
from the ‘primitives’ (that is, the Renaissance)
of sound suggesting inundation and the
to his own day, and concludes that ‘nothing, in
sorcerer’s magisterial intervention are sheer
the category of human feelings, is a stranger
orchestral magic.
to music’. As if to prove his point, in 1897 he
produced one of the great comic masterpieces of
music: The Sorcerer’s Apprentice, which enjoyed
Gordon Kerry © 2013
instant popularity after its premiere and was the
vehicle for one of Walt Disney’s most memorable
cartoons.
The first performance of The Sorcerer’s
Dukas’ reputation as a composer rests largely on Apprentice by the Adelaide Symphony Orchestra
this piece and the very few others that survived took place on 16-18 May 1957 under conductor
his self-critical purges, and, indeed, after 1912 Enrique Jorda. Explore Eastern Europe with the brand new Albania & Macedonia trip, take a
he composed practically nothing, concentrating
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producing sophisticated musical commentary.
In this scherzo (‘joke’), Dukas returns to an *Terms and Conditions: 10% discount applies to new bookings made between 1 Sep – 31 Oct 2014 on brochured
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written a century earlier, is essentially a fable of
Level 1, 192 Rundle Street, Adelaide SA 5000
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