ASO Last Night of the Proms Program.pdf

Fri 01 & Sat 02 Jul FESTIVAL THEATRE

Last Night of the Proms

2 ADELAIDE SYMPHONY ORCHESTRA - SHOWCASE SERIES 2016

3ADELAIDE SYMPHONY ORCHESTRA - SHOWCASE SERIES 2016

Guy Noble Conductor José Carbó Baritone*

Elder Conservatorium Chorale+

Graduate Singers

Festival Theatre Fri 01 & Sat 02 Jul 2016

Alford Colonel Bogey March

Korngold Die tote Stadt: Mein Sehnen, mein Wahnen*

Lara Granada*

Elgar Nimrod from Variations on an Original Theme

Wood arr. Zalva Fantasia on British Sea Songs

Arne arr. Sargent Rule, Britannia!*+

Parry arr. Elgar Jerusalem+

Elgar Pomp and Circumstance – March No1+

Showcase Series 2

Last Night of the Proms

This concert runs for approximately 120 minutes including interval.

Anon. arr. Jacob God Save the Queen

Walton Orb and Sceptre

Handel Zadok the Priest+

Rossini The Barber of Seville: Largo al factotum*

Vaughan Williams Fantasia on Greensleeves

Tchaikovsky The Sleeping Beauty: Waltz

Bizet Carmen: Toréador’s Song*

Coates The Dam Busters: March

Interval



Guy Noble Conductor

Guy Noble is a conductor, broadcaster, pianist, writer and producer who loves most genres of music and has played, conducted or talked about most of them. He regularly conducts the ASO, SSO, MSO, WASO, TSO and QSO and has worked with the Canberra Symphony Orchestra, the Auckland Philharmonia, the Hong Kong and Malaysian Philharmonic orchestras. He has been Musical Director and Musical Supervisor of many major musicals including Phantom of the Opera, Sunset Boulevard, South Pacific, Man of La Mancha, Gypsy, and The Music of Andrew Lloyd Webber.

He was the host of the Breakfast show on ABC Classic FM from 1999-2001 and is still a regular guest presenter on the network. He writes a regular column for Limelight Magazine and has worked with a wide variety of international and local artists including Harry Connick Jnr, Ben Folds, The Beach Boys, The Whitlams, The Pointer Sisters, Human Nature, Dianne Reeves, Glenn Frey, Randy Newman, Michael Bolton, Maggie Beer and Simon Bryant, and Clive James. Recent performances include Great Opera Hits for Opera Australia (Sydney Opera House), From Vienna With Love with Conchita Wurst (Sydney Symphony) and The Last Night of the Proms (Sydney Symphony).

He has recorded 12 CDs for ABC Classics and also presents the classical audio programs on Qantas, Air China and China Airlines.


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José Carbó Baritone

José Carbó’s European debut was in Italy in 2005 at the Teatro dell’Opera di Roma where he sang the title role in The Marriage of Figaro. That same year, he sang the title role in The Barber of Seville for the Teatro Real in Madrid; he was re-engaged by this theatre to sing Belcore in L’elisir d’amore in 2006. He made his La Scala debut in 2009 in Il viaggio a Reims and his American debut in 2011 as Rossini’s Figaro in Seattle. Late in 2013, he returned to the Teatro Real in Madrid as Belcore.

His concert repertoire includes Beethoven’s Symphony No.9 and Mass in C, Carl Orff’s Carmina Burana, Rachmaninov’s The Bells, Fauré’s Requiem and Brahms’ A German Requiem, performed with the major orchestras of Australia and New Zealand. His debut album, My Latin Heart (recorded with Slava and Leonard Grigoryan and released by ABC Classics), debuted at No. 1 on the Limelight Magazine Classical Music charts.

Engagements in 2014/2015 included the title role in Rigoletto, Rodrigo (Don Carlo) and Germont (La traviata) for Opera Australia, Germont for Victorian Opera, and Riolobo (Florencia en el Amazonas) for Los Angeles Opera; he also joined the roster of principal artists at the Metropolitan Opera, New York.

In 2016, he sings Zurga (The Pearl Fishers) for Opera Australia, Edgardo (Lucia di Lammermoor) for Victorian Opera, Belcore for West Australian Opera, and appears as soloist with the Adelaide and Christchurch Symphony Orchestras.


Elder Conservatorium Chorale

Carl Crossin OAMConductor

Karl GeigerAccompanist & Assistant Conductor

SOPRANOVictoria BallestrinHayley BeanJennie BruntonCiara FergusonMegan FishersEthenia Gilsenan-ReedCaitlin Gilsenan-ReedAmelia HoldsErin HolmesGrace JoyceImala KonynNicky MarshallCathryn McDonaldKatrina McKenziePhoebe PaineGeorgia SimmonsWendy Wakefield

ALTOLily CoatsAnna FreerAshleigh GeigerAshlee Giles-SwintonMargot HolbertYunhe HuangJennifer JarmanElliette KirkbrideAletheia KoDahlia KukoljBianka LaurovicsDahyung LeeThea Maxwell

Stephanie NealeMelanie Sandford-MorganLisa SchulzKirraley StevensMadeleine StewartAimee Sydney-JonesGenevieve VenningAlexandra Wilkinson

TENORTim BangsundJordan CoulterNicholas MundayMark SalesMatthew Winefield

BASSRon AbelitaBlake AscioneTom BubnerOliver GrenfellScott GunnAndrew HeitmannNikolai LeskeAdrian OzolsSimon Pazos QuintanaAndrew RafteryMark RobertsDavid RohrsheimKlarke Tresize

The Elder Conservatorium Chorale was formed by Carl Crossin in 2002. Although unaccompanied choral music is at the core of its activity, it has since performed many of the most significant works in the choral/orchestral repertoire, including Beethoven’s Symphony No 9, Brahms’ Requiem, Mahler’s 2nd, 3rd & 8th Symphonies, Carl Orff’s Carmina Burana, Bernstein’s Mass and Britten’s War Requiem – all with the Adelaide Symphony Orchestra. It has also performed Handel’s Israel in Egypt and Messiah, Michael Tippet’s A Child Of Our Time, Vaughan Williams’ A Sea Symphony, Mozart’s Requiem and J. S. Bach’s Johannes Passion and Matthäus Passion with the Elder Conservatorium Symphony Orchestra. The Chorale has also performed with the ASO for performances of music from The Lord Of The Rings and film music by Ennio Morricone.

Carl Crossin is widely respected as one of Australia’s leading choral conductors and was awarded the Medal of the Order of Australia in 2007 for his services to music. He is also the Artistic Director and Conductor of the multi-award winning Adelaide Chamber Singers – an ensemble he founded in 1985.


Graduate Singers

Karl GeigerDirector of Music

SOPRANONicky BevanSusan Brooke-SmithLisa CatinariAlison FlemingNadia GencarelliErin HolmesKaylah MissenFrances NettleSarah O’BrienCarmen Wouters

ALTOCorinna BennettAshleigh GeigerAlison HansenSusan MurdochStephanie NealeMelinda PikeRachel SeagerGenevieve SpaldingDeborah TranterMadeline TurnbullKaren WatsonMichelle Zweck

TENORIlan HollandLouise McGeeMark SalesChristopher SimpsonSean TannerJonathon WaetfordMatthew WinefieldGraham Yuile

BASSPatrick CarrigRobert CoxJack de la LandeGreg JohnAndrew MoschouTimothy PietschNeil PiggottMark RobertsDavid RohrsheimDavid ShieldsChristopher SteketeePeter WattHenry Wilkinson

Graduate Singers, or ‘Grads,’ is Adelaide’s leading medium-sized choir and has been a dynamic member of the vibrant local choral music scene for almost 40 years. Grads has received critical acclaim as an exponent of fine choral music and enjoys a reputation for high standards of excellence throughout every aspect of presentation and performance.

Grads is committed to presenting high quality, accessible and diverse concerts, keeping the choral tradition alive and fresh. Grads prides itself on its versatility, being equally at home with large-scale choral standards as with intimate chamber works.

With strong ties to the local music community, Grads regularly collaborates with organisations and artists both established and emerging. Grads consists of some of Adelaide’s most experienced choral singers, many of whom frequently sing in the Adelaide Symphony Chorus and other major choral productions.

In addition to presenting its own concert series, Grads maintains a busy schedule of freelance engagements. Recent highlights include a sold-out Lunchtimes at Elder Hall Anzac Day Concert (2014) and the Doctor Who Symphonic Spectacular with the Adelaide Symphony Orchestra (January 2015).

LEXUS OF ADELAIDE 164 West Terrace Adelaide. Ph 8238 5400 lexusofadelaide.com.au

Proud supporters

With the Adelaide Festival Centre on our doorstep, Riverside Restaurant is an ideal location to dine and gather with friends before the show. Indulge with our seasonal Flavours of South Australia menu featuring the freshest produce from local sources complimented by a wide range of regional and international wines.

Bookings and information phone Riverside Restaurant on 08 8238 2384 visit icadelaide.com.au

BEFORE THE SHOW,RELAX AT RIVERSIDERESTAURANT.


Adelaide Symphony OrchestraPrincipal ConductorNicholas Carter \

Principal Guest Conductor and Artistic AdviserJeffrey Tate \

Artist-in-AssociationPinchas Zukerman \

VIOLINS

Natsuko Yoshimoto** (Concertmaster)

Cameron Hill** (Associate Concertmaster)

Shirin Lim* (Principal 1st Violin)

Lachlan Bramble** (Acting Principal 2nd Violin)Kemeri Spurr~ (Acting Associate Principal 2nd Violin)Janet AndersonAnn AxelbyErna BerberyanMinas Berberyan Julia BrittainHilary Bruer Elizabeth CollinsJane CollinsJudith CoombeAlison HeikeWendy HeiligenbergAlexis Milton Jennifer NewmanJulie Newman Emma Perkins Alexander PermezelMarie-Louise Slaytor

VIOLAS Juris Ezergailis** Imants Larsens~ Lesley CockramLinda GarrettAnna HansenRosemary McGowranMichael Robertson

Cecily Satchell

CELLOS Simon Cobcroft**

Christopher Handley~ (Acting Associate Principal)Sarah DenbighSherrilyn Handley Gemma Phillips David Sharp Cameron Waters

DOUBLE BASSES David Schilling** Jacky Chang~ (Acting Associate Principal)Harley Gray Belinda Kendall-SmithDavid Phillips Sean Renaud

FLUTES Geoffrey Collins** Lisa Gill

PICCOLO Julia Grenfell*

OBOES

Celia Craig** Renae Stavely

COR ANGLAIS

Peter Duggan*

CLARINETS

Dean Newcomb** Darren Skelton Mitchell Berick

E FLAT CLARINETDarren Skelton*

BASS CLARINETMitchell Berick*

BASSOONS Mark Gaydon**

Leah Stephenson Jackie Hansen

CONTRA BASSOONJackie Hansen*

HORNSAdrian Uren**Sarah Barrett~ Alex MillerPhilip Paine* Emma Gregan

TRUMPETSOwen Morris**Martin Phillipson~ Gregory FrickRobin Finlay

TROMBONECameron Malouf ** Ian Denbigh

BASS TROMBONEHoward Parkinson*

TUBAPeter Whish-Wilson*

TIMPANIRobert Hutcheson*

PERCUSSIONSteven Peterka** Gregory RushAmanada GriggJamie AdamAndrew Penrose

HARPSuzanne Handel*

OrganPeter Kelsall* (Guest Principal)

** denotes Section Leader

~ denotes Associate Principal

* denotes Principal Player

denotes Musical Chair Support (see pp 14-16 for list)

\ denotes Conductors’ Circle Support (see pg 14 for list)

Correct at time of print


ASO BOARD MEMBERSColin Dunsford AM (Chair)Vincent CiccarelloGeoffrey CollinsCol EardleyByron GregoryDavid LeonChris MichelmoreAndrew Robertson

ASO MANAGEMENT

EXECUTIVEVincent Ciccarello - Managing DirectorGuy Ross - Chief Operating OfficerAshlyn Cooper - Executive Administrator

ARTISTICSimon Lord - Director, Artistic PlanningStevan Pavlovic - Artistic AdministratorEmily Gann - Learning & Community Engagement Coordinator

MARKETING AND DEVELOPMENTPaola Niscioli - Director, Marketing & DevelopmentFiona Whittenbury - Corporate Partnerships ManagerAlexandra Bassett - Donor Relations ManagerDani Lupoi - Development AssistantTom Bastians - Customer Service ManagerKate Lees - PublicistKane Moroney - Audience Development CoordinatorMichelle Robins - Publications & Communications CoordinatorAnnika Stennert - Marketing Coordinator

FINANCE AND HRLouise Williams - Manager, People & Culture Katherine Zhang - AccountantKarin Juhl - Accounts Coordinator Sarah McBride - Payroll CoordinatorEmma Wight - Administrative Assistant

OPERATIONSKaren Frost - Orchestra ManagerDavid Khafagi - Orchestra CoordinatorNaomi Gordon - Production & Venue CoordinatorBruce Stewart - Orchestral LibrarianRyan Mahony - Production & Venue Assistant

FRIENDS OF THE ASO EXECUTIVE COMMITTEEAlison Campbell - PresidentLiz Bowen - Immediate Past PresidentAlyson Morrison and John Pike - Vice PresidentsJudy Birze - Treasurer/SecretaryJohn Gell - Assistant Secretary/Membership

Correct at time of print

Flowers supplied by

Concertmaster Natsuko Yoshimoto

Supported 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 in the memory of Ann Belmont OAM

Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Associate ConcertmasterCameron Hill

Supported by The Baska Family

Principal 1st ViolinShirin Lim

Supported in the memory of Dr Nandor Ballai and Dr Georgette Straznicky

Violin Hilary Bruer

Supported by Marion Wells

Violin Julie Newman

Supported by Graeme & Susan Bethune

Violin Emma Perkins

Supported byPeter & Pamela McKee

Violin Kemeri Spurr

Supported byProfessor Junia V. Melo

ViolinMinas Berberyan

Supported byMerry Wickes

Associate Principal Viola Imants Larsens

Supported bySimon & 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

CelloCameron Waters


CelloSherrilyn Handley


Principal BassDavid Shilling

Supported by Mrs Maureen Akkermans

Conductors’ Circle and donors

Musical chair players and donors

CelloGemma PhillipsSupported by R & P Cheesman

ViolinGillian Braithwaite

Supported byMary Dawes BEM

Established in 2015 to directly support the ASO’s new Artistic Leadership Team, the Conductors’ Circle is a small group of extraordinary benefactors. Special thanks go to our founding Conductors’ Circle donors:

• The Friends of the ASO• The Richard Wagner Society of South Australia• Two anonymous donors• Joan Lyons & Diana McLaurin• Robert Pontifex AM, in the memory of

Deborah Pontifex, as a tribute “to our enduring friendship with Jeffrey Tate”

and supported by Creative Partnerships Australia through Plus1.

Principal Conductor Nicholas Carter

Principal Guest Conductorand Artistic AdviserJeffrey Tate

Artist-in-AssociationPinchas Zukerman

BassHarley Gray

Supported byBob Croser

BassDavid Phillips

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

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal PiccoloJulia Grenfell

Supported by Chris & Julie Michelmore

Principal OboeCelia Craig

Supported in the memory of Geoffrey Hackett-Jones

Concertmaster Natsuko Yoshimoto

Supported 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 in the memory of Ann Belmont OAM

Associate Principal 2nd Violin Lachlan Bramble

Supported in the memory of Deborah Pontifex

Associate ConcertmasterCameron Hill

Supported by The Baska Family

Principal 1st ViolinShirin Lim

Supported in the memory of Dr Nandor Ballai and Dr Georgette Straznicky

Violin Hilary Bruer

Supported by Marion Wells

Violin Julie Newman

Supported by Graeme & Susan Bethune

Violin Emma Perkins


Violin Kemeri Spurr

Supported byProfessor Junia V. Melo

ViolinMinas Berberyan

Supported byMerry Wickes

Associate Principal Viola Imants Larsens

Supported bySimon & Sue Hatcher

Principal CelloSimon Cobcroft

Supported byAndrew & Gayle Robertson

Cello Chris Handley


CelloDavid Sharp

Supported byDr Aileen F Connon AM

CelloCameron Waters


CelloSherrilyn Handley


Principal BassDavid Shilling

Supported by Mrs Maureen Akkermans

Conductors’ Circle and donors

Musical chair players and donors

CelloGemma PhillipsSupported by R & P Cheesman

ViolinGillian Braithwaite

Supported byMary Dawes BEM

Established in 2015 to directly support the ASO’s new Artistic Leadership Team, the Conductors’ Circle is a small group of extraordinary benefactors. Special thanks go to our founding Conductors’ Circle donors:

• The Friends of the ASO• The Richard Wagner Society of South Australia• Two anonymous donors• Joan Lyons & Diana McLaurin• Robert Pontifex AM, in the memory of

Deborah Pontifex, as a tribute “to our enduring friendship with Jeffrey Tate”

and supported by Creative Partnerships Australia through Plus1.

Principal Conductor Nicholas Carter

Principal Guest Conductorand Artistic AdviserJeffrey Tate

Artist-in-AssociationPinchas Zukerman

BassHarley Gray

Supported byBob Croser

BassDavid Phillips

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

Principal Flute Geoffrey Collins

Supported by Pauline Menz

Principal PiccoloJulia Grenfell

Supported by Chris & Julie Michelmore

Principal OboeCelia Craig

Supported in the memory of Geoffrey Hackett-Jones

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal TubaPeter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

Principal Contra BassoonJackie Hansen

Supported by Norman Etherington AM & Peggy Brock

ClarinetDarren Skelton

Supported in the memory of Keith Langley

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

Principal TromboneCameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal Third HornPhilip Paine

Supported byAn anonymous donor

For more information please contact Alexandra Bassett, Donor Relations Manager on (08) 8233 6221 or [email protected]

Principal BassoonMark Gaydon

Supported byPamela Yule

BassoonLeah Stephenson

Supported byLiz Ampt

Simone Young & MahlerSat 23 Jul FESTIVAL THEATRE

“For a virtuoso display of what

conducting is all about, you need look no further”

San Francisco Chroni-

Schubert Unfi nished Symphony | Mahler Symphony No 6

Nicholas Carter ConductorJames Ehnes ViolinMichelle de Young Sieglinde/Mezzo SopranoSimon O’Neill Siegmund/TenorShane Lowrencev Hunding/Bass

BOOK AT BASS

Season

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave

Principal Bass ClarinetMitchell Berick

Supported by Nigel Stevenson & Glenn Ball

Principal TubaPeter Whish-Wilson

Supported by Ollie Clark AM & Joan Clark

Principal TimpaniRobert Hutcheson

Drs Kristine Gebbie and Lester Wight

Principal ClarinetDean Newcomb

Supported byRoyal Over-Seas League SA Inc

Principal Cor Anglais Peter Duggan

Supported by Dr Ben Robinson

Principal Contra BassoonJackie Hansen

Supported by Norman Etherington AM & Peggy Brock

ClarinetDarren Skelton

Supported in the memory of Keith Langley

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

Principal TromboneCameron Malouf

Supported by Virginia Weckert & Charles Melton of Charles Melton Wines

Associate Principal HornSarah Barrett

Supported byMargaret Lehmann

Principal Third HornPhilip Paine

Supported byAn anonymous donor

For more information please contact Alexandra Bassett, Donor Relations Manager on (08) 8233 6221 or [email protected]

Principal BassoonMark Gaydon

Supported byPamela Yule

BassoonLeah Stephenson

Supported byLiz Ampt

Simone Young & MahlerSat 23 Jul FESTIVAL THEATRE

“For a virtuoso display of what

conducting is all about, you need look no further”

San Francisco Chroni-

Schubert Unfi nished Symphony | Mahler Symphony No 6

Nicholas Carter ConductorJames Ehnes ViolinMichelle de Young Sieglinde/Mezzo SopranoSimon O’Neill Siegmund/TenorShane Lowrencev Hunding/Bass

BOOK AT BASS

Season

Oboe Renae Stavely

Supported by Roderick Shire & Judy Hargrave


text chronicling the coronation of King Solomon and was sung at the Anointing, as it has been at the coronation of every British sovereign since.

Gioachino Rossini (1792-1868)

The Barber of Seville:Act I: Largo al factotum

The most successful composer of his day, Rossini wrote 39 operas before retiring from the stage before the age of 40. The reason behind this so-called ‘great renunciation’ has been the subject of musicological debate, with theories ranging from ill-health to the lack of any financial imperative. It’s said that Rossini wrote The Barber of Seville in a matter of weeks. Despite a disastrous premiere in 1816, it went on to become a massive success, with even Beethoven complaining that everyone in Vienna was whistling its hit tunes.

‘Largo al factotum’ (Make way for the factotum) is the entrance song of the barber and general factotum, Figaro.

Ralph Vaughan Williams (1872-1958)

Fantasia on Greensleeves

In setting out to write music with a British accent, Vaughan Williams drew deeply on the music of Tudor England. The ‘folksong’ Greensleeves seems most likely to have originated as a dance tune during the 1500s; Henry VIII is said to have written the words. In Vaughan Williams’ Fantasia on Greensleeves, the well-known melody frames a contrasting section based on the folksong ‘O Lovely Joan’.

Peter Ilyich Tchaikovsky (1840-1893)

The Sleeping Beauty: Waltz

The Sleeping Beauty, based on Charles Perrault’s fairytale La Belle au bois dormant, was the second of Tchaikovsky’s ballets, and the first in which he collaborated with choreographer Marius Petipa. Many of Tchaikovsky’s tunes featured in Disney’s 1959 animated film, including the beloved Waltz, to which the townsfolk perform a celebratory dance with flower garlands in Act I of the ballet.

Anon. arr. Gordon Jacob (1895-1984)

God Save the Queen

Gordon Jacob’s regal fanfare, performed at the coronation of Elizabeth II, opens this concert celebrating that most popular and enduring of British traditions, the Last Night of the Proms. British music and the monarchy are inextricably linked, and this evening’s concert, as well as featuring popular classics and patriotic songs in true Last Night fashion, begins with two soaring coronation anthems that have since assumed independent concert status.

William Walton (1902-1983)

Orb and Sceptre

When in 1936 the BBC sought an injection of Elgarian ‘pomp’ for the intended coronation of Edward VIII, they commissioned William Walton who, just a few years before, had topped off a successful decade with the oratorio Belshazzar’s Feast. Walton responded with the Crown Imperial march, which accompanied the entrance of Queen Mary, the Queen Mother at the coronation of George VI the

following year. He composed his second coronation march, Orb and Sceptre, for the coronation of Elizabeth II in 1953. Walton claimed he drew inspiration for the titles of both marches from Act IV of Shakespeare’s Henry V:

I am a king that fi nd thee, and I know

‘Tis not the balm, the sceptre and the ball,

The sword, the mace, the crown imperial…

George Frideric Handel (1685-1759)

Zadok the Priest

Britain’s Hanoverian monarchs were keen music-lovers and their tastes extended beyond the purely ceremonial. Handel’s British career flourished under their patronage, with George I a patron of the theatre in Haymarket where many of Handel’s operas were premiered. In 1727, Handel was chosen over Maurice Greene, organist of the Chapel Royal, to compose music for the coronation of George II. One of four anthems Handel composed for the occasion, Zadok the Priest is set to an Old Testament

ASO Last Night of the Proms

18 19ADELAIDE SYMPHONY ORCHESTRA - SHOWCASE SERIES 2016 ADELAIDE SYMPHONY ORCHESTRA - SHOWCASE SERIES 2016


text chronicling the coronation of King Solomon and was sung at the Anointing, as it has been at the coronation of every British sovereign since.

Gioachino Rossini (1792-1868)

The Barber of Seville:Act I: Largo al factotum

The most successful composer of his day, Rossini wrote 39 operas before retiring from the stage before the age of 40. The reason behind this so-called ‘great renunciation’ has been the subject of musicological debate, with theories ranging from ill-health to the lack of any financial imperative. It’s said that Rossini wrote The Barber of Seville in a matter of weeks. Despite a disastrous premiere in 1816, it went on to become a massive success, with even Beethoven complaining that everyone in Vienna was whistling its hit tunes.

‘Largo al factotum’ (Make way for the factotum) is the entrance song of the barber and general factotum, Figaro.

Ralph Vaughan Williams (1872-1958)

Fantasia on Greensleeves

In setting out to write music with a British accent, Vaughan Williams drew deeply on the music of Tudor England. The ‘folksong’ Greensleeves seems most likely to have originated as a dance tune during the 1500s; Henry VIII is said to have written the words. In Vaughan Williams’ Fantasia on Greensleeves, the well-known melody frames a contrasting section based on the folksong ‘O Lovely Joan’.

Peter Ilyich Tchaikovsky (1840-1893)

The Sleeping Beauty: Waltz

The Sleeping Beauty, based on Charles Perrault’s fairytale La Belle au bois dormant, was the second of Tchaikovsky’s ballets, and the first in which he collaborated with choreographer Marius Petipa. Many of Tchaikovsky’s tunes featured in Disney’s 1959 animated film, including the beloved Waltz, to which the townsfolk perform a celebratory dance with flower garlands in Act I of the ballet.

Anon. arr. Gordon Jacob (1895-1984)

God Save the Queen

Gordon Jacob’s regal fanfare, performed at the coronation of Elizabeth II, opens this concert celebrating that most popular and enduring of British traditions, the Last Night of the Proms. British music and the monarchy are inextricably linked, and this evening’s concert, as well as featuring popular classics and patriotic songs in true Last Night fashion, begins with two soaring coronation anthems that have since assumed independent concert status.

William Walton (1902-1983)

Orb and Sceptre

When in 1936 the BBC sought an injection of Elgarian ‘pomp’ for the intended coronation of Edward VIII, they commissioned William Walton who, just a few years before, had topped off a successful decade with the oratorio Belshazzar’s Feast. Walton responded with the Crown Imperial march, which accompanied the entrance of Queen Mary, the Queen Mother at the coronation of George VI the

following year. He composed his second coronation march, Orb and Sceptre, for the coronation of Elizabeth II in 1953. Walton claimed he drew inspiration for the titles of both marches from Act IV of Shakespeare’s Henry V:

I am a king that fi nd thee, and I know

‘Tis not the balm, the sceptre and the ball,

The sword, the mace, the crown imperial…

George Frideric Handel (1685-1759)

Zadok the Priest

Britain’s Hanoverian monarchs were keen music-lovers and their tastes extended beyond the purely ceremonial. Handel’s British career flourished under their patronage, with George I a patron of the theatre in Haymarket where many of Handel’s operas were premiered. In 1727, Handel was chosen over Maurice Greene, organist of the Chapel Royal, to compose music for the coronation of George II. One of four anthems Handel composed for the occasion, Zadok the Priest is set to an Old Testament

ASO Last Night of the Proms



Georges Bizet (1838-1875)

Carmen: Toréador’s Song

Bizet wrote Carmen, his opera about the wild gypsy girl who spurns the smitten Don José in favour of bullfighter Escamillo, in the last year of his life. Sadly, Bizet died during the opera’s initial run, which wasn’t particularly successful, and didn’t live to see it become one of the most frequently performed operas today. The Toréador Song is Escamillo’s entrance aria in Act II.

Eric Coates (1886-1957)

The Dam Busters: March

Eric Coates was one of the leading exponents of light music, a popular orchestral genre that originated between the two world wars and forged the aural identities of many BBC radio programs. Coates’ Elgarian march featured in The Dam Busters, a 1955 film recounting one of the most daring exploits of the Second World War – the devastation by RAF bomber crews of dams in the Rhine and Ruhr valleys, major industrial sites for the Nazi war machine.

Kenneth J. Alford (1881-1945)

Colonel Bogey March

Composed in 1914 by British Army bandmaster Frederick J. Ricketts (pseudonym Kenneth J. Alford), the Colonel Bogey March acquired risqué lyrics and gained popular currency during the Second World War. Its status as an

anthem to defiance was cemented when it was whistled by interned British prisoners of war in the 1957 film The Bridge on the River Kwai.

Erich Wolfgang Korngold (1897-1957)

Die tote Stadt: Mein Sehnen, mein Wä hnen

A former child prodigy fêted as a ‘genius’ by Mahler, Erich Wolfgang Korngold was a major figure in Viennese cultural life before fleeing the Nazis in the 1930s and settling in the US, where he wrote the scores for such epic films as The Adventures of Robin Hood, The Sea Hawk, and The Private Lives of Elizabeth and Essex.

Korngold’s opera Die tote Stadt (The Dead City) premiered in 1920, when the composer was 23. In Act II Scene iii, a group of dancers – of whom the heroine Marietta is one – are boating on the canal, laughing and joking, breaching the stifling decorum of the pious ‘dead city’ of Bruges and providing emotional respite from the opera’s tragic mood. Marietta orders her friend Fritz to sing, and his ‘Pierrot’ aria, ‘Mein Sehnen, mein Wähnen’, is a conventional tale of grief at love lost – a gentle parody of the central character, Paul, and his monstrous obsession with his dead wife.

Agustín Lara (1897-1970)

Granada

Mexican Agustín Lara was a prolific songwriter proficient in a variety of styles; his songs have featured in many movies and been recorded by some of the last century’s most popular singers. Plácido Domingo recorded an entire album of Lara songs to mark the centenary of his birth. In addition to romantic ballads (You Belong to My Heart), Lara wrote several songs with Spanish themes (Madrid, Seville, Toledo) of which Granada is possibly the most well-loved.

Edward Elgar (1857-1934)

Nimrod from Variations on an Original Theme, Op 36 Enigma

The work which turned Elgar’s fortunes around, the Enigma Variations were written whilst Elgar eked out a living as a

provincial music teacher. As he doodled at the piano one evening, he played around with a theme which he varied to depict the personality traits of his friends and family. Variation IX, Nimrod, is a portrait of his friend and publisher, A.J. Jaeger (‘Jaeger’ is German for ‘hunter’, and Nimrod is the ‘mighty hunter before the Lord’ of the Book of Genesis).

Henry Wood (1869-1944)

Fantasia on British Sea Songs

Conductor Sir Henry Wood, who founded the Proms concerts in 1895, composed his Fantasia on British Sea Songs for a 1905 concert commemorating the centenary of the Battle of Trafalgar. He included it in the final concert of the following year’s Proms, establishing the Last Night tradition. The maritime songs in Wood’s medley are of diverse origin, from the traditional sailor’s hornpipe ‘Jack’s the Lad’ to ‘See, the conquering hero comes’, from Handel’s oratorio Judas Maccabaeus.



Georges Bizet (1838-1875)

Carmen: Toréador’s Song

Bizet wrote Carmen, his opera about the wild gypsy girl who spurns the smitten Don José in favour of bullfighter Escamillo, in the last year of his life. Sadly, Bizet died during the opera’s initial run, which wasn’t particularly successful, and didn’t live to see it become one of the most frequently performed operas today. The Toréador Song is Escamillo’s entrance aria in Act II.

Eric Coates (1886-1957)

The Dam Busters: March

Eric Coates was one of the leading exponents of light music, a popular orchestral genre that originated between the two world wars and forged the aural identities of many BBC radio programs. Coates’ Elgarian march featured in The Dam Busters, a 1955 film recounting one of the most daring exploits of the Second World War – the devastation by RAF bomber crews of dams in the Rhine and Ruhr valleys, major industrial sites for the Nazi war machine.

Kenneth J. Alford (1881-1945)

Colonel Bogey March

Composed in 1914 by British Army bandmaster Frederick J. Ricketts (pseudonym Kenneth J. Alford), the Colonel Bogey March acquired risqué lyrics and gained popular currency during the Second World War. Its status as an

anthem to defiance was cemented when it was whistled by interned British prisoners of war in the 1957 film The Bridge on the River Kwai.

Erich Wolfgang Korngold (1897-1957)

Die tote Stadt: Mein Sehnen, mein Wä hnen

A former child prodigy fêted as a ‘genius’ by Mahler, Erich Wolfgang Korngold was a major figure in Viennese cultural life before fleeing the Nazis in the 1930s and settling in the US, where he wrote the scores for such epic films as The Adventures of Robin Hood, The Sea Hawk, and The Private Lives of Elizabeth and Essex.

Korngold’s opera Die tote Stadt (The Dead City) premiered in 1920, when the composer was 23. In Act II Scene iii, a group of dancers – of whom the heroine Marietta is one – are boating on the canal, laughing and joking, breaching the stifling decorum of the pious ‘dead city’ of Bruges and providing emotional respite from the opera’s tragic mood. Marietta orders her friend Fritz to sing, and his ‘Pierrot’ aria, ‘Mein Sehnen, mein Wähnen’, is a conventional tale of grief at love lost – a gentle parody of the central character, Paul, and his monstrous obsession with his dead wife.

Agustín Lara (1897-1970)

Granada

Mexican Agustín Lara was a prolific songwriter proficient in a variety of styles; his songs have featured in many movies and been recorded by some of the last century’s most popular singers. Plácido Domingo recorded an entire album of Lara songs to mark the centenary of his birth. In addition to romantic ballads (You Belong to My Heart), Lara wrote several songs with Spanish themes (Madrid, Seville, Toledo) of which Granada is possibly the most well-loved.

Edward Elgar (1857-1934)

Nimrod from Variations on an Original Theme, Op 36 Enigma

The work which turned Elgar’s fortunes around, the Enigma Variations were written whilst Elgar eked out a living as a

provincial music teacher. As he doodled at the piano one evening, he played around with a theme which he varied to depict the personality traits of his friends and family. Variation IX, Nimrod, is a portrait of his friend and publisher, A.J. Jaeger (‘Jaeger’ is German for ‘hunter’, and Nimrod is the ‘mighty hunter before the Lord’ of the Book of Genesis).

Henry Wood (1869-1944)

Fantasia on British Sea Songs

Conductor Sir Henry Wood, who founded the Proms concerts in 1895, composed his Fantasia on British Sea Songs for a 1905 concert commemorating the centenary of the Battle of Trafalgar. He included it in the final concert of the following year’s Proms, establishing the Last Night tradition. The maritime songs in Wood’s medley are of diverse origin, from the traditional sailor’s hornpipe ‘Jack’s the Lad’ to ‘See, the conquering hero comes’, from Handel’s oratorio Judas Maccabaeus.



Thomas Arne (1710-1778)

arr. Sargent

Rule, Britannia!

When in 1740 Frederick, Prince of Wales commissioned a new musical drama to celebrate his infant daughter’s birthday, he turned not to Handel, London’s foremost composer, but to Handel’s rival in the theatre, Thomas Arne. Rule, Britannia! formed part of the finale of Arne’s masque honouring the Anglo-Saxon king Alfred the Great – a subject that fitted perfectly with Frederick’s political ambitions.

Charles Hubert Parry (1848-1918)

orch. Elgar

Jerusalem

An important name in the renaissance of British music at the turn of the last century, Hubert Parry succeeded Sir George Grove as head of the Royal College of

Music, where his students included Ralph Vaughan Williams, Gustav Holst and Frank Bridge. Steeped in the English choral tradition, he is chiefly remembered for his coronation anthem I was glad and of course, Jerusalem, his 1916 setting of Blake’s famous poem.

Elgar

Pomp and Circumstance – March No 1

Elgar wrote five Pomp and Circumstance marches, but it is the first that is universally known. Written in 1901 during the Boer War, the tune proved so popular at its first London performance that Sir Henry Wood, the Proms’ founding conductor, had to play it three times ‘merely to restore order’. The words of A.C. Benson’s poem Land of Hope and Glory were added to the trio section later, and a secondary British national anthem was born.

© Symphony Services International

Guy Noble Conductor


BOOK AT BASS 131 246

bass.net.au Season

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short of

breathtaking”

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Post


Thomas Arne (1710-1778)

arr. Sargent

Rule, Britannia!

When in 1740 Frederick, Prince of Wales commissioned a new musical drama to celebrate his infant daughter’s birthday, he turned not to Handel, London’s foremost composer, but to Handel’s rival in the theatre, Thomas Arne. Rule, Britannia! formed part of the finale of Arne’s masque honouring the Anglo-Saxon king Alfred the Great – a subject that fitted perfectly with Frederick’s political ambitions.

Charles Hubert Parry (1848-1918)

orch. Elgar

Jerusalem

An important name in the renaissance of British music at the turn of the last century, Hubert Parry succeeded Sir George Grove as head of the Royal College of

Music, where his students included Ralph Vaughan Williams, Gustav Holst and Frank Bridge. Steeped in the English choral tradition, he is chiefly remembered for his coronation anthem I was glad and of course, Jerusalem, his 1916 setting of Blake’s famous poem.

Elgar

Pomp and Circumstance – March No 1

Elgar wrote five Pomp and Circumstance marches, but it is the first that is universally known. Written in 1901 during the Boer War, the tune proved so popular at its first London performance that Sir Henry Wood, the Proms’ founding conductor, had to play it three times ‘merely to restore order’. The words of A.C. Benson’s poem Land of Hope and Glory were added to the trio section later, and a secondary British national anthem was born.

© Symphony Services International

Guy Noble Conductor


BOOK AT BASS 131 246

bass.net.au Season

“Nothing

short of

breathtaking”

Washington

Post


Our inspirational donors

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A sincere thank you to all our donors who contributed in the past 12 months. All gifts are very important to us and help to sustain and expand the ASO. Your donation makes a difference.

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In memory of Des Blundell, Former Principal Trombone, donated by the ASO Players Assocation

In memory of Rob Collins, Former Violist, donated by the ASO Players Assocation

In memory of Don Creedy, Former Violinist, donated by the ASO Players Assocation

The ASO also thanks the 616 patrons who gave other amounts in the past twelve months.

Support UsThe Adelaide Symphony Orchestra thrives thanks to gifts from generous

individuals who know the value of maintaining this great asset in South

Australia. ASO is a registered not-for-profit organisation with DGR status.

All donations over $2 receive a tax-deductible receipt.

Add a donation to your subscription form or give online at

aso.com.au/donate

For more information on supporting the ASO please contact:

Donations Alexandra Bassett, Donor Relations Manager on 8233 6221 / [email protected]

Corporate PartnershipsFiona Whittenbury, Corporate Partnerships Manager on 8233 6231 / [email protected]

Established in 2015 to directly support the ASO’s new Artistic Leadership Team, the Conductors’ Circle is a small group of extraordinary benefactors. Special thanks go to our founding Conductors’ Circle donors (see pg 12).

Conductors’ CircleA bequest from your estate is a wonderful way to sustain the legacy of the Adelaide Symphony Orchestra. By doing so, we honour you with membership of the Grainger Circle and the opportunity to get up close to our activities throughout the year.

Grainger Circle

Express your love of the creators of our wonderful music through a direct connection with a player in our Musical Chair program. Renewable annually, these donations of $2,500+ per player help support the Orchestra in achieving its artistic and community vision.

Musical Chair Donors

Let ASO compose a partnership that is fit for your purpose. With diverse year-round programming, alignment with the ASO offers unique assets that can assist your business.

Corporate Partnerships

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Friends

Government Support

Broadcast Partner

Principal Partner

Airline Partner

Major Partners

World Artist Partners

Corporate Partners

Media Partners

Corporate Club

Friends

Government Support

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Thank you

Broadcast Partner

Principal Partner

Airline Partner

Foundations Thyne Reid Foundation

The ASO is assisted by the Australian Government through the Australia Council, its 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 2015-16 financial year.

DISCLAIMER: Every effort has been made to ensure that concert 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.

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It may not look like it, but we have a lot in common with the ASO.

Santos and the ASO were both born and bred in Adelaide, but our reputations extend far beyond our state borders. We both started from humble beginnings to become leaders in our field. We’ve both been delivering energy to South Australia for decades. And, we’ve been partners for 17 years.

Santos is proud to be supporting the Adelaide Symphony Orchestra as principal partner once again. Congratulations on 80 years of superb performances, from one high energy performer to another.

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Documents

ASO Last Night of the Proms Program.pdf