Adelaide Symphony Orchestra

VIOLINS

Cameron Hill** (Acting Concertmaster) Shirin Lim* (Acting Associate Concertmaster)Alison Rayner* (Guest Principal 1st Violin)Lachlan Bramble ~(Acting Principal 2nd Violin)Julia Brittain** (Acting Associate Principal 2nd Violin)Janet AndersonAnn AxelbyMinas BerberyanGillian BraithwaiteJulia BrittainHilary BruerElizabeth CollinsJane Collins Judith CoombeBelinda GehlertAlison HeikeAlexis MiltonJennifer Newman Julie Newman Emma PerkinsAlexander Permezel Kemeri Spurr

VIOLAS

Caleb Wright**Martin ButlerLesley Cockram Anna HansenLinda GarrettMichael RobertsonHeidi von BernewitzLeah Zweck

CELLOS

Simon Cobcroft**Ewen Bramble~Sarah DenbighChristopher HandleySherrilyn HandleyThomas MarlinGemma Phillips

DOUBLE BASSES

David Schilling**Jonathon Coco~Jacky ChangDavid PhillipsHarley GrayBelinda Kendall-Smith

FLUTES

Geoffrey Collins**Lisa Gill

PICCOLO

Sabine Daniels*

OBOES

Celia Craig**Peter DugganRenae Stavely

COR ANGLAIS

Peter Duggan*

CLARINETS

Dean Newcomb** Darren Skelton

BASS CLARINET

Mitchell Berick*

BASSOONS

Mark Gaydon**Leah Stephenson

HORNS

Sarah Barrett**(Acting Principal)Emma GreganPhilip PaineTimothy Skelly

TRUMPETS

Owen Morris**Martin Phillipson~Gregory Frick

TROMBONES

Colin Prichard**Ian Denbigh

BASS TROMBONE

Howard Parkinson*

TUBA

Peter Whish-Wilson*

TIMPANI

Robert Hutcheson*

PERCUSSION

Steven Peterka** Andrew PenroseGregory Rush

HARP

Suzanne Handel*

PIANO

Andrew Georg* (Guest Principal)

** denotes Section Principal̃̃̃̃̃~ denotes Associate Principal* denotes Principal Player

ASO MANAGEMENT

ASO BOARD MEMBERS Colin Dunsford AM (Chair)Kate Gould (Chair Designate)Vincent CiccarelloGeoffrey CollinsAndrew DanielsElizabeth DavisByron GregoryDavid LeonKaren LimbAndrew Robertson

EXECUTIVE Vincent Ciccarello - Managing DirectorSimon Lord - Director, Artistic PlanningShivani Marx - Director, People & CulturePaola Niscioli - Director, Marketing & DevelopmentShelley Woodward - Senior AccountantShecky Leask - Executive Administrator

ARTISTIC Andrew Groch - Artistic CoordinatorVicki McGregor - Learning & Community Engagement CoordinatorKane Moroney - Audience Development CoordinatorDan Thorpe - Artistic LiasonJenny Rosevear - Learning & Community Engagement Coordinator

DEVELOPMENT Alexandra Bassett - Donor Relations ManagerRae O’Connell - Corporate Partnerships ManagerHannah Truth - Development & Events Coordinator

FINANCE, PEOPLE & CULTURE Karin Juhl - Accounts CoordinatorSarah McBride - Payroll CoordinatorEmma Wight - Administrative AssistantKatherine Zhang - Accountant

MARKETING Tom Bastians - Customer Service ManagerRenato Capoccia - Marketing ManagerSharmonie Cockayne - Marketing AssistantCheree McEwin - PublicistLeigh Mack - Box Office AssistantJemma Matthews - Box Office AssistantAshleigh McManus - Marketing Coordinator

OPERATIONS Karen Frost - Orchestra ManagerJanet Carey - Orchestra CoordinatorKathleen Cowie - Operations AssistantDavid Khafagi - Production & Venue CoordinatorDeclan Smith - Production & Venue AssistantBruce Stewart - Orchestral Librarian

FRIENDS OF THE ASO EXECUTIVE COMMITTEE Michael Critchley - President John Pike - Past PresidentHon. David Wotton AM & Mr. John Terpelle - Vice Presidents Judy Birze - Treasurer / Public OfficerJohn Gell - Assistant Secretary / Membership Ruth Bloch - Secretary

Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | (08) 8233 6233 aso@aso.com.au | aso.com.au

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A D E L A I D E S Y M P H O N Y O R C H E S T R A S E A S O N 2 0 1 8

Wed 7 November 2018

ClassicsUnwrapped 4An Invitation to the Dance

Arts South Australia

The ASO receives Commonwealth funding through the Australia Council; its arts funding and advisory body

Adelaide Town Hall

Program

Guy Noble Conductor & Presenter Celia Craig Principal Oboe & Player guest

Classics Unwrapped

1

Come back in 2019!

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.

ADELAIDE TOWN HALL

Food Glorious Food Wed 17 April 6.30PM

Guy Noble Conductor & PresenterMaggie Beer Special guest

Rossini William Tell: Overture Vaughan Williams The Wasps: March Past of the Kitchen Utensils Tchaikovsky The Nutcracker: Dance of the Sugar Plum Fairy J. Strauss Wine, Women and Song

An Invitation to the Dance

Leonard BERNSTEIN (1918–1990), arr. Maurice PERESSWest Side Story: Overture

Johannes BRAHMS (1833–1897), arr. Martin SCHMELINGHungarian Dances Numbers 5 & 6

Allegro vivaceVivace

Aaron COPLAND (1900–1990)‘Prairie Night (Card Game at Night)’ from Billy the Kid: Suite

Pyotr Ilyich TCHAIKOVSKY (1840–1893)The Nutcracker

Russian Dance (Trepak)Chinese Dance

Wolfgang Amadeus MOZART (1756–1791)Concerto for Oboe and Orchestra in C major, K.314

3. Rondo: Allegretto

Percy GRAINGER (1882–1961)Shepherd’s Hey

Arturo MÁRQUEZ (b.1950)Danzón No.2

Émile WALDTEUFEL (1837–1915), arr. Clark McALISTERLes Patineurs (Skaters’ Waltz)

Astor PIAZZOLLA (1921–1992), arr. Gian Luigi ZAMPIERILibertango

Pyotr Ilyich TCHAIKOVSKY (1840–1893)Swan Lake: Finale

Have you felt it? It’s like a bolt of electricity. Sometimes the impulse to dance just leaps out of the music and grabs you.

“We went crazy,” said Leonard Bernstein about his first meeting with Jerome Robbins, recalling how the choreographer would stand behind him, clutching his shoulders excitedly, while he played his peppy, jazzy compositions through on the piano. Their most famous collaboration was West Side Story – balletic yet gritty, a brilliant depiction of American optimism and restlessness.

Brahms was usually quite reserved, but occasionally a strange mood would come over him: his eyes would flash, and suddenly his hands would be darting around the keyboard in one of his Hungarian Dances. This music is marked by its sharp tempo contrasts. No.6 sounds like a game of ‘What’s the Time Mr Wolf?’ – alternately sneaking up and running away!

Copland had plenty of experience with dance (as a dance

band pianist and composer of a Dance Symphony), but he didn’t know much about the Wild West when he agreed to score the ballet Billy the Kid. Nevertheless, with quiet simplicity, he captures a perfect portrait of the eponymous cowboy under the stars on the wide prairie.

The capacity of ballet music to tell a story owes a lot to Tchaikovsky. His ballet scores are so vivid that we hardly notice when the dancers are missing. The Nutcracker is full of colourful vignettes, from a vigorous ‘Trepak’ to a dainty ‘Chinese Dance’.

More than any other composer on tonight’s program, Mozart loved to dance. Sometimes all night! By all accounts, he was very good at it too. That’s easy to believe when you hear how miraculously ‘light on its feet’ his music sounds – the Rondo from his Oboe Concerto is a perfect example.

The athletic Percy Grainger was also light on his feet – sometimes he would literally leap onto his piano stool before a performance. He warns that his arrangement of the morris dance tune Shepherd’s Hey is not suitable for actual morris dancing. It’s quite rowdy enough without stamping feet and jangling bells!

The danzón is a dance from Cuba that made its way to the ballrooms of Veracruz, Mexico. Another warning is in order here: the sinuous moves and nostalgic harmonies of Márquez’s Danzón No.2 are irresistible. Slow and sultry at its beginning, it builds up (twice) to a dangerous, untamed climax.

We need something cold after that. How about ice-skating on the frozen River Seine? Waldteufel wrote his Skaters’ Waltz in 1882 after a beautiful wintry day in Paris. It has all the grace and pose of a skilled skater, its gliding melodies perfectly complemented by the up-and-down steps of a Viennese waltz.

Piazzolla’s famous Libertango has a more frantic underlying motion. Written in 1974, it keeps the characteristic falling harmonies of a traditional tango but is otherwise much more free with the style. It marked the shift from classical tango to Piazzolla’s ‘nuevo tango’.

The famous oboe melody of Swan Lake races desperately towards its dramatic finale. Will it be a fairytale ending? Actually, choreographers have never been able to agree on what should happen here. Caught up in the irresistible momentum of Tchaikovsky’s powerful score, you’ll have to decide for yourself. Does this music set you free in spirit only? Or are you compelled to leap up and dance, recklessly waving your arms about to the music? I know at least one person will be doing the latter (looking at you, Guy Noble!).

© David John Lang 2018

Guy Nob le Ce l ia C ra ig

English oboist Celia Craig studied as a Scholar at The Purcell School and the Royal Academy of Music, receiving two Diplomas, two Countess of Munster Trust Awards, two Exhibition Awards and was appointed as an Associate of the Royal Academy of Music in 1997.

During a distinguished orchestral career Celia has worked with Bernstein, Boulez, Carter, Adams, Berio, Ashkenazy, Gergiev, Haitink, Davis, Hickox and many more, touring on five continents, became Chairman of BBC Symphony, moving to Australia in 2006. Elected President of the Australasian Double Reed Society 2007- 2013, Celia was appointed Principal Oboe of the Adelaide Symphony in 2011.

In 2017 Celia presented the World Premiere of a new dedicated Oboe Sonata by Stuart Greenbaum, Head of Composition, Melbourne University and a series of oboe masterclasses around the U.K. including Royal College, Royal Academy, Guildhall School, Royal Northern College, Birmingham and Trinity Conservatoires. In the same year she recorded a debut album with her chamber group Artaria.

Celia plays on two new Howarth of London ‘LXV’ oboes, one made in cocobolo wood with gold keywork.

2From Russia with Love Wed 19 June 6.30PM

Guy Noble Conductor & PresenterAnthony Steel Special guest

Glinka Ruslan and Ludmilla: Overture Khachaturian Masquerade: Waltz Tchaikovsky Swan Lake (excerpts)

3A Night at the Opera Wed 2 Oct 6.30PM

Guy Noble Conductor & PresenterGisele Blanchard Soprano Mario Bellanova Baritone

Verdi La forza del destino: Overture Puccini Gianni Schicchi: O mio babbino caro Wagner Lohengrin: Bridal March Mascagni Cavalleria rusticana: Intermezzo

4‘Tis the Season Wed 11 Dec 6.30PM

Guy Noble Conductor & PresenterDavid Sharp Conductor Father Christmas Special guest

Strauss Die Fledermaus: Overture Howard Blake The Snowman Leopold Mozart Toy Symphony: Allegro