M4 Dazzling Prokofiev program
Transcription
M4 Dazzling Prokofiev program
Dazzling Prokofiev Fri 24 & Sat 25 Jun 2016 ADELAIDE TOWN HALL Season 2 ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 Dazzling Prokofiev Master Series 4 Adelaide Town Hall Fri 24 & Sat 25 Jun 2016 Nicholas Carter Conductor Konstantin Shamray Piano Dukas The Sorcerer’s Apprentice Prokofiev Piano Concerto No 3 in C major, Op 26 Andante – Allegro Andantino (with variations) Allegro non troppo Konstantin Shamray Piano Interval Ross Edwards White Ghost Dancing Stravinsky Petrushka (1947 version) This concert runs for approximately 100 minutes including interval. Saturday’s performance will be recorded by ABC Classic FM for broadcast on Monday 27 June at 8pm. Classical Conversation Free for ticket holders. One hour prior to the performances in the Adelaide Town Hall auditorium. ASO musician Belinda Kendall-Smith and Marketing Coordinator Annika Stennert explore the music of Dukas, Prokofiev, Edwards and Stravinsky. ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 3 4 ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 Nicholas Carter Conductor The Adelaide Symphony Orchestra’s Principal Conductor Nicholas Carter is fast establishing a career as a conductor of exceptional versatility, equally at home in the concert hall and the opera house, and fluent in a diverse repertoire. Furthermore, as Musical Assistant, he was heavily involved in the preparation of a vast repertoire, including in the presentation of ten Wagner operas, from Rienzi to Parsifal as well as a complete Ring cycle. He is currently Kapellmeister and musical assistant to Donald Runnicles at the Deutsche Oper Berlin where, in the 2015/16 season his conducting engagements include La bohème, Die Entführung aus dem Serail, and Prokofiev’s Romeo and Juliet with the Staatsballet Berlin. As guest conductor, Nicholas has conducted the Dallas Symphony Orchestra, the Staatsorchester Braunschweig, the Louisiana Philharmonic, the Dalasinfoniettan, Sweden and the Hamburg Philharmonic Orchestra in a Gala with Diana Damrau as soloist. From 2011 to mid-2014 he was Kapellmeister at the Hamburg State Opera, as well as serving as musical assistant to Music Director Simone Young. This engagement followed a three-year association with the Sydney Symphony, first as Assistant Conductor, working closely with Vladimir Ashkenazy and a number of the orchestra’s guest conductors, and subsequently as Associate Conductor. In Hamburg, Nicholas conducted performances of Il barbiere di Siviglia, Die Zauberflöte, Cosi fan tutte, Lucia di Lammermoor, Hänsel und Gretel, Cleopatra by Johan Mattheson and Orontea by Antonio Cesti. At the invitation of Donald Runnicles, Nicholas served as Associate Conductor of the Grand Teton Music Festival in Wyoming from 2010-2013. In Australia, Nicholas enjoys collaborating regularly with many of the country’s finest orchestras and ensembles, such as the Sydney, West Australian, Melbourne, Adelaide and Queensland Symphony Orchestras, the State Opera of South Australia, Victorian Opera, Orchestra Victoria, Melbourne Chamber Orchestra, the Orchestra of the Australian National Academy of Music (ANAM) and the Australian Youth Orchestra. In 2011, Nicholas led a Gala concert with the Sydney Symphony and Anne Sofie von Otter. ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 5 ACCESS ALL AREAS 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. 6 ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 Konstantin Shamray Konstantin Shamray was born into a musical family in 1985 in Novosibirsk, Russia, thus his passion for piano and classical music began early. At six, he embarked on formal studies at Kemerovo Music School with Natalia Knobloch, and aged eleven he relocated to Moscow to study at the Gnessin Special Music School, progressing to the Russian Gnessin Academy of Music with Prof Tatiana Zelikman, then postgraduate studies with Vladimir Tropp, and postmasters-equivalent advanced courses at Hochschule für Musik in Freiburg, Germany with Professor Tibor Szasz. Piano National de Lyon, Prague Philharmonia, Belgrade Philharmonic Orchestra and the Sydney Symphony, and performed with distinguished conductors including Vladimir Spivakov, Dmitry Liss, Tugan Sokhiev, Nicholas Milton and Alexandr Vedernikov. He has collaborated with with Johannes Moser, Kristof Barati, Boris Brovtsyn, Alban Gerhardt, Feng Ning. He has received critical acclaim at the Klavier-Festival Ruhr, the Bochum Festival in Germany, the White Nights Festival with the Maryinsky Theatre Orchestra in St Petersburg and the Adelaide Festival. In 2008, he won the Sydney International Piano Competition – and he is is the first and only musician in the 30-plus year history of the competition to win both First and People’s Choice Prize, in addition to six other prizes. He has toured Australia, partnered with the Australian String Quartet, and recorded CDs for the labels Naxos, ABC Classics and Fonoforum. International performances include solo recitals and collaborations with orchestras and distinguished conductors in Russia, Europe, Australia, New Zealand, Singapore and China. He has performed with the Russian National Philharmonic, the Mariinsky Theatre Orchestra, Moscow Virtuosi, Orchestre ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 7 Adelaide Symphony Orchestra Principal Conductor Nicholas Carter \ Principal Guest Conductor and Artistic Adviser Jeffrey Tate \ Artist-in-Association Pinchas Zukerman \ VIOLINS Natsuko Yoshimoto** (Concertmaster) Cameron Hill** (Associate Concertmaster) Shirin Lim* (Principal 1st Violin) Michael Milton** (Principal 2nd Violin) Lachlan Bramble~ (Associate Principal 2nd Violin) Janet Anderson Ann Axelby Minas Berberyan Gillian Braithwaite Julia Brittain Hilary Bruer Elizabeth Collins Jane Collins Judith Coombe Alison Heike Alexis Milton Jennifer Newman Julie Newman Emma Perkins Alexander Permezel Marie-Louise Slaytor Kemeri Spurr VIOLAS Juris Ezergailis** Imants Larsens~ Martin Butler Lesley Cockram Linda Garrett Anna Hansen Rosemary McGowran Michael Robertson 10 CELLOS Simon Cobcroft** Ewen Bramble~ Sarah Denbigh Christopher Handley Sherrilyn Handley David Sharp Cameron Waters DOUBLE BASSES David Schilling** Robert Nairn~ (Guest Associate Principal) Jacky Chang Harley Gray Belinda Kendall-Smith David Phillips FLUTES Geoffrey Collins** Lisa Gill Julia Grenfell CONTRA BASSOON Jackie Hansen* HORNS Adrian Uren** Sarah Barrett~ Alex Miller Philip Paine* Emma Gregan TRUMPETS Owen Morris** Martin Phillipson~ Gregory Frick Timothy Keenihan TROMBONE Cameron Malouf ** Ian Denbigh BASS TROMBONE Howard Parkinson* PICCOLO Julia Grenfell* TUBA Peter Whish-Wilson* OBOES TIMPANI Robert Hutcheson** Andrew Penrose Celia Craig** Renae Stavely COR ANGLAIS Peter Duggan* CLARINETS Dean Newcomb** Darren Skelton Mitchell Berick E FLAT CLARINET Darren Skelton* BASS CLARINET Mitchell Berick* BASSOONS Mark Gaydon** Leah Stephenson Kristina Phillipson PERCUSSION Steven Peterka** Gregory Rush Amanada Grigg Andrew Penrose HARP Suzanne Handel* PIANO Michael Ierace* (Guest Principal) CELESTE Katrina Reynolds* (Guest Principal) ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 ** denotes Section Leader ~ denotes Associate Principal * denotes Principal Player denotes Musical Chair Support (see pp 12-14 for list) \ denotes Conductors’ Circle Support (see pg 12 for list) Correct at time of print ASO BOARD MEMBERS Colin Dunsford AM (Chair) Vincent Ciccarello Geoffrey Collins Col Eardley Byron Gregory David Leon Chris Michelmore Andrew Robertson FINANCE AND HR Louise Williams - Manager, People & Culture Katherine Zhang - Accountant Karin Juhl - Accounts Coordinator Sarah McBride - Payroll Coordinator Emma Wight - Administrative Assistant ASO MANAGEMENT EXECUTIVE Vincent Ciccarello - Managing Director Guy Ross - Chief Operating Officer Ashlyn Cooper - Executive Administrator ARTISTIC Simon Lord - Director, Artistic Planning Stevan Pavlovic - Artistic Administrator Emily Gann - Learning & Community Engagement Coordinator MARKETING AND DEVELOPMENT Paola Niscioli - Director, Marketing & Development Fiona Whittenbury - Corporate Partnerships Manager Alexandra Bassett - Donor Relations Manager Dani Lupoi - Development Assistant Tom Bastians - Customer Service Manager Kate Lees - Publicist Kane Moroney - Audience Development Coordinator Michelle Robins - Publications & Communications Coordinator Annika Stennert - Marketing Coordinator OPERATIONS Karen Frost - Orchestra Manager David Khafagi - Orchestra Coordinator Naomi Gordon - Production & Venue Coordinator Bruce Stewart - Orchestral Librarian Ryan Maloney - Production & Venue Assistant FRIENDS OF THE ASO EXECUTIVE COMMITTEE Alison Campbell - President Liz Bowen - Immediate Past President Alyson Morrison and John Pike - Vice Presidents Judy Birze - Treasurer/Secretary John Gell - Assistant Secretary/Membership Correct at time of print Flowers supplied by ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 11 Conductors’ Circle and donors Principal Conductor Nicholas Carter Principal Guest Conductor and Artistic Adviser Jeffrey Tate Artist-in-Association Pinchas Zukerman 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. Musical chair players and donors Concertmaster Natsuko Yoshimoto Supported by ASO Chair of the Board Colin Dunsford AM & Lib Dunsford Associate Concertmaster Cameron Hill Supported by The Baska Family Principal 1st Violin Shirin Lim Supported in the memory of Dr Nandor Ballai and Dr Georgette Straznicky 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 Violin Minas Berberyan Supported by Merry Wickes Violin Gillian Braithwaite Supported by Mary Dawes BEM Violin Hilary Bruer Supported by Marion Wells Violin Julie Newman Cello Gemma Phillips Supported by Graeme & Susan Bethune Supported by R & P Cheesman Violin Emma Perkins Cello David Sharp Supported by Peter & Pamela McKee Supported by Dr Aileen F Connon AM Violin Kemeri Spurr Cello Cameron Waters Supported by Professor Junia V. Melo Supported by Peter & Pamela McKee Principal Viola Juris Ezergailis Supported in the memory of Mrs JJ Holden Principal Bass David Shilling Supported by Mrs Maureen Akkermans Associate Principal Viola Imants Larsens Bass Harley Gray Supported by Simon & Sue Hatcher Supported by Bob Croser Principal Cello Simon Cobcroft Bass David Phillips Supported by Andrew & Gayle Robertson Supported for ‘a great bass player with lots of spirit - love Betsy’ Associate Principal Cello Ewen Bramble Principal Flute Geoffrey Collins Supported by Barbara Mellor Supported by Pauline Menz Cello Sherrilyn Handley Principal Piccolo Julia Grenfell Supported by Johanna and Terry McGuirk Supported by Chris & Julie Michelmore Cello Chris Handley Principal Oboe Celia Craig Supported by Johanna and Terry McGuirk Supported in the memory of Geoffrey Hackett-Jones Oboe Renae Stavely Associate Principal Horn Sarah Barrett Supported by Roderick Shire & Judy Hargrave Supported by Margaret Lehmann Principal Cor Anglais Peter Duggan Principal Third Horn Philip Paine Supported by Dr Ben Robinson Supported by An anonymous donor Principal Clarinet Dean Newcomb Supported by Royal Over-Seas League SA Inc Clarinet Darren Skelton Supported in the memory of Keith Langley Principal Bass Clarinet Mitchell Berick Supported by Nigel Stevenson & Glenn Ball Associate Principal Trumpet Martin Phillipson Supported by Richard Hugh Allert AO Principal Trombone Cameron Malouf Supported by Virginia Weckert & Charles Melton of Charles Melton Wines Principal Tuba Peter Whish-Wilson Supported by Ollie Clark AM & Joan Clark Principal Bassoon Mark Gaydon Principal Timpani Robert Hutcheson Supported by Pamela Yule Drs Kristine Gebbie and Lester Wight Bassoon Leah Stephenson Principal Percussion Steven Peterka Supported by Liz Ampt Principal Contra Bassoon Jackie Hansen Supported by Norman Etherington AM & Peggy Brock Supported by The Friends of the ASO Principal Harp Suzanne Handel Supported by Shane Le Plastrier For more information please contact Alexandra Bassett, Donor Relations Manager on (08) 8233 6221 or [email protected] Nicholas Carter Conductor James Ehnes Violin Michelle de Young Sieglinde/Mezzo Soprano Simon O’Neill Siegmund/Tenor Shane Lowrencev Hunding/Bass “For a virtuoso display of what conducting is all about, you need look no further” San Francisco Chroni- Simone Young & Mahler Sat 23 Jul FESTIVAL THEATRE Schubert Unfinished Symphony | Mahler Symphony No 6 Season BOOK AT BASS Paul Dukas The Sorcerer’s Apprentice A critic and teacher as well as a composer, Dukas saved his harshest criticism for his own work, destroying up to 80 per cent of his music. On his death only seven major works of a once large output remained: a threemovement symphony; the opera Ariane and Bluebeard; a piano sonata of epic intentions and proportions (it plays for some 50 minutes); the Variations, Interlude and Finale on a theme of Rameau, also for piano; the ‘poème dansé’ La Péri; the overture to Corneille’s tragedy Polyeucte; and the one piece which established his name outside France, the scherzo The Sorcerer’s Apprentice. It is ironic that a composer of such high seriousness should be known for his one overtly comic work. Written in 1897, Dukas’ scherzo is based on Goethe’s ballad of the same name (in German, Der Zauberlehrling), which in turn is derived from a work of the ancient Greek satirist Lucian, The Lie Fancier, in which the character Eucrates relates some of his experiences as an apprentice to the magician Pancrates, who has lived in a cave for 23 years, all the while taking instructions in magic from the goddess Isis. 16 (1865-1935) A précis of Goethe’s version of the tale prefaces some editions of the score: The Sorcerer’s Apprentice tells of a magician who can transform a broomstick into an animate being and have it perform all his menial tasks for him. The magician’s apprentice one day overhears the magic formula with which the broomstick becomes alive and tries to apply it himself in his master’s absence. The broom is ordered to bring water from the well. It performs this routine mechanically and efficiently. When the apprentice tires of this game, he wants to transform the water carrier back into a broomstick, but finds that he does not know the necessary formula. The enchanted stick continues to bring in bucket upon bucket of water until the room overflows. The apprentice passes from annoyance to despair. Fortunately, the sorcerer comes home, pronounces the magic words, the broom becomes inanimate, and all is quiet again. In all his music Dukas is a composer who cares deeply about the integrity of structure, and in The Sorcerer’s Apprentice he manages to write a formal scherzo and still, with exactness, follow the story of Goethe’s narrative. With the first theme we hear – announced softly by the violins – we seem to be present as the apprentice utters his incantations, while ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 with the second (given to the clarinet, then oboe, then flute) we meet the dormant broom, before it begins its spooky activity. These two themes dominate the work, and in various ingenious guises chart our progress through the story. The true musical climax appears at the point where the desperate apprentice believes he has transformed the broom back to its inactive state once again, after which the ‘broom’ theme scampers about in an even more feverish manner than it has previously, until the sorcerer returns and summons an imperious calm. The Sorcerer’s Apprentice was already quite well known in the concert hall before Leopold Stokowski conducted it in Walt Disney’s animated film Fantasia (1940), and after this it attained a popularity that could not (it seems) be divorced from the image of Mickey Mouse as the apprentice the Disney team had created. The work responded so well to such treatment because of its lucidity and thematic memorability. For all their many beauties, none of Dukas’ other pieces seek the immediacy of appeal The Sorcerer’s Apprentice attains, and in none does Dukas seek to be illustrative in so openhearted a fashion. © Phillip Sametz The Adelaide Symphony Orchestra first performed this work on 16-18 May 1957 under conductor Enrique Jordá, and most recently on 3 October 2014 under Michael Stern. Duration: 12 minutes ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 17 Sergei Prokofiev Piano Concerto No 3 in C major, Op 26 Andante – Allegro Andantino (with variations) Allegro non troppo Konstantin Shamray Piano Prokofiev was a virtuoso pianist, who made an authoritative recording of his own Third Concerto. One of his most successful and popular concert works, the concerto shows the most typical aspects of his mature musical style in ideal balance: a mixture of rather Romantic passages with incisive, humorous, sometimes even grotesque episodes. This is obvious right at the start: the opening Andante melody for clarinet is lyrical, almost wistful, and Russian-sounding. But immediately the piano comes in, the music becomes very busy, incisive, almost icy. The lyricism of the opening will return in place of a ‘development’ section in the middle of the first movement. Prokofiev conceived musical materials for his first three concertos in the years before he left Russia at the time of the 1917 Revolution. The first two concertos, in their driving rhythms and crunching 18 (1891-1953) discords, illustrate Prokofiev’s not altogether unwelcome casting as the enfant terrible of Russian music, and evoked a corresponding critical reaction (‘cats on a roof make better music,’ wrote one Russian critic of Concerto No 2). No 3, on the other hand, shows much more of the tunefulness and accessibility which it is wrong to regard as having entered Prokofiev’s music only after he returned to Russia in the early 1930s. The lyrical opening of this piano concerto, completed in 1921, recalls that of the First Violin Concerto of 1916-17. Even earlier, the great Russian impresario Diaghilev had perceived Prokofiev’s true musical nature: ‘Few composers today have Prokofiev’s gift of inventing personal melodies, and even fewer have a genuine flair for a fresh use of simple tonal harmonies … he doesn’t need to hide behind inane theories and absurd noises.’ The Third Piano Concerto reflects Prokofiev’s world-travelling existence around the time of its creation. He had been collecting its themes for over ten years by the time he put them together in 1921. Prokofiev rarely threw away anything that might come in handy later on. He began the concerto in Russia in 1917, completed it in France in 1921, and gave the premiere later that year in Chicago, where his opera The Love ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 of Three Oranges was premiered. An American critic wrote of the concerto, ‘It is greatly a matter of slewed harmony, neither adventurous enough to win the affection nor modernist enough to be annoying.’ You can’t win! A New York critic was wrong, but more perceptive, when he wrote, ‘It is hard to imagine any other pianist than Mr Prokofiev playing it.’ Prokofiev’s own playing pioneered a new kind of piano virtuosity. A rewarding piece for any virtuoso, this concerto is formally clear and satisfying, full of memorable tunes harmonised and orchestrated with a peculiarly personal piquancy, and sufficiently of our time to be bracing and refreshing. The second movement is a set of five variations on a theme Prokofiev had composed in 1913, intending it even then for variation treatment. This theme has an old-world, rather gavotte-like character, which in the first variation is treated solo by the piano in what Prokofiev describes as ‘quasi-sentimental fashion’. Then the tempo changes to a furious allegro, one of the abrupt contrasts in which the concerto abounds. After a quiet, meditative fourth variation, and an energetic fifth one, the theme returns on flutes and clarinets in its original form and at its old speed, while the piano continues at top speed but more quietly. This has been compared to a sprinter viewed from the window of a train. a good deal of argument, with frequent differences of opinion as regards key. Eventually the piano takes up the first theme and develops it to a climax. With a reduction of tone and slackening of tempo, an alternative theme is introduced in the woodwinds. The piano replies with a theme that is more in keeping with the caustic humour of the work.” The unabashedly Romantic ‘alternative theme’ is worked up to an emotional pitch that shows Prokofiev as having more in common with Rachmaninov than is usually suspected, and both as owing much to Tchaikovsky. Then the opening returns in a brilliant coda. David Garrett © 2003 The Adelaide Symphony Orchestra first performed Prokofiev’s Piano Concerto No 3 on 17-19 September 1953 with conductor Joseph Post and soloist William Kapell, and most recently on 7-8 June 2013 with Arvo Volmer and Denis Kozhukhin. Duration: 27 minutes Prokofiev’s own program note describes the finale as beginning with a staccato theme for bassoons and pizzicato strings, interrupted by the blustering entry of the piano: “The orchestra holds its own with the opening theme, however, and there is ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 19 Ross Edwards White Ghost Dancing One of Australia’s best-known and most performed composers, Ross Edwards has created a distinctive sound world which reflects his interest in ecology and his belief in the need to reconnect music with elemental forces, as well as restore its traditional association with ritual and dance. His music, universal in that it is concerned with age-old mysteries surrounding humanity, is at the same time connected to its roots in Australia, whose cultural diversity it celebrates, and from whose natural environment it draws inspiration, especially birdsong and the mysterious patterns and drones of insects. As a composer living and working on the Pacific Rim, he is conscious of the exciting potential of this vast region. Ross Edwards’ compositions include five symphonies, concertos, choral, chamber and vocal music, children’s music, film scores, a chamber opera and music for dance. His Dawn Mantras greeted the dawning of the new millennium from the sails of the Sydney Opera House in a worldwide telecast. His compositions often require special lighting, movement and costume. A recipient of the Order of Australia, he lives in Sydney and is married with two adult children. 20 (born 1943) Recent commissions include Sacred Kingfisher Psalms for The Song Company, Ars Nova Copenhagen and the Edinburgh Festival; a Piano Sonata for Bernadette Harvey commissioned by the Sydney Conservatorium; Full Moon Dances, a saxophone concerto for Amy Dickson, the Sydney Symphony Orchestra and the Australian symphony orchestras; Five Senses, a song cycle to poems of Judith Wright; The Laughing Moon for the New Sydney Wind Quintet; Zodiac, an orchestral ballet score commissioned for Stanton Welch by the Houston Ballet; String Quartet No. 3, Summer Dances, commissioned by Kim Williams for Musica Viva Australia; and Animisms, for the Australia Ensemble. Frog and Star Cycle, a double concerto commissioned for saxophonist Amy Dickson, percussionist Colin Currie and the Sydney Symphony Orchestra, will have its premiere in the Sydney Opera House in July 2016. Bright Birds and Sorrows, a major work for saxophone and string quartet, will be premiered in May 2017 at the Musica Viva Festival in Sydney. He is currently working on a commission from the Australian Chamber Orchestra. ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 The composer writes: There are recorded instances of Aboriginal people mistaking early Europeans in Australia for the ghosts of their ancestors, since ghosts were believed to be light-coloured. As I composed White Ghost Dancing (1999), the concept of a white ghost came to symbolise nonIndigenous Australia’s innate aboriginality – its capacity to transform and heal itself through spiritual connectedness with the earth. I believe that music, which has enormous therapeutic properties and, for me, a close relationship with ritual – and especially dance – is destined to make an important contribution to this transformation and healing; hence the title. Typical of my maninya (dance/chant) pieces, White Ghost Dancing is a compact mosaic of unconsciously processed shapes and patterns from the natural world: fragments of birdsong, insect and frog rhythms, as well as fleeting references to other works of mine, and fusions of Aboriginal and Gregorian chant. Ross Edwards © 1999 The Adelaide Symphony Orchestra first performed White Ghost Dancing on 26-28 July 2001 under conductor Miguel Harth-Bedoya, and most recently in April 2015 under conductor Iain Grandage in the Adelaide Town Hall, as part of the World Premiere of Towards First Light: Gallipoli at 100. Duration: 10 minutes ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 21 Igor Stravinsky Petrushka: Burlesque in four tableaux (1947 version) The Shrovetide Fair – Legerdemain scene – Russian Dance Petrushka’s Room The Blackamoor’s Room – Dance of the Ballerina – Valse – Petrushka The Shrovetide Fair – Dance of the Wetnurses – The Peasant and the Bear – The Jovial Merchant with Two Gypsy Girls – Dance of the Grooms – The Maskers – The Fight, and Death of Petrushka Petrushka, the second of Stravinsky’s ballets for Sergei Diaghilev’s Ballets Russes, began life as a ‘burlesque’ for piano and orchestra called Petrushka’s Cry. Stravinsky later wrote: I had wanted to refresh myself by composing an orchestral piece in which the piano would play the most important part … In composing the music, I had in mind the distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. Stravinsky, writing in later life, no doubt used the term ‘diabolical’, with its suggestion of ‘doubleness’, advisedly: much of Petrushka’s harmony, notably in 22 (1882-1971) the inner tableaux, makes use of parallel black- and white-note figures to create a spiky bitonality. ‘As a piece of musical architecture, Petrushka’s Cry is,’ according to Stephen Walsh, ‘unremarkable’, but Diaghilev saw its balletic potential and asked artist Alexandre Benois to draft a scenario based on the Russian version of the puppet known in English as Mr Punch. There is no Judy, however, as the story is in fact derived from the commedia dell’arte tradition with its masked, stock characters: Petrushka, a puppet with human emotions, is in love with the Ballerina, who is more attracted to the Moor. What transpired was a work in four tableaux (articulated by circus-ring drum rolls) of which the second is the original Petrushka’s Cry. The first presents the Shrovetide Fair in music that immediately announces how much its composer has matured in the short time since The Firebird. In a gesture that looks forward to works as different as The Rite of Spring and Dumbarton Oaks, Stravinsky creates scintillating, active textures that are nonetheless harmonically static, and cuts seemingly randomly between them to depict the bustle of the fair. Some of the music is derived from street cries and songs of St Petersburg: two organ-grinders in the first tableau ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 ‘duel’ with songs sent to Stravinsky by his friend, Andrey Rimsky-Korsakov. After establishing this busy scene, Stravinsky focuses on the figure of the Charlatan, or Showman, who brings his puppets to life with the sound of the flute. Their ‘Russian Dance’ was taken from sketches for the work that would become The Rite of Spring. The second tableau is set in Petrushka’s darkly furnished cell, into which the puppet falls as if kicked. After his characteristic black and white motif for clarinets, swarming figurations featuring the piano indicate Petrushka’s helplessness and fury at the Ballerina’s preference for the dashing Moor. She enters the room and is frightened by his manic attempts to win her over and leaves. Things comes to a head in the third tableau, where the Moor seduces the Ballerina, who has come to his lavish room, in an agile waltz featuring flute and trumpet. Petrushka appears and attacks the Moor but is overpowered and flees. In moving to the USA, Stravinsky found that copyright law gave no protection to his European works, so in 1947 he revised several scores to republish and copyright them, and took the opportunity in Petrushka to produce a work for slightly smaller forces than the 1911 original. Gordon Kerry © 2013 Choreographed by Mikhail Fokine, Petrushka was first performed by the Ballets Russes at the Théâtre du Châtelet, Paris on 13 June 1911 in a performance conducted by Pierre Monteux. The title roles were taken by Vaslav Nijinsky (Petrushka), Tamara Karsavina (the Ballerina) and Alexander Orlov (the Moor). The work was first heard in concert on 1 March 1914, again conducted by Monteux, and with Alfredo Casella at the piano. The first performance by the Adelaide Symphony Orchestra was on 22-23 March 1972 conducted by John Hopkins, with the most recent performance taking place on 2728 April 2012 under Arvo Volmer. Duration: 34 minutes The final tableau returns us to the Shrovetide Fair, and another charming mosaic of character dances, including that of the Wet-Nurses, based on a further St Petersburg street-song, and an appearance by a peasant with a bear. This is suddenly interrupted as Petrushka, still fleeing the Moor, appears and runs across the stage with the Moor chasing him, and the Ballerina following. The Moor kills Petrushka with his blade. In the appalled silence the Charlatan shakes the body to show the crowd that it is a puppet, but Petrushka’s ghost appears above the stage. ADELAIDE SYMPHONY ORCHESTRA - MASTER SERIES 2016 23 Our inspirational donors 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. Diamond Patron ($25,000+) Platinum Patron ($10,000 - $24,999) The Friends of the Adelaide Symphony Orchestra Dr Aileen Connon AM Mr Anthony & Mrs Margaret Gerard Estate of the late Winifred J. Longbottom Thomas Foods International Peter & Pamela McKee Plus one anonymous donor Mrs Diana McLaurin Coopers Brewery Ltd Robert Pontifex AM The Richard Wagner Society of South Australia Inc Ms Merry Wickes Plus two anonymous donors Gold Patron ($5,000 - $9,999) Mr Colin Dunsford AM & Mrs Lib Dunsford Mrs Pauline Menz Mr Robert Kenrick Mr and Mrs Andrew & Gayle Robertson Mrs Joan Lyons Mr Norman Schueler OAM and Mrs Carol Schueler Johanna & Terry McGuirk Silver Patron ($2,500 - $4,999) Mrs Maureen Akkermans Shane Le Plastrier Richard Hugh Allert AO Mrs Margaret Lehmann Ms Liz Ampt Mrs Barbara Mellor The Baska Family Mr & Mrs Chris & Julie Michelmore Graeme & Susan Bethune Dr J B Robinson R & P Cheesman Royal Over-Seas League South Australia Incorporated Mr and Mrs Vincent and Sandra Ciccarello Mr Ollie Clark AM & Mrs Joan Clark Mr Bob Croser Legh & Helen Davis Mary Dawes BEM Norman Etherington & Peggy Brock Drs Kristine Gebbie & Lester Wright Mr Donald Scott George Mrs Penelope Hackett-Jones Simon & Sue Hatcher Mrs Sue Langley Roderick Shire & Judy Hargrave Mr & Mrs Antony & Mary Lou Simpson Mr Ian Smailes Mr Nigel Stevenson & Mr Glenn Ball Dr Georgette Straznicky Virginia Weckert & Charles Melton of Charles Melton Wines M W Wells Dr Betsy Williams & Mr Oakley Dyer Mrs Pamela Yule Plus two anonymous donor Maestro Patron ($1,000 - $2,499) Mr Neil Arnold Dr Margaret Arstall Rob Baillie Judy Bayly Prof Andrew & Mrs Elizabeth Bersten The Hon D J & Mrs E M Bleby Ms Angelique Boileau Mr Peter J Cleary Mrs Patricia Cohen Tony & Rachel Davidson Mrs Sarah Dawes Mr Bruce Debelle AO, QC Dr Alan Down & Hon Catherine Branson QC Mrs Lorraine Drogemuller Mr L J Emmett Ms Barbara Fergusson RJ, LL & SJ Greenslade Mr P R Griffiths Mr Donald Growden Dr I Klepper Ian Kowalick AM & Helen Kowalick Mr Peter McBride Dr & Mrs Neil & Fay McIntosh K & K Palmer Captain R S Pearson, CSC, and Mrs Jan Pearson Mrs Christine Perriam Ms Marietta Resek Mr Christopher Richards Dr Christine Rothauser Philip Satchell AM & Cecily Satchell Mr & Mrs W Scharer Larry & Maria Scott Professor Ivan Shearer AM Beth and John Shepherd Mr & Mrs H W Short Ian Smailes & Col Eardley Mr Bill Spurr AO Nigel Steele Scott Ms Guila Tiver David & Linnett Turner Ms Margaret Tyrrell Mr J W Vale Mr Nick Warden Dr Richard & Mrs Gweneth Willing Ms Janet Worth Plus 11 anonymous donors Soloist Patron ($500 - $999) Aldridge Family Endowment Dr Elinor Atkinson Ms Dora O’Brien Barbara Bahlin Mr John Baker Mr & Mrs R & SE Bartz Ms Amanda Blair Mr Mark Blumberg Dianne & Felix Bochner Liz Bowen Dr & Mrs J & M Brooks John & Flavia Caporn Mrs Josephine Cooper David Cottrell Fr John Devenport Dr Christopher Dibden Mrs A E Dow Mrs Jane Doyle Jiri & Pamela Fiala Mr Otto Fuchs Mr & Mrs Andrew & Helen Giles Hon Roger Goldsworthy AO & Mrs Lyn Goldsworthy Dr Noel & Mrs Janet Grieve Mr Neil Halliday Mrs Eleanor Handreck Robert Hecker Prof Robert Heddle and Mrs Margaret Heddle Mrs Kate Hislop Rhys & Vyvyan Horwood Mrs Rosemary Keane Mrs Bellena Kennedy David Kirke Mrs Joan Lea Mr Michael McClaren & Ms Patricia Lescius Mark Lloyd and Libby Raupach Mr J H Love Mrs Beverley Macmahon Mr Melvyn Madigan Mrs Lee Mason Mrs Skye McGregor Dr D G & Mrs K C Morris Mrs Amparo Moya-Knox Ms Jocelyn Parsons Mr Tom F Pearce Martin Penhale Mr & Mrs John & Jenny Pike Mr Frank Prez Mrs Catherine L Osborne J M Prosser Jenny and Tony Read Mr Mark Rinne Drs I and K Roberts-Thomson Mrs Janet Ann Rover Mr & Mrs Trevor & Elizabeth Rowan Mr A D Saint Mr Roger Salkeld Ms Linda Sampson Mr Frank and Mrs Judy Sanders Mr David Scown Robert Short & Sherry Kothari Jim and Anne Spiker Mr W & Mrs H Stacy Mrs Anne Sutcliffe S and S Thomson The Honourable Justice Ann Vanstone Mrs Pamela Whittle R and G Willis Hon David Wotton AM & Mrs Jill Wotton Plus 14 anonymous donors Tutti Patron ($250 - $499) Mr & Mrs David & Elaine Annear Mr & Mrs A H & J A Baghurst Mr Brenton Barritt Tom Bastians & Lucy Eckermann Mrs Jillian Beare Dr Gaby Berce Jonathan Billington Mrs Joy Bishop Dr Adam Black Mr & Mrs Andrew & Margaret Black Ms Ruth Bloch Professor John and Mrs Brenda Bradley Mrs J L Brooks Rob & Denise Buttrose Mrs J Y Clothier Mr & Mrs R & J Copeland Mr Stephen Courtenay Jennifer Critchley Mrs Betty Cross Honourable Dr Rosemary Crowley AO George & Ilana Culshaw Mr John Daenke Dr R & D Davey Duncan Hugh Dean & Judith Peta Fradd Dr Joan Durdin Ms Sophie Emery Mr & Mrs Stephen & Emma Evans Dr Laurence J Ferguson Miss Conxita Ferrer Mr Keith Fitzgerald Mr J H Ford Leonard & Joan Gibbins Dr David & Mrs Kay Gill Edward John Grinsted Mrs E A Gunson Mrs Mary Handley Mrs Jill Hay Mr John H Heard AM Mrs Judith Heidenreich Mr & Mrs Peter & Helen Herriman Dr Douglas & Mrs Tiiu Hoile Mr John Holden Mr D G W Howard Mrs J M Kelly Mr Angus Kennedy H B & S J Kildea Mr & Mrs M & K Klopp Ken & Moira Langlands Mr G G Larwood Hon Anne Levy AO Ms Marcia C Lobban Lodge Thespian, No. 195 Inc Susan Lonie Mr Colin Macdonald Mr Dennis Maddock Mr A J Marriage Robert Marrone Rob Marshall & Sue Barker Dr Ruth Marshall Mr D & Mrs A Matison Ms E McEvoy Miss Carole McKay Ms Fiona Morgan Mrs Alyson Morrison Margaret Mudge David and Karen Nash Mr Alex Nicol Dr Kenneth O’Brien Dr John Overton Mrs Dorothy Owen Mr and Mrs Paterson Mrs Coralie Patterson N B & G A Piller Krystyna Pindral Mr D G Pitt Mr & Mrs Ian & Jen Ramsay Mr Richard Rowland Mrs Jill Russell Mr Richard Ryan AO & Mrs Trish Ryan Mrs Meredyth Sarah AM Ms Gwennyth Shaughnessy Mrs Pauline E. Shute R & L Siegele Mrs Elizabeth P Simpson Mr Brenton Smith Mr Grant Spence Mr Gerrit Stafford Mrs Katherine StanleyMurray Anthony Steel AM and Sandra Mason Mrs Jill Stevens Mr Graham & Mrs Maureen Storer Verna Symons John & Annette Terpelle Ms Christine Trenorden Mr Jacky Tsang Mark & Jenny Tummel Mr David Turner Prof Robert Warner Mr & Mrs Glen & Robina Weir Mrs Ann Wells Mr Robert Willis Mr & Mrs Peter & Dawn Yeatman Plus 27 anonymous donors 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 Us The 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 Conductors’ Circle Grainger Circle 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). A 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. Musical Chair Donors Corporate Partnerships 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. 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. For more information on supporting the ASO please contact: Donations Alexandra Bassett, Donor Relations Manager on 8233 6221 / [email protected] Corporate Partnerships Fiona Whittenbury, Corporate Partnerships Manager on 8233 6231 / [email protected] Thank you Principal Partner Major Partners Broadcast Partner World Artist Partners Corporate Partners Airline Partner Media Partners Corporate Club Birnie Sanders Hotel Brokers Boylen – Website Design & Development Fotonaut Haigh’s Chocolates Hickinbotham Group Hills Cider Friends Foundations Normetals Peregrine Travel Poster Impact Quest Hotels San Remo Macaroni Co. Pty Ltd Size Music Thyne Reid Foundation Government Support 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. Adelaide Symphony Orchestra 91 Hindley St, Adelaide SA 5000 | Telephone (08) 8233 6233 Fax (08) 8233 6222 | Email [email protected] | aso.com.au Join us 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. 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. santos.com