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24 Pages·2014·2.47 MB·English

ADELAIDE SYMPHONY ORCHESTRA
MAHLER 5
21 & 22 NOVEMBER ADELAIDE TOWN HALL
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ADELAIDE SYMPHONY ORCHESTRA 2014 SE N
MAHLER 5
Adelaide Town Hall 21 November 8pm & 22 November 6.30pm
Mark Wigglesworth Conductor
Jean-Efflam Bavouzet Piano
Liszt Piano Concerto No 2 In A Major
Adagio sostenuto assai – Allegro agitato assai – Allegro
moderato – Allegro deciso – Marziale, un poco meno allegro –
Un poco meno mosso – Allegro animato
Jean-Efflam Bavouzet - Piano
Interval
Mahler Symphony No 5 In C# Minor
Part I
Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt)
[Funeral march (With measured pace, stern, like a funeral
procession)]
Stürmisch bewegt. Mit grösster Vehemenz
[Stormy, with utmost vehemence]
Part II
Scherzo (Kräftig, nicht zu schnell) [Strong, not too fast]
Part III
Adagietto (Sehr langsam) [Very slow]
Rondo-Finale (Allegro)
This concert runs for approximately 110 minutes including interval.
Friday evening’s performance will be recorded for live broadcast on ABC Classic FM.
Classical Conversations - one hour prior to each performance in the Adelaide Town Hall.
Free for ticketholders. The charismatic French pianist Jean-Efflam Bavouzet joins Geoffrey Collins (Principal Flute)
to introduce the musical world of Franz Liszt.
ADELAIDE SYMPHONY MASTERS SERIES 3
Adelaide’s No.1
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mark wigglesworth conductor
Born in Sussex, England, Mark Wigglesworth His recordings include live performances of
studied music at Manchester University and Mahler's Symphonies Nos. 6 and 10, issued
conducting at the Royal Academy of Music. He by the Melbourne Symphony Orchestra on the
has since worked with most of the orchestras in MSO Live label; a disc of English music with
the United Kingdom, and has guest conducted the Sydney Symphony Orchestra; a project with
the Royal Concertgebouw Orchestra; Royal BIS Records to record all the symphonies of
Stockholm Philharmonic Orchestra; La Scala Shostakovich; and most recently the two Brahms
Philharmonic; New York Philharmonic; The piano concertos, played by Stephen Hough and
Cleveland Orchestra; the Boston, Chicago, San the Mozarteum Orchestra, Salzburg.
Francisco, Montreal and Toronto Symphony
Mark Wigglesworth will be Music Director of
Orchestras; and the Hong Kong Philharmonic.
English National Opera from September 2015.
He regularly visits the Minnesota Orchestra and
Previous appointments include Associate
has an ongoing relationship with the New World
Conductor of the BBC Symphony Orchestra,
Symphony. Highlights of the 2014/15 season
Principal Guest Conductor of the Swedish Radio
and beyond include returns to the Royal Opera
Symphony Orchestra and Music Director of the
House, a new production of Owen Wingrave
BBC National Orchestra of Wales.
for the Aldeburgh and Edinburgh Festivals, and
debuts with the Royal Flemish Philharmonic and
Orquestra Sinfônica do Estado de São Paulo.
Equally at home in the opera house, Mark
Wigglesworth started his operatic career with
a period as Music Director of Opera Factory,
London. Since then he has worked regularly at
Glyndebourne, Welsh National Opera and English
National Opera.
ADELAIDE SYMPHONY MASTERS SERIES 5

jean-efflam bavouzet piano
Jean-Efflam Bavouzet enjoys a prolific recording An active recitalist, he returns this season to
and international concert career. The 2014/15 the Louvre in Paris and Wigmore Hall in London,
season includes a US tour with the London in addition to recitals in Munich, Budapest,
Philharmonic Orchestra under Vladimir Taiwan, Melbourne and Brisbane. He regularly
Jurowski, and debuts with the Luxembourg collaborates with the Palazzetto Bru Zane and
Philharmonic Orchestra under Emmanuel has devised a chamber music program dedicated
Krivine; the Cincinnati Symphony Orchestra to the music of Albéric Magnard.
under Louis Langrée; and the Orchestra della
Jean-Efflam Bavouzet’s recordings include the
Svizzera Italiana in Lugano under Vladimir
complete Prokofiev piano concertos with the
Ashkenazy. He returns to the Orchestre national
BBC Philharmonic and Gianandrea Noseda,
de France, Hong Kong Philharmonic Orchestra,
winner of a Gramophone Award in the concerto
NHK Symphony Orchestra, and the Sydney and
category. His earlier recordings have earned
Adelaide symphony orchestras. He is Artist in
him multiple prizes, including two Gramophone
Residence at the Orquestra Sinfônica do Estado
Awards, two BBC Music Magazine Awards, a
de São Paulo in 2014, and Artistic Director of a
Diapason d’Or and Choc de l’année. Ongoing
new biennial piano festival in Norway’s Lofoten
recording projects include Beethoven and
Islands.
Haydn piano sonata cycles.
Other recent highlights include concerts with
the Pittsburgh Symphony Orchestra, Beijing
Symphony Orchestra, Bavarian State Orchestra,
Philharmonia Orchestra, Manchester Camerata
and the Warsaw Philharmonic Orchestra, where
he performed the complete cycle of Beethoven’s
piano concertos. He recently appeared with
the Netherlands Philharmonic Orchestra at
the Robeco SummerNights in Amsterdam’s
Concertgebouw.
ADELAIDE SYMPHONY MASTERS SERIES 7
Adelaide Symphony Orchestra
Principal Guest Conductor Belinda Gehlert Sherrilyn Handley COR ANGLAIS
and Artistic Advisor Alison Heike Musical Chair supported Peter Duggan*
Arvo Volmer Johanna and Terry McGuirk
Danielle Jaquillard Musical Chair supported
Artist in Association Alexis Milton Gemma Phillips by Dr JB Robinson
Nicholas McGegan Musical Chair supported by David Sharp CLARINETS
Associate Guest Conductor Patricia Cohen Mbyu Asiicleael nC Chaoinr nsounp pAoMrted Dean Newcomb**
Nicholas Carter Jennifer Newman Cameron Waters Musical Chair supported by
Julie Newman the Royal Over-Seas League
Concertmaster SA Inc
Natsuko Yoshimoto Emma Perkins DOUBLE BASSES Darren Skelton
Musical Chair sponsored by Musical Chair supported by David Schilling**
ADSunOs Cfohradi rA oMf t&he L Bibo aDrudn Csofolirnd AlePxaetnedr e&r PPaemrmelae MzeclKee MMurss iMcaalu Crheeanir Asukkpepromrtaends by E FLAT CLARINET
Judith Polain Harley Gray~ Darren Skelton*
VIOLINS (Acting Associate)
Marie-Louise Slaytor
Musical Chair supported by BASS CLARINET
(NCaotsnuckeort mYoasshteimr)o to** Kemeri Spurr Bob Croser Mitchell Berick*
Alison Rayner** (Guest VIOLAS Jacky Chang Musical Chair supported by
Associate Concertmaster) Imants Larsens** Belinda Kendall-Smith Nigel Stevenson & Glenn Ball
Shirin Lim* (Acting Principal) David Phillips
BASSOONS
(PrMminuecmsipicoaarlly 1 Cohsf atD iVrr iiNno altinhnde) o r Ballai LinMMdaur s&Gic aMarl rrCse hStati imr~ s ounp &po Srtueed H bayt c her Mfwoiurt hsa i lcgoartles Ca oth fBa siarps issrui tpp -lpa loyoervtree, d B etsy MaMrku Gsiacayld Cohna*ir* s upported by
Michael Milton** (Guest Associate) Esther Toh Pamela Yule
(Principal 2nd Violin) Martin Butler Leah Stephenson
Musical Chair supported by Lesley Cockram FGLeUofTfEreSy Collins** MLizu sAimcapl tChair supported by
The Friends of the ASO
Lachlan Bramble~ ARnonsia MHcaGnsoewnran MPauusliicnael MCheanizr supported by CONTRA BASSOON
(Associate Principal
2nd Violin) Carolyn Mooz Lisa Gill Jackie Hansen*
Musical Chair supported in the Michael Robertson Samantha Hennessy Musical Chair supported
by Norman Etherington &
memory of Deborah Pontifex Cecily Satchell Peggy Brock
Janet Anderson PICCOLOS
Ann Axelby CELLOS Julia Grenfell** HORNS
Minas Berberyan Simon Cobcroft** Musical Chair supported by Adrian Uren**
Chris & Julie Michelmore (Guest Principal)
Musical Chair supported Principal Cello Chair supported
by Merry Wickes by Andrew & Gayle Robertson Samantha Hennessy Sarah Barrett**
Gillian Braithwaite Ewen Bramble~ Musical Chair supported
Julia Brittain MBaursbiacraal CMheallior rsupported by OCeBlOiaE CSr aig** Brybayn M Garrigffiartehts L ehmann
Hilary Bruer* Sarah Denbigh MPeunseicloapl eC h&a Gir esoufpfrpeoyr ted by Philip Paine
Musical Chair supported by
Marion Wells Musical Chair supported by Hackett-Jones Alex Miller
an anonymous donor Renae Stavely Anna Handsworth
Elizabeth Collins
Christopher Handley Alison Harris
Jane Collins
Musical Chair supported by
Johanna and Terry McGuirk
8 ADELAIDE SYMPHONY MASTERS SERIES
TRUMPETS ** denotes Section Leader ASO BOARD
Matt Dempsey** * denotes Principal Player Colin Dunsford AM (Chair) Jillian Attrill
Musical Chair supported ~ denotes Associate Principal Vincent Ciccarello Geoffrey Collins
by R & P Cheesman (Orchestra list correct at time Col Eardley Byron Gregory
Martin Phillipson~ of printing) David Leon Chris Michelmore
Musical Chair supported by Michael Morley Andrew Robertson
Rick Allert AO
Nigel Stevenson
David Khafagi
Robin Finlay ASO MANAGEMENT
TROMBONES Executive
Cameron Malouf** Vincent Ciccarello - Managing Director
Musical Chair supported by Margie Corston - Assistant to Managing Director
Virginia Weckert & Charles
Melton of Charles Melton Artistic
Wines Simon Lord - Director, Artistic Planning
Ian Denbigh Katey Sutcliffe - Artistic Administrator
Emily Gann - Learning and Community Engagement Coordinator
BASS TROMBONE
Finance and HR
Howard Parkinson*
Bruce Bettcher - Business and Finance Manager
TUBA Louise Williams - Manager, People and Culture
Peter Whish-Wilson* Karin Juhl - Accounts/Box Office Coordinator
Supported by Sarah McBride - Payroll
Ollie Clark AM & Joan Clark Emma Wight - Administrative Assistant
Operations
TIMPANI
Robert Hutcheson* Heikki Mohell - Director of Operations and Commercial
Musical Chair supported by Karen Frost - Orchestra Manager
an anonymous donor Kingsley Schmidtke - Venue/Production Supervisor
Bruce Stewart - Librarian
PERCUSSION David Khafagi - Acting Orchestra Manager
Steven Peterka**
Marketing and Development
Musical Chair supported by Paola Niscioli - General Manager, Marketing and Development
The Friends of the ASO
Vicky Lekis - Director of Development
Gregory Rush
Annika Stennert - Marketing Coordinator
Jamie Adam
Kate Sewell - Publicist
Amanda Grigg Tom Bastians - Customer Service Manager
HARP FRIENDS OF THE ASO EXECUTIVE COMMITTEE
Suzanne Handel* Alison Campbell - President
Musical Chair supported by Liz Bowen - Immediate Past President
Shane Le Plastrier
Alyson Morrison and John Pike - Vice Presidents
Vacancy - Honorary Secretary
John Gell - Assistant Secretary Membership
Judy Birze - Treasurer
ADELAIDE SYMPHONY MASTERS SERIES 9
franz liszt
(1811-1886)
Piano Concerto No 2 in A, S125 sight. His training under the strict and methodical
Carl Czerny probably gave an edge of discipline
Adagio sostenuto assai – Allegro agitato
to his wild pianism, and he was noted particularly
assai – Allegro moderato – Allegro deciso –
for his uncanny ability to combine power and
Marziale, un poco meno allegro – Un poco
delicacy. He had a wide palette of tone colours and
meno mosso – Allegro animato
was famous for making the piano sound like an
orchestra, an effect he was very proud of.
Jean-Efflam Bavouzet Piano While all of Europe was in awe of his playing, there
was great criticism of his work as a composer.
Clara Schumann said, ‘I could almost detest him
Liszt wrote several works for piano and orchestra, as a composer’; the feared Viennese critic Eduard
but gave the title ‘concerto’ to only two. When he Hanslick wrote: ‘false, bogus music, characterised
composed them, his principal career was that of a by tangible symptoms of decay’. Even today, he
travelling virtuoso performer, a profession virtually has as many supporters as detractors, and the
invented by him (with some inspiration from the latter often describe his music as shallow, banal
Italian violinist Nicolò Paganini). From the age of and uninspired. Some of his admirers sound
26, Liszt remained unchallenged in the role of lion slightly hesitant, as if they feel somewhat guilty
of the keyboard, until 1848 after which he spent about such a weakness. Yet all of his major works
40 years in retirement from the concert stage, for piano are as often played today as ever, and his
pursuing, with equal intensity, subsequent careers orchestral and later works are full of astonishing
as composer and teacher. Let us also not forget invention. Interestingly, his greatest champions
the romantic liaisons with famous beauties, and have always been other composers, such as
the last years as a devout churchman. A life lived Wagner, Ravel, Saint-Saëns and Scriabin, who
to the full! were all influenced by his works, both consciously
and unconsciously.
Opinions on Liszt’s work as a composer were –
and still are – varied but there was international Liszt was a great disturber of comfortable musical
unanimity about his prowess as a pianist. From forms (‘new wine needs new bottles’), and it was
his first appearance at age nine, he amazed this aspect that interested many 20th-century
listeners with his technical dexterity, musical composers. Bartók said that Liszt’s invention
understanding and his ability to play anything at indicated ways of development that were only
10 ADELAIDE SYMPHONY MASTERS SERIES