Maestro 2 Pure Poetry - Adelaide Youth Orchestras

Maestro 2
Pure Poetry
PROGRAM
Welcome to the Adelaide Town Hall, one of our City’s most
beautiful and historic buildings.
Thank you to the Adelaide Youth Orchestra for presenting
this wonderful concert, Maestro 2, as part of the Adelaide
Town Hall’s 150th Anniversary.
The Adelaide Town Hall hosts a spectacular array
of musical events each year, from international stars to
local performers, and the Adelaide Youth Orchestra is a
wonderful addition to this year’s performance calendar.
Both the Lady Mayoress and I are incredibly supportive of
South Australian arts and culture, and we were amazed by
the outstanding talent of the next generation of Adelaide’s
orchestral players when we attended AdYO’s Maestro 3
concert last year.
This evening’s program will be one to remember, featuring
rising-star Adelaide pianist, Mekhla Kumar, and 80 of
Adelaide’s most talented young musicians, expertly
conducted by 2014 City of Adelaide Citizen of the Year,
Keith Crellin OAM.
As part of the 150 years of Adelaide Town Hall celebrations,
I invite you to share your memories of this evening’s event
in the special anniversary Visitor’s Book located on the
staircase landing.
SWEET
SYMPHONY
Thank you for attending tonight’s special event. I hope you
enjoy the concert.
Martin Haese
Lord Mayor of Adelaide
122_16-03_M91567
The Advertiser. Proud supporter
of the Adelaide Youth Orchestras.
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Adelaide
Town Hall’s
History
The Adelaide Town Hall is a significant icon in the
history of the city. Both the striking physical
presence and social importance are admired by
residents and visitors. Such qualities make it a
truly unique and memorable location to host
corporate and private celebrations, weddings,
concerts, and conferences. The centrepiece of the
building is the regal clock tower that characterises
its Victorian era heritage. Former Mayor of the City,
Edmund Wright (1859) built the Adelaide Town Hall
in 1866. Local materials including Tea Tree Gully
freestone and Dry Creek bluestone feature
prominently throughout the design.
The Adelaide Town Hall has a long history as
the city’s seat of local political power. Surveyor
Sir Colonel William Light earmarked the one-acre
site for use by Council in his original plan for the
city of Adelaide. The Council purchased the land
from the State in 1840 for 12 shillings
(approximately $1.20 AUD). It was initially used as
a produce market selling hay, corn, butter, poultry,
eggs, fish and vegetables. However the Council
saw that a structure was needed to act as a
meeting place of the local government and to
represent the importance of the Council in the
city. The foundation stone for the Adelaide Town
Hall was laid on May 4, 1863 and was cut from the
Tea Tree Gully quarry. That stone was later covered
by the construction of the Albert Tower – named
after Queen Victoria’s late husband Prince Albert
– which stands at 44m tall. The Adelaide Town Hall
was officially opened on 20 June, 1866 and was
considered the “largest municipal building south
of the Equator” at the time. The Albert Tower was
also significant as the only civic building outside of
England to house a full peal of eight bells. Today it
also holds a three-faced clock, donated by
Sir J Lavington Bonython in 1935. The Adelaide
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Town Hall incorporated four other buildings on the
same site: the Prince Alfred Hotel, the Queen’s
Chambers, the Eagle Chambers and the Gladstone
Chambers.
Lord Mayoral receptions and important
decisions are made at the Adelaide Town Hall by
the seat of power of the city – the Adelaide City
Council – and hence the venue emanates pride,
purpose and public duty. Celebrities have also
graced the halls of the venue; in 1964 The Beatles
visited Adelaide Town Hall waving to 350,000
adoring fans from the balcony. Today that balcony
holds many special memories, provides an
intimate and prestigious space for pre-dinner
cocktails or acts as a spectacular photo location.
The Adelaide Town Hall holds a celebrity in its own
right – the $1.3 million Walker & Sons Organ.
Organists from around the world relish the
opportunity to play the organ, which at the time of
installation in 1990 was the largest mechanical
action instrument built in the UK in a century. 5
We are delighted to present tonight’s concert commemorating
the Adelaide Town Hall’s 150th anniversary.
I have chosen three orchestral masterpieces appropriate for
such an important occasion. The Wagner Prelude to Die
Meistersinger von Nürnberg is Wagner at his best, creating
a soundscape that challenges every section of the orchestra.
My favourite Beethoven Piano Concerto is No 4. It is a sublime
and perfect work. I am delighted to welcome rising star
Adelaide pianist, Mekhla Kumar, as soloist. Mekhla gained
a perfect score in her postgraduate exam in Freiburg,
Germany performing this concerto, and it is exciting that her
first performance of this work with orchestra is with AdYO.
For the final work I have chosen Tchaikovsky’s charming
Symphony No 2, known as ‘Little Russian’, in which the young
Tchaikovsky flexes his symphonic muscles in a surprisingly
mature and highly competent manner. The orchestra has
plenty of wonderful moments to shine; solos abound
throughout this work.
The Adelaide Town Hall has played a special part in my
musical life. I have fond memories of my first performance
here with the Australian String Quartet at the 1986 Adelaide
Festival of the Arts. The Hall’s superb acoustics makes it one
of the best concert venues in the world.
We are fortunate to be supported by numerous individuals
and organisations. We never cease to be amazed by our
community’s generosity. In just over a week, the 2015/16
Financial Year ends. If you have not yet donated to us this
financial year, we would be most grateful if you would consider
helping us continue to provide our inspiring programs.
Bringing tonight’s concert to fruition has been an absolute joy.
It has required a lot of effort from our ever-busy and
hard-working young musicians, with the help of their dedicated
tutors, and I am sure the resulting musical experience will be
one to savour.
Associate Professor Keith Crellin OAM
Artistic Director
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Maestro 2 Pure Poetry
Tuesday 21 June 2016 | 7.30pm | Adelaide Town Hall
Adelaide Youth Orchestra
Keith Crellin OAM conductor
Richard Wagner 1813–1883
Prelude to Die Meistersinger von Nürnberg, WWV 96
Ludwig van Beethoven 1770–1827
Piano Concerto No 4 in G major, Op 58
Allegro moderato
Andante con moto
Rondo. Vivace
Mekhla Kumar Piano
INTERVAL – 20 MINUTES
Pyotr Ilyich Tchaikovsky 1840–1893
Symphony No 2 in C minor, Op 17 ‘Little Russian’
Andante sostenuto – Allegro vivo
Andantino marziale, quasi moderato
Scherzo (Allegro molto vivace)
Finale (Moderato assai – Allegro vivo – Presto)
PHILANTHROPIC PARTNER
Please switch off your mobile and any other noise emitting devices.
Photography and recording of this concert is strictly prohibited.
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PROGRAM NOTES
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Richard Wagner 1813–1883
Ludwig van Beethoven 1770–1827
Pyotr Ilyich Tchaikovsky 1840–1893
Prelude to Die Meistersinger von Nürnberg,
WWV96
Piano Concerto No 4 in G major
Allegro moderato
Andante con moto
Rondo (Vivace)
Symphony No 2 in C minor, Op 17 ‘Little Russian’
Andante sostenuto – Allegro vivo
Andantino marziale, quasi moderato
Scherzo. Allegro molto vivace
Finale. Moderato assai – Allegro vivo
Most of Richard Wagner’s opera plots feature
stories that are steeped in legend or myth, full of
love, redemption, resurrection, and, of course,
destruction. Not so with Die Meistersinger von
Nürnberg. One of only two comic operas ever
written by the composer, the story – penned by
Wagner himself – revolves around the struggle
between the forces of musical conservatism and
musical change. And whilst there are few truly
comic moments in the work, it is optimistic and
light-hearted – at least when compared to the rest
of Wagner’s operatic oeuvre. As the American
music critic and composer Virgil Thomson rather
humorously put it, in comparison to Wagner’s
other über-serious operas, Die Meistersinger “is all
direct and human and warm… none of the
characters take drugs or get mixed up with magic.”
In Die Meistersinger, Wagner transforms the
main characters into thinly disguised
representatives of his own opinions about music.
In particular, the antagonist Beckmesser – a rigid
clerk – represents the conservative music critic
Eduard Hanslick, whose views Wagner despised.
Set in 16th-century Nürnberg, the opera tells of a
guild of amateur “master singers” – a group of
merchants and tradesmen, who held periodic
contests to show off their talents as singers and
composers. Actual figures from a past Germany,
these skilled craftsmen – cobblers, blacksmiths,
tailors, carpenters – applied the rigorous
standards of their professions to the art of music
and poetry. In homage to these men, Wagner
features the historical figure Hans Sachs
(1494–1576), the most renowned of the
Meistersingers, as a primary character. Sachs
champions the song Walther von Stolzing in the
contest. Walther’s victory gives him not only
bragging rights among the Meistersingers, but
also the prize of the beautiful Eva in marriage,
foiling the nefarious plans of the cheating villain.
The Prelude highlights several leitmotifs from
the opera: the grand processional march and
fanfare of the Meistersingers, an impish variation
on that melody (mockingly executed by the
Meistersingers’ apprentices), and Walther and
Eva’s ardent love theme.
In his book The Classical Style, American pianist
Charles Rosen remarked, “The most important fact
about the concerto form is that the audience waits
for the soloist to enter.” In a move that must have
seemed nearly scandalous at the time, Beethoven
completely bucks this trend by scoring the opening
of his fourth piano concerto for the soloist alone.
At the time, this was a statement without
precedent – the closest comparison being Mozart’s
Piano Concerto in E‑flat major, K.271, in which the
soloist interrupts the orchestra in the second bar.
In another first for the genre, Beethoven took
advantage of developments in the field of piano
construction. The newest instrument available to
him had a pedal mechanism that shifted the
hammers so as to hit either one, two, or all three
strings, resulting in a remarkable change in
dynamic and in tone colour. In this concerto,
Beethoven – for the first time – wrote instructions
for use of these new pedals into the music.
Though it was a concerto of firsts, the work
also heralded an end of an era for Beethoven. The
composer gave the public premiere in 1808, but it
would be the last time he would do such a thing
– this was his final appearance as a solo pianist
with orchestra. Within a few years, his career as a
performer was stymied by his advancing deafness,
and he abandoned concerto writing altogether.
The premiere was a great success: a review
published in May 1809 states that “[this concerto]
is the most admirable, singular, artistic and
complex Beethoven concerto ever.” Composed in
three movements, Beethoven makes great use of
the ‘short-short-short-long’ rhythmic device that
characterises much of his ‘middle-period’ music
(think Symphony No 5), and frequently employs
tonal ambiguity, resulting in a kaleidoscope of
harmonic colours. The slow movement, likened to
the image of Orpheus calming the furies with his
song, has become the most famous with
audiences today. The charmingly Haydn-esque
Rondo finale begins with a fanfare, and it is in this
movement that we hear the trumpets and drums
of the orchestra for the first time, making their
entrance in a frenetic explosion of sound.
Russian composer Tchaikovsky was on summer
vacation in the Ukraine when he began work on his
second symphony in 1872. His letters from that
year show that he was excited about the piece and
that it was progressing nicely, but that it required
his undivided attention. He wrote to his father in
December, “My new symphony… thank God, is
finished,” later adding, “I am now resting.”
However, always the painstaking perfectionist,
Tchaikovsky was not satisfied. He later destroyed
the original score, despite the symphony already
having premiered to great critical acclaim, only to
completely rewrite the work throughout December
1879 and January 1880.
The symphony gained its epitaph, ‘Little
Russian,’ after the composer’s death. The name
refers to the fact that many of the musical ideas
echo – or, in numerous instances, directly quote –
folk songs of the Ukraine, which (in those Czarist
days) was known to all Russians as ‘Little Russia.’
At the time Tchaikovsky was writing this symphony,
Russian musical life was divided into two opposing
factions. One group looked west, particularly
emulating the German symphonic tradition.
The other – known as the kuchka, or the Mighty
Five (Balakirev, Borodin, Cui, Mussorgsky, and
Rimsky-Korsakov) – employed native Russian folk
elements in order to create an overtly nationalistic
style. Today, Tchaikovsky is most often aligned
with the westward-looking internationalists,
yet he always showed a strong interest in
incorporating Russian folk music into his work.
His second symphony drew the attention of the
Mighty Five and won him their admiration – an
impressive feat, as they had previously begrudged
his success with what they considered to be a
westernised compositional style.
The influence of folk song is evident from the
very first notes of the symphony. The opening
movement begins with a haunting folk tune, Down
by Mother Volga, played firstly by the solo horn
and then even more poignantly by the bassoon.
This melancholy theme permeates the entire
movement, juxtaposed by a rather vigorous
second subject (that employs a melody also used
by Rimsky-Korsakov in his Russian Easter Festival
Overture). The second movement – a march –
makes use of two themes Tchaikovsky composed
during his early, aborted attempts at writing an
opera. Originally a bridal march, the movement
quotes the folk song Spin, O My Spinner in the
central section. The scampering Scherzo – the
name meaning a ‘musical joke’ – is the only
movement that does not draw inspiration directly
from a specific song, although the style clearly
recalls that of folk music. After a brief fanfare, the
Finale proper begins – in this movement
Tchaikovsky quotes the popular folk song The
Crane, which Mussorgsky also made use of in
Pictures at an Exhibition. Tchaikovsky subjects the
folk song to increasingly colourful orchestral
variations, before introducing contrast in the form
of a gentler, lyrical theme. An exuberant coda,
resplendent with bombastic brass fanfares and
cymbal crashes, brings the symphony to its rousing
conclusion.
Program Notes © Ashleigh Geiger, 2016.
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The Adelaide
Youth Orchestras
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The Adelaide Youth Orchestras showcase over
250 young people each year as members of four
outstanding orchestras. Selected from a wide
demographic, and based on their musical talent,
these young musicians make a powerful
contribution to Adelaide’s, and South Australia’s,
creative landscape.
Performing the classics and new works, our
orchestras reach audiences across city and
regional settings. From families and friends, to
arts lovers, and to local communities possibly
experiencing orchestral music for the first time,
our musicians delight and inspire their
audiences.
Hailed for their excellence in performance,
the Adelaide Youth Orchestra is led by Associate
Professor Keith Crellin OAM. Young conductors
and soloists are invited to take leadership roles
in our rehearsals, music camps and orchestral
concerts, thus entering a critical pathway for
their future music careers.
Teamwork, creativity and leadership are the
driving forces within our organisation. We give
brilliant young musicians the life-affirming
experience of playing with one of our four
orchestras. Whether they continue in music,
science, medicine or public service, they are our
future leaders. Their creativity is an exceptional
asset to South Australia and its standing as a
place of innovation and prosperity.
Adelaide Youth Orchestra
The 80-piece Adelaide Youth Orchestra (AdYO) is
the organisation’s senior orchestra, comprising
South Australia’s most talented young musicians
aged between 12 and 24.
AdYO was founded in 2001 by Janis Laurs, one
of Australia’s leading cellists and teachers. In
2003, Associate Professor Keith Crellin OAM took
over the reins as principal conductor and has
guided the orchestra through a dynamic decade
of inspirational live performances and
exceptional artistic development.
What makes AdYO unique each year is the
diversity of its players. Selected through a
sophisticated audition process, our young
musicians hail from all corners of Adelaide, as
well as areas outside the city limits. Some are
high school students, while others are at tertiary
level studying degrees ranging from music to
medicine. Among them are gifted students who
have won numerous scholarships, along with
awards and prizes from distinguished
organisations such as the Adelaide Eisteddfod
Society and the Australian Music Examinations
Board. Many past players are now studying and/
or performing with leading Australian training
organisations like the Australian Youth
Orchestra, Australian National Academy of Music,
ACO Collective and Sydney Sinfonia (Sydney
Symphony Orchestra’s training program).
Others are forging professional music careers
in Australia and beyond.
As the organisation’s lead ensemble, AdYO
has the credentials to regularly attract
distinguished guest performers and conductors
to join its concert programs. Recent examples
include the performance of Rachmaninov’s Piano
Concerto No 2 with star pianist Konstantin
Shamray, Elgar’s Sea Pictures with Adelaide
mezzo-soprano Elizabeth Campbell under the
baton of Nicholas Braithwaite (2013) and
Tchaikovsky’s Variations on a Rococo Theme with
founding AdYO cellist, now international soloist,
Pei-Sian Ng (2011).
Concert repertoire is chosen to provide
exhilarating programs for audiences whilst
allowing our students to be challenged and
given the most rewarding learning and
performance experiences possible. As a result,
AdYO concerts are received with acclaim by
audiences and critics alike, with reviews often
noting the orchestra’s commitment to
excellence, while performances are described
as being of quality, energy, audacity and pure
joie d’vivre. Recent concert highlights include
the performance of Ginastera’s Four Dances
from Estancias (2013) and the Australian
premiere of Allan Stephenson’s Concertino
for piccolo, strings and harpsichord (2012).
As an organisation, the Adelaide Youth
Orchestras is committed to performing and
programming Australian works. AdYO has
premiered a number of significant home-grown
compositions in recent years, including Calvin
Bowman’s song cycle The Purple of Heaven,
written specifically for the orchestra and tenor,
Robert Macfarlane. In 2012, AdYO performed
Peter Sculthorpe’s popular work Kakadu. In
September 2013, the orchestra performed Richard
Meale’s last orchestral work, Three Mirò Pieces.
And, in September 2015, AdYO gave the South
Australian premiere of Graeme Koehne’s Between
Two Worlds.
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BIOGRAPHIES
Mekhla Kumar Piano
Adelaide-born pianist Mekhla
Kumar is a prize-winning solo
artist and chamber musician.
In 2007, Mekhla gained a place at
the Elder Conservatorium of Music
in the class of Professor Stefan
Ammer, where she completed her
Bachelor of Music and graduated
with distinction. Following this she
undertook Honours, achieving
First Class. In 2013, under the tutelage of Dr Tibor
Szsasz, Mekhla achieved a rare 100 percent for her
Master’s degree at the Hochschule für Musik in Freiburg,
Germany. In 2014 she achieved another perfect score for
the postgraduate course ‘Advanced Studies’.
Mekhla has been a recipient of the Principal’s
Scholarship, the Patrick Cecil Greenland Scholarship,
the EMR Travel Scholarship and was awarded the Rotary
Club of Burnside’s ‘Carpe Diem’ Trust. In 2012, Mekhla
received the ‘Emerging Artist Award’ from the Elder
Conservatorium and the Helpmann Academy and was
awarded a grant from the Ian Potter Cultural Trust.
Mekhla has performed as a soloist with the Elder
Conservatorium Symphony Orchestra and has
participated in master classes with Roy Howat, Bart van
Oort, Leslie Howard, Imogen Cooper, Bernd Glemser,
Claudio Martinez Mahner, Robert Hill and played
alongside Marc-André Hamelin.
Mekhla performs throughout Germany and Australia
and has broadcast live for German radio stations.
Recent performance highlights include the premiere of
an arrangement made especially for Mekhla’s chamber
music ensemble of Igor Stravinsky’s The Rite of Spring
for two pianos and percussion, concert performances
throughout Germany of the rarely performed Linea for
two pianos, vibraphone and marimba by Luciano Berio,
and a solo recital at the ‘Bach Festival’ in Adelaide.
Highlights of 2015 included collaborating with
Grammy-nominated Estonian-born bassoon virtuoso,
Martin Kuuskmann, with the Langbein Quartet in a
performance at Elder Hall that included Invocation by
Jakub Jankowski, along with performing Scriabin
Sonatas at the Port Fairy Spring Music Festival and also
Elder Hall in celebration of the centenary of Scriabin’s
death.
Also in 2015, Mekhla received an Australian
Postgraduate Award to study a performance PhD on the
Liszt Sonata in B minor at the University of Adelaide.
Mekhla is one half of a newly-formed piano duo with
Konstantin Shamray and has given recitals across
Australia.
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Keith Crellin OAM Conductor
Associate Professor Keith Crellin
OAM held the position of Head of
the String Department and
Conductor-in-Residence at the
Elder Conservatorium of Music at
the University of Adelaide from
2001–2015. In May he resigned
from this post in order to
concentrate more fully on his role
as Artistic Director of the Adelaide
Youth Orchestra, as well as further performing,
conducting and composing.
As the first violist to win the ABC Young Performers
Award in 1972, Keith Crellin soon established himself as
one of Australia’s leading soloists and chamber music
players. Having studied violin initially with Gretchen
Schieblich and then Ladislav Jasek at the Queensland
Conservatorium of Music, he completed his tertiary
studies at the Tasmanian Conservatorium of Music
under noted pedagogue Professor Jan Sedivka. He was
a founding member of the Rialannah String Quartet,
performed with the Petra String Quartet and was a
regular member of the Australian Contemporary
Music Ensemble. Subsequently he was appointed
Lecturer in Viola and Chamber Music at the Tasmanian
Conservatorium of Music, Director and Principal
Conductor of the Conservatorium Orchestra and
Artistic Director and Chief Conductor of the Tasmanian
Youth Orchestra.
In 1985, he became a founding member of the
Australian String Quartet based in Adelaide, a position
he held for sixteen years and with which he performed
in many countries, travelled widely throughout
Australia and made numerous recordings.
As well, he has conducted concerts and recordings
with the Tasmanian and Adelaide Symphony Orchestras
and has been conductor of the Australian Youth
Orchestra’s Young Symphonists and tutor in the
Australian Youth Orchestra’s Young Australian Concert
Artists program on a number of occasions. He has
attended many National Music Camps as tutor and
conductor and now divides his time between teaching,
performing and conducting.
In 2003, he took up the position of artistic director
and conductor of the Adelaide Youth Orchestra. In 2004,
he was awarded the University of Adelaide’s Stephen
Cole Prize for excellence in teaching and, in 2006, was
appointed Adjunct Professor in Strings and Chamber
Music at the University of Tasmania. In 2008, he was
awarded the Order of Australia medal for his
contribution to music and education.
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The Orchestra
Conductor
Associate Professor
Keith Crellin OAM
Cooper Family Conductor’s
Podium
Violin I
Paris Williams
Scarlett Gallery
Crawford Family Associate
Concertmaster Chair
Stella Um
Lilla Davies-Ardill
Cindy Gobell
Hayley Gobell
Juliana Bollella
Julia Koefer
Kai Gerbi
Lynda Latu
Ella Beard
Violin II
Tahlia Williams
Cecilia Tran
Thea Martin
Rachelle Wong
Katie Morrison
Sophie Szabo
Alice Netting
Momoko Urabe
Alice Warren
Giselle Nairn
Viola
Tommy Ng
Lowen Partridge Principal
Viola Chair
Vienna Tran
Jenny Hu
Tim Tran
Ruby Butcher
Cello
Nadia Barrow
Pei-Sian Ng Principal Cello Chair
Hamish Netting
Dr Jula Szuster Associate
Principal Cello Chair
Ben Allan
Tomono Wynn Cello Chair
Lucinda Machin
Catherine Yeoh
Jack Overall
Danny Guo
Bronte Hyams
Ruby Head
Molly Voss
Double Bass
Linh Nguyen
Angela Sciberras-Xiong
Holly Little
Laura Danciu
Niamh Warner
Teja Nairn
Flute
Madeleine Stewart
Elizabeth Koch OAM
Principal Flute Chair
Emily Fox
Maria Zhdanovich
Piccolo
Maria Zhdanovich
Cara Seppelt Principal Piccolo
Chair
Oboe
Hannah Kovilpillai
David Tonkin Memorial Principal
Oboe Chair
An Nguyen
Cor Anglais
Austin Zilm
Clarinet
Eric Begley
Derek Jones Principal Clarinet
Chair
Daniel Webber
Katie Marshall
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Bassoon
Matthew McGrath
Ian Carrig OAM Memorial
Principal Bassoon Chair
Mei Mukai
Pamela Yule Associate Principal
Bassoon Chair
French Horn
Natalie Williams
Adam Wynn Principal French
Horn Chair
Thomas Levings
Rebecca Adams
Lucy Rattigan
Thalia Huston*
Trumpet
Carly Cameron
Friends of the ASO Principal
Trumpet Chair
Patrick Squire
Professor Jennifer McKay
Associate Principal Trumpet
Chair
Manon Minck
Trombone
Sam Woods
Nicholas Linke Principal
Trombone Chair
Jasmine Ferguson
Luka Horner
Tuba
Emily Legg
Adelaide Youth Strings
Adelaide Youth Orchestra Tutors
When you arrived this evening, the
Adelaide Youth Strings, conducted by
Martin Butler, were performing
in the foyer of the Adelaide Town Hall.
The musicians who were performing are:
Violin
Lachlan Bramble
Emily Tulloch
Violin I
Haneulle Lovell
Sterling Rieck
Nicholas Bowes
Daniel Milton
Jude Owens-Fleetwood
Viola
Keith Crellin
Cello
Sarah Denbigh
Double Bass
Esther Toh
Violin II
Kathryn Varley
Siyeon Kim
Karmen Tang
Tansy Noble
Woodwind
Dean Newcomb
Viola
Timothy Naylor
Bertie Butcher
Justyn Russel
Alexander Monro
Brass
Owen Morris
French Horn
Emma Gregan
Percussion
Jamie Adam
Cello
Jimmy Butcher
Marina Olijnyk
Caleb Christian
Benjamin Monro
Double Bass
Alexandra Thompson
Lyora Lee
Percussion
Henry Millar
Paul Henning & Jo Pike Principal
Percussion Chair
Amber Watkins*
Andrew Chan*
Harp
Philippa McAuliffe
* denotes guest player
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AdYO ORCHESTRAS
Adelaide Youth Wind Orchestra
Alwin Kidney Conductor
Piccolo
Thanh-Mai Nguyen
Flute
Lucy Ryan
Jarvis Zhao
Asha Southcombe
Oboe
Irakli Tsagareli
Shiva Mukherjee
Clarinet
Tamra Edson
Nate Camatta
Alexis Cooke
Marcus Allum
Bass Clarinet
William Branson
Bassoon
Suzie Shimamoto
Alto Saxophone
Madeline Clegg
Adelaide Youth Strings
Tenor Saxophone
Taylah Muncaster
Trumpet
Jack Flintoft
Ellen Zhang
Bridget Woods
Trombone
Samuel Bleby-Williams
Alexander Nicholas
Fabio Frisan
Percussion
Daniel Martin
Noah Hosking
Violin II
Annecy Cheung
Katherine Varley
Yifan Jiang
Siyeon Kim
Lok Yau Fong
Luca Shin
Aileen Gideon-Takasawa
Binh Le
Yoon Inseo
Karmen Tang
Tansy Noble
Alisa Gideon-Takasawa
Alice Kim
Martin Butler Conductor
Violin I
Haneulle Lovell
Sterling Rieck
Nicholas Bowes
Lilly Hewlett
Daniel Milton
Langlang Xu
Annabelle Inaba Hill
Jude Owens-Fleetwood
Adina Lopez
Helena Nguyen
Kate Staruchoiwicz
Max Wang
Jessenia Bursill
Imogen Wearing
Richard Xia
Viola
Timothy Naylor
Victoria Thorp
Justyn Russel
Alexander Monro
Eliza Allan
Thomas Brennan
Claire McCann
Bertie Butcher
Isaac Pham
Zara Harvey
Riley Nicholls
Adelaide Youth Sinfonia
Minas Berberyan Conductor
Violin I
Cheri Wong
Alina Tran
Brendan Chong
Shirley Xiong
Dinih Huang
Angel Li
Chau Anh Do
Shannon Whitehead
Timothy Szabo
Ebony Bedford
Kirsten Tsui
Kaelah Owens-Fleetwood
Violin II
Jessica Kim
Cheryl Wong
Ryan Skapin
Skye Nicholas
Tiani Zollo Semmler
Zach Nicholls
Joshua Nicholls
Benjamin Cook
Hok Nam Fong
Helen Kremmidiotis
Curie Thota
Viola
Alexander Chen
Mattea Osenk
Ariane Pearce
Ethan Nicholls
Samvel Berberyan
Sean Black
Hurley Baker
Cello
Azriel Poskey-Miles
James Monro
Anya Ecimovic
Gabrielle Pearce
Lara Berberyan
Kevin Yau
Will Morley
Joshua Lau
Lydia Papadopoulos
Double Bass
Tom Schilling
Greg Perkins
Mihai Nadu
Flute
Andi Custodio
Kyogo Sakai
Jenny Han
Oboe
Megan Paterson
Neal Perkins
Benika Bhoola
Clarinet
Marlon Kha
Cello
Jimmy Butcher
Marina Olijnyk
Hilary Swanson
Caleb Christian
Benjamin Monro
Olivia Innes
Audrey Tran
Patrick D’Arcy
Gabriel Csizmadia
Lana Bryant
Lincoln Woodley
Double Bass
Alexandra Thompson
Lyora Lee
Scarlett Bauer
Joyce Cheung
Bass Clarinet
William Branson
Bassoon
Luka Rinaldi
Trumpet
Oliver Schilling
Alexander Papadopoulos
Nanoko Tanaka
French Horn
Molly Astley
Thomas Dodsworth
Lawrence Yang
Thalia Huston*
Trombone
Kyriakos Tsavaridis
Percussion
Daniel Martin
Noah Hosking
AdYO 2016 UPCOMING CONCERTS
DATE
TIME
CONCERT
ORCHESTRAS
VENUE
Sunday
26 June
3.00pm
In the Round
AdYWO, AdSI,
AYS
Concordia College Chapel
Sunday
21 August
3.00pm
Community Concert
Golden Grove
AdYWO, AdSI
Golden Grove Arts Centre
Sunday
11 September
3.00pm
Maestro 3
Sweeping Romance
AdYO
Elder Hall,
The University of Adelaide
Saturday
17 September
12.00pm
Community Concert
Adelaide Botanic Gardens
AYS
Adelaide Botanic Garden
Sunday
20 November
3.00pm
Gala Concert
Celebrate
AdYO, AdYWO,
AdSI, AYS
Adelaide Town Hall
* denotes guest player
18
19
TESTIMONIALS
The Advertiser is proud to be a long-standing
supporter of the Adelaide Youth Orchestras,
through the promotion of the next generation
of musical talent. South Australia is home to a
varied and dynamic arts scene and this is none
more evident than through the musicality and
professionalism of the AdYO.
Sam Weir
Editor
The Advertiser & Advertiser.com.au
Our partnership with the Adelaide Youth
Orchestras is without doubt one of the most
rewarding partnerships we have ever been
involved in. AdYO have engaged us
professionally at all levels at all times, from
the Board, to the General Manager, to front of
house. The feedback from our staff and clients
is overwhelming. The experiences we have had
whilst supporting Adelaide’s most talented
young musicians have been priceless. We
value our partnership immensely and look
forward to many more years of association
ahead.
Nicholas Linke
Partner
Fisher Jeffries
We at Dewings are proud to support the
Adelaide Youth Orchestras. We believe that
exceptional outcomes are the product of raw
talent, hard work and a little bit of genius,
which is why AdYO is such a great fit for our
brand.
John Manning
Managing Director
Dewings Accounting + Consulting
Adelaide Airport, as a highly visible part of
the community, looks to partner with
organisations that have the capacity to touch
many South Australians, be well regarded by
the community, and have the capacity to offer
world class events and opportunities. By
these and other measures, our partnership
with the Adelaide Youth Orchestras is a
natural fit.
Justine Firth
Marketing Manager
Adelaide Airport Limited
20
AdYO played a pivotal
role in my life. During
my four years we
performed many
amazing pieces of
music, including my first
unforgettable concerto
performance with
orchestra. AdYO gave
me valuable orchestral
experience, life-long
friendships and
incredible training
under Keith Crellin.
I loved every minute!
Anna Cooper
Former Principal Flute
& Soloist, AdYO
Freelance Flautist
For me, the greatest
benefit was the
unparalleled exposure
to high calibre
musicians and
professional repertoire.
I’ll never forget the
thrill of preparing
Shostakovich’s Fifth
Symphony under Keith’s
baton. To this day, it
remains one of my
fondest musical
memories.
Ashleigh Geiger
Former cellist with
Adelaide Youth
Orchestra, Adelaide
Youth Sinfonia &
Adelaide Youth Strings
2001–2015
Cellist, writer, teacher,
arts administrator
AdYO provided a
significant foundation for
my musical development
as a young violinist.
This talented youth
orchestra offered not
only the opportunity to
interact with other
musicians, but provided
a highly educational
environment under the
inspiring direction of
Elder Conservatorium’s
Head of Strings, Associate
Professor Keith Crellin.
The rehearsals with
AdYO were always the
highlight of my week!
Monique Lapins
Violinist with Adelaide
Youth Orchestra
2003, 2005 & 2006
Now 2nd violin, New
Zealand String Quartet
I began my journey with
the Adelaide Youth
Orchestras in their
strings program,
Adelaide Youth Strings.
I learned invaluable
lessons in how to play
with an orchestra whilst
also making lifelong
friends.
Yukhi Mayne
Violinist with AdYO’s
orchestras 2000–2009
Freelance musician
My experience in AdYO
was one of great intensity,
inspiration and joy.
Without doubt it
contributed greatly to
my development as an
aspiring musician.
Pei-Jee Ng
Founding cellist with
AdYO (2001)
Co-Principal Cellist,
London Philharmonic
Orchestra, cellist with
the Fournier Trio
AdYO gave me my first
taste of orchestral
playing. For this I cannot
thank it enough! Having
the opportunity to play
cornerstone works of the
repertoire under the
baton of Keith Crellin,
with other like-minded
students, ignited a
passion for orchestral
playing.
Jack Schiller
Former Principal Bassoon,
AdYO
Principal Bassoon,
Melbourne Symphony
Orchestra
I’m very pleased to have
had a long association
with AdYO since its
inception in 2001. I have
many fond musical
memories from my
years performing in the
ensemble, and now
from working as a tutor
with the next generation.
Long may it continue!
Emily Tulloch
Violinist with AdYO
2001–2003, Concertmaster
2004 & 2005
2nd Violin, Zephyr String
Quartet
In all my memories of
AdYO, what stands out
to me the most is the fun
I had making music with
good friends. There is
nothing quite like it!
Kate Worley
Violinist 2012–2013,
Concertmaster 2014,
Adelaide Youth Orchestra
Nora Baird Bursary at
the Queensland
Conservatorium of Music,
studying for Bachelor
of Music.
21
Support AdYO
Exhilarating and
inspiring, Adelaide
Youth Orchestras is the
premier platform for
gifted young musicians
in South Australia.
For 250 talented young
people, AdYO provides
challenging and rewarding
experiences underpinned
by discipline, commitment
and team work. Whether
they move on to music,
medicine, business or
public service, these
young people are our
future leaders.
Our donors provide
crucial support for
our young musicians as
they build confidence
in performance and
develop tangible life
skills for whatever their
future holds.
Thank you to our Partners
THANK YOU
$5,000 +
Keith Crellin OAM & Ruth Saffir
Adam & Tomono Wynn
$1,000+
Aldridge Family Endowment
Catherine & Christopher Baldwin
Rosie Burn & Cam Grant
Coriole Vineyards
Geoff Day
Tom & Erica Gordon
Penelope Hackett-Jones
Margaret Lehmann
Nicholas Linke
Mark Lloyd OAM &
Libby Raupach OAM
David & Pam McKee
Christine McCabe & Melvin Mansell
Craddock Morton &
Stephanie Anderson
Akira & Tomoko Nakayama
Andrew & Michelle Size
Sam & Sue Saffir
Robert & Beverly Squire
RA Stevens
Dr Paul Varley
Merry Wickes
Plus 2 anonymous donors
DONATE ONLINE AT
https://www.givenow.com.au/adelaideyouthorchestras
or collect a donation form from the program counter in the foyer.
22
ADYO BOARD MEMBERS
$500–$999
AUSTA SA
Geoff & Jane Barrow
David & Elizabeth Bleby
Elizabeth Burton
Martin Butler & Shirin Lim
Camatta Lempens
Patrick & Lisa Carrig
Aileen Connon AM
Jo Cooper
Friends of ASO
Ross & Jen Gallery
Phil & Susie Gold
The Ionian Club Adelaide (83)
Margaret Lehmann
Caroline Treloar
Gretta & Richard Willis
Plus 3 anonymous donors
OFFICIAL NEWSPAPER PARTNER
LEGAL PARTNER
CONCERTS & REHEARSAL PARTNER
SENIOR HEROES PRINCIPAL PARTNER
IT PARTNER
PROGRAM PARTNER
$150–$499
St Aloysius College
Professor & Mrs John Bradley
Alexandrea Cannon
Robert Croser
Johanna Ecimovic
Rosie Freney
Margaret Harris
Simon & Sue Hatcher
Richard Herraman
Derek & Elaine Hill
Hiro Kitahara
Elizabeth Koch OAM
Robyn & Dick Leeson
Carrie Liang
Andrew & Ginny Ligertwood
Alyson Morrison
Naracoorte Cottages
Brigitte Olijnyk
Anthea Reeves
Liz Scarce
Bob & Geraldine Shuttleworth
Tony & Judy Wainwright
Dr Barbara Wall
Jonathan Yeoh
AdYO also thanks the 125 donors
who donated other amounts
during the last 12 months.
LIFE MEMBERS
Rosie Burn
Nicholas Linke
Diana Ramsay AO DSJ
Adam Wynn
Catherine Baldwin Chair
Paul Lagozzino Deputy Chair
Michael Denholm Treasurer
Lowen Partridge Secretary
Elizabeth Koch OAM
Mark Lloyd OAM
Christine McCabe
Angus Netting
ADYO PARENTS & FRIENDS COMMITTEE
Angus Netting Chair
Deb Clegg
Norraine Gobell
Sue Griessel
Karin Kong
Kate Little
Claudine and Ruben Lopez
Juanita Martin
Georgina McAuliffe
Christine McCabe
Dianne Nicholls
Brigitte Olijynk
Matthew Semmler
Maria Zollo
ADYO MAESTRO SERIES 2 VOLUNTEERS
BRAND DEVELOPMENT PARTNER
GALA CONCERT PRINCIPAL PARTNER
SOCIAL INCLUSION PARTNER
AUDIT PARTNER
WINE PARTNER
Rosa Bollella
Christina Folauhola
Dan Foley
Cordelia Ferguson
Norraine Gobell
Allan Hardy
Elise Martin
Juanita Martin
Alyson Morrison
Yukie Mukai
Rob Nairn
Angus Netting
Merryn Netting
Mary Nguyen
Nicky Renshaw
Mary Szabo
Anthony Szabo
Diana Voss
Suhee Shimamoto
Shauna Williams
ADYO STAFF
GOVERNMENT PARTNERS
AdYO receives Commonwealth Government funding through the Australia
Council, its arts funding and advisory body. The Government of South Australia,
through Department of Premier & Cabinet, Arts SA and Department for Education
& Child Development, supports AdYO’s programs. Adelaide City Council continues
to support AdYO during the 2015–2016 financial year.
Associate Professor Keith Crellin OAM
Artistic Director & AdYO Conductor
Christopher Wainwright General Manager
Scott Gunn Acting Executive Assistant and
AdYO Orchestral Manager
Sarah Renzella Finance Assistant
Jeridene Foreman AdYO Schools Coordinator
Alwin Kidney AdYWO Conductor
Andrew Baird AdYWO Orchestral Manager
Minas Berberyan AdSI Conductor
Madeleine Stewart AdSI Orchestral Manager
Martin Butler AYS Conductor
Rosi McGowran AYS Orchestral Manager
Françoise Piron AdYO Concert Manager
ADELAIDE YOUTH ORCHESTRAS
ARTISTS PHOTOGRAPHY VENUE PHOTOGRAPHY
DESIGN PRINTING Greg Barrett
David Cann
Kirk Palmer Design
Bowden Group
POST VISIT PO Box 327, North Adelaide SA 5006
Carclew, 11 Jeffcott Street,
North Adelaide
PHONE 08 8361 8896
EMAIL adyo@adyo.com.au
Maestro 2
Pure Poetry
adyo.com.au
PROGRAM