Born in Vienna
Concert 1 Program
W. A. Mozart Symphony No.1 in Eb major [13′]
I. Molto allegro
II. Andante
III. Presto
Haydn Sinfonia concertante in Bb major Op. 84 [22′]
I. Allegro
II. Andante
III. Allegro con spirito
Beethoven Symphony No.1 in C major Op.21 [26′]
I. Adagio molto – Allegro con brio
II. Andante cantabile con moto
III. Menuetto: Allegro molto e vivace
IV. Finale: Adagio – Allegro molto e vivace
Program Note
In nineteenth-century music, a symphony is serious event: a mark of maturity and intellectual heft. In the eighteenth-century, however, the symphony was more of a filler, music that happened before or after the songs and dances. The transformation of the symphony from background music to centre stage marks a dramatic period in music history centred on Vienna at the turn of the nineteenth-century.
While Mozart’s work will forever be associated with Vienna, his symphonic journey actually began in London in 1764. Wolfgang and his sister Maria Anna were famous musical prodigies in Europe and their father, Leopold, sensed opportunity across the Channel. However, after a flurry of performances, including a successful audience with King George III, Leopold contracted a nasty throat infection. The family decided to hole up in a house in Chelsea so that he could rest and recover. The children – Wolfgang was 8 and his sister, who he called ‘Nannerl’ was 12 – were forbidden to practice their instruments, or make any noise at all, so as not to disturb the invalid. Music-making, therefore, had to be in their imagination, or on paper.
Later in life, Maria Anna wrote about their London sojourn, recalling:
“In order to occupy himself, Mozart composed his first symphony with all the instruments of the orchestra, especially trumpets and kettledrums. I had to transcribe it as I sat at his side. While he composed and I copied he said to me, ‘Remind me to give the horn something worthwhile to do!’”
Unbounded by practicalities, Mozart’s Symphony No 1 in Eb major K.16 is written for a generous ensemble with flutes, bassoons, horns, trumpets and kettledrums as well as strings and continuo. And every instrument has plenty of worthwhile things to do.
Joseph Haydn’s Sinfonia Concertante in Bb major Op. 84 also has a connection with London. It was written in 1792, towards the end of his first London tour, hosted by violinist and impresario Johann Peter Salomon. Haydn was greeted with great enthusiasm but was a little thrown by the appearance of a rival (and former student) Ignaz Pleyel, whose flashy sinfonia concertante was an instant hit. Haydn’s response is brilliant: a work which gives Haydn’s patron Salomon a showcase for his playing, but also doubles down on the composer’s symphonic prowess, as the deservedly-named ‘Father of the Symphony’ continues to push his own boundaries.
1792 was a significant year for Ludwig van Beethoven, marking his move from his family home in Bonn to Vienna, to study with Haydn. It was in Vienna that he would build his career, first as piano virtuoso and then as composer. Unlike Mozart, however, his first compositions were based around the keyboard: sonatas, concertos and chamber music.
Beethoven’s Symphony No. 1 in C major had its premiere in April 1800. Billed as ‘a new Grand Symphony with full orchestra’, it feels like a bold statement of intent. The opening is unconventional, sounding more like an ending, and the finale is more cheeky than grand. Meanwhile, the third movement is labelled ‘Menuetto’ but is instantly recognisable as a classic scherzo. Beethoven-the-symphonist has arrived, ready to revolutionise the form.
– Harriet Cunningham, 2025
Artists
Mark Wigglesworth | Conductor
Mark Wigglesworth has worked with the Berlin Philharmonic, Royal Concertgebouw, London Symphony, Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, Cleveland Orchestra, and Tokyo Symphony. Recordings include a critically acclaimed cycle of the Shostakovich Symphonies with the BBC National Orchestra of Wales and the Netherlands Radio Philharmonic, Mahler’s Sixth and Tenth Symphonies with the Melbourne Symphony, Britten’s Peter Grimes with Glyndebourne, and the Brahms Piano Concertos with Stephen Hough.
In opera, he has enjoyed long relationships with the Royal Opera House, Covent Garden, and English National Opera, and operatic engagements elsewhere include the Metropolitan Opera, New York, Bavarian State Opera, Opéra National de Paris, and Teatro Real, Madrid. In 2017 he received the Oliver Award for Outstanding Achievement in Opera.
He has written for The Guardian and The Independent, made a six-part TV series for the BBC entitled Everything to Play For, and his book The Silent Musician: Why Conducting Matters, published by Faber & Faber, has been translated into Spanish and Chinese. In September 2024 he became Chief Conductor of the Bournemouth Symphony Orchestra and in 2025 took up the role of Chief Conductor with the Adelaide Symphony Orchestra.
Kate Suthers | Violin
Based in the UK until her appointment as Concertmaster of the Adelaide Symphony Orchestra in 2022, Sydney-born violinist Kate Suthers’ versatile career spans string quartet to symphony orchestra, and ranges across music of all ages and styles. Kate has always played music by living composers, and has worked with Thomas Adès, Sir Peter Maxwell Davies, Anna Meredith, Jörg Widmann, Jonny Greenwood and Sir James MacMillan. She has collaborated across art forms in opera, theatre, film, and dance, and enjoys working with artists of different traditions.
Before holding positions in the Royal Philharmonic Orchestra and the City of Birmingham Symphony Orchestra, Kate studied at the Royal Academy of Music in London with renowned violinist and teacher György Pauk. In 2022, Kate was made an Associate of the Royal Academy of Music.
Kate’s upcoming engagements include performances with Scottish Ensemble, leading the BBC Scottish Symphony Orchestra, chamber music in both hemispheres, and further performances as soloist and play/director with the ASO. In 2026 she will take up the role of Artistic Director a the Coriole Music Festival in McLaren Vale. Kate Suthers plays a Carlo Carletti violin from Pieve di Cento, Bologna, c.1920. Her musical heroes are Caroline Shaw, Bach, and the Danish String Quartet.
Joshua Oates | Oboe
Joshua Oates has been the Principal Oboe of the Adelaide Symphony Orchestra since 2020 and is a sought after musician across the country. Joshua studied with some of today’s leading oboists, undertaking a masters in Germany with internationally acclaimed oboist Philippe Tondre, and prior to this, he was a Sydney Symphony Orchestra fellow under the mentorship of Diana Doherty, Shefali Pryor, Alexandre Oguey. During his time in Germany, Joshua played in theatre orchestras in Aachen, Düsseldorf and Saarbrücken, as well as guest principal with Cappella Aquileia Heidenheim. He has also played as guest principal in most of Australia’s professional orchestras.
Joshua’s undergraduate studies took place at the Elder Conservatorium of Music Adelaide with Celia Craig, where he graduated with first class honours. In 2021, he returned to the Elder Conservatorium as oboe teacher, and is passionate about working with the next generation of Australia’s oboists. He is a keen recitalist and chamber musician, and had his premiere as solo artist at the Australian Festival of Chamber Music in 2023. Joshua has recently enjoyed the opportunity to appear as soloist with the Bendigo Symphony Orchestra performing Koehne’s ‘In Flight Entertainment’ as well as regularly with the ASO.
Mark Gaydon | Bassoon
Mark has been Principal Bassoonist with the Adelaide Symphony Orchestra since 2003. He has appeared as soloist performing works by Mozart, Weber, Zwilich, Strauss and others. He has also appeared as guest principal bassoon with the Sydney, Queensland, Tasmanian and New Zealand symphony orchestras.
As a chamber musician he has performed with Elision Ensemble, The Southern Cross Soloists, the New London Chamber Ensemble, the Tancibudek Wind Quintet and his own group Ensemble Le Monde.
An avid teacher, Mark has been Associate Instructor at the Indiana University School of Music, a guest artist at the Australian National Academy of Music, bassoon tutor for the Australian Youth Orchestra, AYO National Music Camp and Young Symphonists programs, and Bassoon Instructor at the Elder Conservatorium since 2005.
Mark has a PhD in music from the University of Adelaide and was awarded a Dean of Graduate Studies Special Commendation for Thesis Excellence. In 2005 he won the ABC Young Performer of the Year wind, brass and percussion section. Mark is a keen supporter of Australian composers and has commissioned and premiered works for the bassoon by Gerard Brophy, Andrew Schultz, Katy Abbott, James Cuddeford, Luke Altmann and Charles Bodman Rae. Mark’s teachers include Kim Walker and Stephane Levesque.
Sharon Grigoryan | Cello
Sharon Grigoryan moved to Adelaide in 2013 to take up the position as cellist with the Australian String Quartet – a position she held until December 2020. Prior to this, she was a member of the Melbourne Symphony Orchestra and Melbourne Chamber Orchestra, and has been guest principal cellist of many of the Australian orchestras. From 2011 Sharon toured regularly, both nationally and internationally with the Australian Chamber Orchestra, and whilst living in Berlin in 2012 Sharon toured Europe with the Mahler Chamber Orchestra and Spira Mirabilis Chamber Orchestra. Sharon was the artistic director of the “Barossa, Baroque and Beyond” Festival from 2014-2021, has performed with the Australian World Orchestra since 2015, and plays in a duo with guitarist and husband Slava Grigoryan. She is currently the Associate Principal Cellist with the Adelaide Symphony Orchestra.
Seperate to performing, Sharon loves teaching both privately and tutoring at various institutions such as the University of Adelaide, The Australian Youth Orchestra, and the Australian National Academy of Music.
At home you’ll probably find her in the veggie patch with her ten heirloom chickens.
Adelaide Symphony Orchestra
Violins
Kate Suthers** (Concertmaster)
Cameron Hill** (Associate Concertmaster)
Holly Piccoli* (Principal 1st Violin)
Liam Oborne* (Acting Principal 1st Violin)
Alison Heike** (Principal 2nd Violin)
Lachlan Bramble ~ (Associate Principal 2nd Violin)
Janet Anderson
Minas Berberyan
Gillian Braithwaite
Julia Brittain
Belinda Gehlert
Danielle Jaquillard
Alexis Milton
Michael Milton
Ambra Nesa
Julie Newman
Emma Perkins
Alexander Permezel
Alison Rayner
Violas
Justin Julian**
Martin Alexander~ (Acting Associate Principal)
Anna Hansen
Natalie Maegraith
Rosi McGowran
Michael Robertson
Cellos
Sharon Grigoryan** (Acting Section Principal)
Gemma Phillips~ (Acting Associate Principal)
Cameron Waters ~ (Acting Associate Principal)
Sherrilyn Handley
David Sharp
Double Basses
Damien Eckersley** (Guest Section Principal)
David Schilling~
Belinda Kendall-Smith
Flutes
Kim Falconer**
Lisa Gill
Oboe
Joshua Oates**
Renae Stavely~
Peter Duggan
Clarinet
Dean Newcomb**
Darren Skelton
Bassoons
Mark Gaydon**
Jackie Newcomb*
Leah Stephenson
Contra Bassoon
Jackie Newcomb*
Horns
Sarah Barrett** (Acting Principal)
Timothy Skelly
Trumpets
David Khafagi**
Martin Phillipson~
Timpani
Andrew Penrose*
Keyboard
Joshua van Konkelenberg* (Guest Principal)
** denotes Section Principal
~ denotes Associate Principal
* denotes Principal Player