ASQ Debussy Program

C o n c e r t T H REE 6 - 1 7 S E P TE M B ER 2 0 1 3

Welcome Welcome to our third national tour for 2013. We’re delighted to be playing with guest artists Ioana Tache on violin and cellist Sharon Draper.

Tonight’s program begins with Mendelssohn - composed while on his honeymoon! This second quartet, from the opus 44 set of three, exemplifies the fleet-footed scurrying characteristics shown in many of his works. Part of his genius lies in the ease in which there is always a melody seamlessly emerging through those textures.

Our newly commissioned work from Andrew Ford, String Quartet no 5, will receive its world premiere on this tour.

Dedicated to his father, it comes hot on the heels of quartet commissions from the Brodsky Quartet and the Sydneybased quartet ‘The Noise’. Tightly woven with lush textures and occasionally fiendish violin writing it is exciting to be the first to realize his vision. A big thank you to our generous commissioning partners in this project.

Fratres has been re-written by Estonian composer Arvo Pärt for many different instrumental combinations since the original string quintet version in 1977.

In this quartet version some instruments require scordatura (tuning the strings to different pitches) in order to create the right harmonic effect for the work.

Its crystalline clarity and cleansing purity provide the perfect sorbet before the Debussy.

Claude Debussy’s only quartet is an early work that helped pave a new way forward for European music. The opening theme becomes the germ for the entire piece that stretches harmonic and rhythmic vitality to new levels. When Eugene Ysaÿe’s quartet premiered the work in 1893, Debussy’s teachers, critics and the public were rather baffled by it.

Today we hear it with very different ears and this wonderful music has become a cherished cornerstone of the repertoire.

Australian String Quartet

Elder Conservatorium of Music

1620-2

Delivering over 130 years of music excellence The Elder Conservatorium of Music is one of Australia’s oldest and most distinguished tertiary music schools. For more than a century, staff at the Conservatorium have educated and inspired generations of performers, composers, teachers and leaders in the arts.

Home to the ASQ—our quartet in residence, the Conservatorium hosts a vibrant community of talented musicians and provides a supportive environment that encourages creativity, independence and excellence in music.

Staff and students of the Conservatorium are committed to the artistic, educational and community experience of music, and they share their passion and expression with the public through regular performances and concerts.

Visit our website to learn more about the program of events, and broad range of certificates, diplomas, undergraduate and postgraduate degrees in varied specialisations.

music.adelaide.edu.au

PROGRAM Mendelssohn / String Quartet in E minor op 44 no 2 Andrew Ford / String Quartet no 5 (new commission) Interval Arvo Pärt / Fratres Debussy / String Quartet in G minor op 10 With guest artists Ioana Tache, violin and Sharon Draper, cello

DATES Adelaide Friday 6 September Adelaide Town Hall Perth Monday 9 September Perth Concert Hall Melbourne Wednesday 11 September Melbourne Recital Centre Brisbane Monday 16 September Conservatorium Theatre, South Bank Sydney Tuesday 17 September City Recital Hall Angel Place

Don’t miss our next National Tour Beethoven / 11 - 20 November 2013

Guadagnini Quartet Project

The members of the Australian String Quartet are privileged to perform on a matched set of Guadagnini instruments. Hand crafted by Giovanni Battista Guadagnini between c.1743-1784 in Turin and Piacenza, Italy, these exquisite instruments were brought together through the vision of Ulrike Klein, founder of Ngeringa Arts.

The instruments are currently on loan to the Australian String Quartet from Ulrike Klein, Maria Myers and Ngeringa Arts.

In order to secure the instruments for future generations, Ngeringa Arts has launched the Guadagnini Quartet Project. Its aim is to acquire all four instruments for future generations of Australian musicians and music lovers. Once complete, it will be the only matched set of Guadagnini instruments in the world and Ngeringa Arts will hold it in perpetuity.

Already, through the generosity of its donors, Ngeringa Arts has acquired the viola and the Board would particularly like to thank and acknowledge the following patrons who have each made a significant contribution: Lyndsey & Peter Hawkins Joan Lyons Hartley Higgins Mrs F.T. MacLachlan OAM Jerry & Ra Hryckow Diana McLaurin Klein Family Foundation Anonymous (1)

History-making endeavors like the Guadagnini Quartet Project are born from passion.

To succeed, Ngeringa Arts needs the involvement of visionaries who also recognise the significant cultural value in a collection of this calibre. Please join Ngeringa Arts in building this extraordinary musical legacy and be part of the donor circle that is committed to acquiring the cello.

To donate go to www.ngeringaarts.com For more information contact Alison Beare, General Manager, Ngeringa Arts, P: (08) 8227 1277 E: Alison@ngeringaarts.com

AUSTRALIAN STRING QUARTET

With a rich history spanning 28 years, the Australian String Quartet (ASQ) has established a strong national profile as an Australian chamber music group of excellence, performing at the highest international level. From its home base at the University of Adelaide, Elder Conservatorium of Music, the ASQ delivers a vibrant annual artistic program encompassing performances, workshops, commissions and education projects across Australia and abroad.

One of Australia’s finest music exports, the ASQ has appeared at international music festivals and toured extensively throughout the United Kingdom, Europe, New Zealand and Asia in recent years.

The Quartet is frequently broadcast on ABC Classic FM and records regularly for public release. The Quartet’s 2014 projects begin with John Adams’ Australian premiere of Absolute Jest with the Sydney Symphony Orchestra in February.

Other annual projects beyond the National Season include its own flagship festivals in the Southern Grampians and Margaret River, regional touring and invitations to perform at leading Festivals across Australia. As advocates for Australian music, the Quartet delivers an annual forum for emerging composers and regularly commissions, showcases and records new Australian work. Its education program extends beyond workshops and masterclasses to include the Quartet Project – a national mentoring program for emerging quartets.

The Quartet is on the cusp of an exciting new era as it seeks to appoint a new violinist and cellist to join continuing members, first violinist Kristian Winther and violist Stephen King ahead of its 2014 program. Kristian and Stephen are delighted to be joined by guest artists Ioana Tache, violin and Sharon Draper, cello for the Debussy concert.

www.asq.com.au

Guest Artist Ioana Tache violin Born in Belgrade, Serbia, Ioana began her violin studies at the age of five and at age seven commenced her orchestral and chamber music training after immigrating to Australia with her family in 1998.

Ioana studied at the Victorian College of the Arts Secondary School from 2004, graduating in 2010 under the tutelage of Michelle Ruffolo and Zoe Black.

There, she received a number of awards, including the John Hopkins Award and was a finalist in both the Pioneer Outstanding Soloist Competition and the Chamber Music Competition in 2010.

Ioana was principal second violin with the Melbourne Youth Orchestra from 2008 - 2011, under the baton of Fabian Russell.

In 2011, Ioana began studying with William Hennessy at the Australian National Academy of Music, where she is currently in her third and final year.

During her time at the Academy, Ioana has collaborated with such artists as Anthony Marwood, Pekka Kuusisto,

Richard Tognetti, Dale Barltrop, Daniel Harding, James Judd, Paul Daniel, Johannes Moser, leading the ANAM Orchestra with soloists Nicolas Altstaedt and Paavali Jumppanen.

Ioana was chosen with her quartet at the Academy to perform at the Perth Festival as part of the Quartetthaus season in early 2013, performing works by Mozart, Shostakovich and Stanhope. In early July they collaborated with the Brodsky Quartet, performing Shostakovich’s 14th quartet with cellist Jacqueline Thomas.

Ioana is the current recipient of an 1849 Giovanni Francesco Pressenda violin, which has been provided on loan by Janet Holmes à Court to the Academy in memory of Richard Pollett.

Guest Artist Sharon Draper cello Born in Melbourne, Sharon studied at Melbourne University and ANAM under David Berlin, Philip Green and Howard Penny. During her university studies she played regularly with the Melbourne Symphony Orchestra, Australia Pro Arte (now Melbourne Chamber Orchestra), Academy of Melbourne Orchestra and Orchestra Victoria. In 2009 she was accepted into the Australian Chamber Orchestra’s Emerging Artists program, and has since toured extensively with the ACO. In 2008 Sharon was appointed to a position with the Melbourne Symphony Orchestra, which she held until 2012. She was a regular participant in the MSO’s “Chamber Players” series.

In 2011 Sharon was a recipient of the MSO Friends’ Travel Scholarship and spent a year in Berlin studying with Professor Wolfgang Emanuel Schmidt and Nicolas Alsteadt. Since then she has performed with the Mahler Chamber Orchestra and Spira Mirabilis Chamber Orchestra.

As a soloist, Sharon has performed concertos with the Orchestra Victoria, Melbourne Chamber Orchestra, the Australian Chamber Orchestra, Melbourne University Chamber Orchestra, Monash Academy Orchestra, the Adelaide Chamber Players, Melbourne Youth Orchestra and the ANAM Orchestra.

Sharon also has a passion for teaching and tutors ensembles such as the Melbourne Youth Orchestra and the university orchestras, AYO’s National Music Camp orchestras, and has been a guest chamber music tutor at Australian National Academy of Music. In 2009 she formed the Hopkins String Quartet with colleagues Wilma Smith, Fiona Sargeant and Yi Wang, which had a regular series at the Melbourne Recital Centre and Stones of the Yarra Valley.

Andrew Ford composer

Andrew Ford is a composer, writer and broadcaster, and has won awards in all three capacities, including the 2004 Paul Lowin Prize for his song cycle Learning to Howl and in 2010 a Green Room Award for his opera Rembrandt’s Wife. His music has been played throughout Australia and in more than 40 countries around the world.

He was composer-in-residence with the Australian Chamber Orchestra (1992–94) and has held the Peggy Glanville-Hicks Fellowship (1998–2000) and a two-year fellowship from the Music Board of the Australia Council (2005–06).

A former academic, Ford has written widely on all manner of music and published seven books, most recently Try Whistling This (2012). He has written, presented and co-produced four radio series, including Illegal Harmonies and Dots on the Landscape, and since 1995 he has presented The Music Show each Saturday morning on ABC Radio National. www.andrewford.net.au

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Felix Mendelssohn Felix Mendelssohn (1809-1847) String Quartet in E minor, op 44 no 2

Allegro assai appassionato Scherzo: Allegro di molto Andante – Presto agitato In 1826 two precociously gifted boys met in Berlin: Felix Mendelssohn and Ferdinand David, a sixteen year-old violinist employed in the orchestra of Königstadt theatre until 1829, who frequently played chamber music with Mendelssohn. When in 1835, Mendelssohn became conductor of the Gewandhaus Orchestra in Leipzig, he invited David to move to Leipzig and become the orchestra’s leader.

He performed with Mendelssohn in chamber concerts and established the violin department of the new Leipzig Conservatorium. Mendelssohn wrote his immortal Violin Concerto in E minor for David, and David led the quartet that premiered Mendelssohn’s op 44 no 2 in November 1837.

Mendelssohn’s life had been profoundly altered by the death of his beloved father late in 1835. Early in 1836, however, Mendelssohn made the acquaintance of Cécile Jeanrenaud, with whom he fell in love; they married in 1837.

Mendelssohn wrote the E minor quartet (no 2) first, while on his honeymoon.

He later self-deprecatingly described it as ‘pretty’, but in fact it is a work of great subtlety. The opening movement, with its rising minor arpeggio, heavy dissonances on strong beats that resolve by a downward step, and throbbing

syncopations remind us of Mozart in his bittersweet ‘G minor mood’. The contrasting major key theme is much more songlike and both, in classical fashion, are fragmented and rearranged in the often stormy development section.

Haydn ‘invented’ the scherzo and Beethoven made it distinctly his own, but Mendelssohn, very early in his career, discovered a secret for creating light, fast scherzos that shimmer and dance without ever sounding frenetic.

Here such shimmering textures are offset by more conventional dance rhythms in the contrasting trio section.

No Mendelssohn slow movement can escape comparison with his Songs without Words, including this andante which begins with a high, long-breathed melody over gently broken chords in the work’s relative major key of G. The accompanying figures remain constant, though the texture gradually admits contrapuntal thematic discourse between the instruments. There is the expected contrasting central section, which ruffles the emotional surface but only briefly, before the cello takes up the song again.

The slow movement serves as a foil for the substantial Presto agitato finale which returns us to the darker home-key of E minor and, at the beginning, more feverish dance rhythms. There is a more lyrical contrasting theme, which is at one point superimposed on the rhythmic idea, but the latter has the last word. © Gordon Kerry 2009/13

COMMISSIONING PARTNERS The Australian String Quartet is committed to the development of new Australian works and believes strongly in supporting Australian composers and showcasing their work both nationally and internationally. We are extremely proud to be premiering the new work ‘String Quartet no 5’ by Andrew Ford within the Debussy national tour. The commission of this work was made possible by the generosity of a group of patrons and the ASQ would like to take this opportunity to thank and acknowledge them.

David and Liz Adams Berg Family Foundation Claire Brittain and John McKay Graham and Nancy Fox Tim and Irena Harrington Dr Penny Herbert in memory of Dunstan Herbert Kevin and Barbara Jarry Simon Marks-Isaacs Ian and Margaret Meakin Phil and Helen Meddings Graham and Robyn Reaney Chris and Fran Roberts Michael and Chris Scobie Dick and Caroline Simpson Tony and Pamela Slater Nigel Stoke Gary and Janet Tilsley Ted and Robyn Waters Pat and Rosslyn Zito

Andrew Ford Andrew Ford (born 1957) String Quartet no 5 (2013) The request from the Australian String Quartet to write a work for their 2013 season, came in May 2012, on the very day that I completed my String Quartet no 3 for the Brodsky Quartet. That I said yes to the ASQ, in spite of the fact that String Quartet no 4 (for the improvising quartet, the NOISE) had already been commissioned and had to be written first, was partly a matter of immediately having a very clear idea of how the piece might go. Unlike no 4, it would be fully notated; and unlike no 3, which is in four movements, the fifth quartet would be in one long movement. I also knew that it would start slowly and build to a multilayered climax in which there would be a big tune played by the second violin, simultaneously elaborated in the other parts. And that, very broadly, is how the piece turned out, though for most listeners it will not, perhaps, be the most striking thing about it.

On 5 December 2012, my father died unexpectedly and I flew to England to be with my family and attend his funeral.

At the funeral there was just the one hymn, ‘To Be a Pilgrim’, which we sang because it had been Dad’s school song.

The hymn is the work of the composer Ralph Vaughan Williams in his capacity as editor of the English Hymnal, though

he did not himself compose the tune he called ‘Monks Gate’. In fact we don’t know who composed it, because it was a traditional dance tune that Vaughan Williams ‘collected’ from Mrs Harriet Verrall of Monks Gate in West Sussex, finding that with a few adjustments it fitted John Bunyan’s famous words. (As it happens, the words were also adjusted for the hymnal, Percy Dearmer ditching lines about fighting giants and remaining undaunted in the presence of hobgoblins in order to placate 20th-century sensibilities. A pity, I’ve always thought.)

Flying home to Australia, thinking about Dad, and with that tune stuck in my head, it occurred to me that this might be the very tune that arrives at the climax of my string quartet. And so it is, though for the keen-eared there are hints and fragments of it from as early as Bar 3 and it never really goes away.

But it would be quite wrong to think of this piece, with its neutral, generic title, as being about my father, and still less about his death. It’s not. It is the piece I always intended to write, based on the component parts of a very good tune. © Andrew Ford 2013

Arvo Pärt Arvo Pärt (born 1935))

Fratres for string quartet In his native Estonia, Arvo Pärt at first toed the line of the official proSoviet authorities. In 1962, a joint firstprize winner in the All-Union Young Composers Competition, he cultivated the sanctioned neo-classical manner. He then experimented with the aspects of contemporary western musical language during the 1960s, and this phase culminated in his Credo of 1968, which earned Pärt official disfavour as much for its frankly Christian expression as its ‘decadent’ compositional techniques.

In response, perhaps, to a crisis both religious and artistic, Pärt wrote very little between then and the mid-1970s.

Then, as he was formally received into the Orthodox Church, he produced works that established his individual voice and international reputation, and display his newly discovered approach to composition based in extreme simplicity. As he said: “I have discovered that it is enough when a single note, or silent beat, or a moment of silence, comforts me. I work with very few elements, with one voice, with two voices. I build with the most primitive materials—with the triad, with one specific tonality.”

Fratres was composed in 1977 for mixed ensemble, and was arranged for string quartet in 1985. Pärt has never explained

the significance of the title, which is Latin for ‘brothers’. It may be a call to universal brotherhood or recall the prayer in the Latin mass that begins ‘Pray, brethren, that my sacrifice may be acceptable to God the Father Almighty’.

Over a drone of the notes A and E, both the melodic and chordal voices are stated in an uncomplicated long-shortshort-long pattern. At each statement, however, Pärt adds extra beats (the time signatures change from 7/4 to 9/4 to 11/4). Moreover, the harmony actually moves almost imperceptibly away from the Aeolian mode established at the start, and this adds to the growing intensity of the piece as it gathers voices and its dynamics gradually increase. It is the work of a sophisticated composer who has discovered the gift of simplicity. He said in an interview with The Musical Times’ Jamie McCarthy: “Composers often think that because they think a lot they have something to say. Underneath all this complexity there is only a lack of wisdom and no truth.

The truth is very simple; earnest people understand that to be so. Those who are not earnest, or who are utterly mistaken, don’t understand it and they translate their mistakes into their music.” © Gordon Kerry 2004/13

Claude Debussy Claude Debussy (1862-1918) String Quartet in G minor, op 10

I II III IV

Animé et très décidé Assez vif et bien rythmé Andantino: Doucement expressif Très modére - En animant peu à peu – Très mouvementé et avec passion – A tempo – Très anime – Très vif

Debussy completed his ‘Premier Quatuor en sol mineur, op 10’ in 1893, and it was first performed by the Ysaÿe Quartet in that year. The work therefore dates from a time when he was most involved with Symbolist poetry – he was producing evocative works like the Nocturnes, the Proses lyriques and the Prélude à l’après-midi d’un faune and that year received permission from the Belgian poet Maeterlinck to use his play Pelléas et Mélisande as the basis for an opera.

It is tempting, therefore, to see this as the final work of Debussy’s juvenilia – a self consciously ‘classical’ work with all the trimmings: four movements, no extra-musical program, a clarity of form and economy of utterance. The variety of influences that later commentators have found in this work suggests the ‘magpie’ ear of a young composer: echoes of Grieg and Borodin and the rhythms of Javanese gamelan, which he heard at the Paris Universal Exhibition of 1889. Debussy’s quartet also displays at least one crucial device that he learned from César Franck – that of cyclic form. In other words, Debussy derives the principal material for the

whole work from the first theme of the first movement. In the scherzo second movement, for instance, it appears in 6/8 in the viola; at the beginning of the Andantino it appears in reverse in the first violin. The finale takes its few notes as the basis for contrapuntal development, and the movement reaches its climax with the return of the theme in its original guise. In fact Debussy applies Franck’s principle more rigorously than Franck; scholar Déirdre Donnellon suggests that it reflects Debussy’s ‘dislike of lengthy developments, and his aversion to traditional forms’.

The piece was well received when it appeared, though not because it played by anyone’s rules. (Indeed, the composer Ernest Chausson dismissed it in terms that mightily offended Debussy, and Franck himself described the work as something like the ‘nerve-endings’ of music.) The reality is that here Debussy discovers an abstract musical language – of ancient modes, textural mosaics, rhythmic sophistication and luminous sonority which nonetheless reflects many of the ideals of Symbolist writing and ‘impressionist’ art. Debussy’s early biographer Louise Liebich is not overly fanciful to compare the work to ‘Keats’ distant haunted meres and faery seas forlorn.’ The Quartet eschews the heavily emotive world of postWagnerian romanticism, but it also avoids ‘neo-classical’ formality, pointing unequivocally towards the new century. © Gordon Kerry 2004/13

10% off THe beST AvAiLAbLe RATe foR ASQ MeMbeRS* The Sebel Resort Noosa is delighted to be the preferred accommodation partner for the Australian String Quartet as they tour the Sunshine Coast throughout the National Season 2013.

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DONORS

The Australian String Quartet would like to acknowledge and sincerely thank the following donors for their ongoing support along with those donors whose very important contribution remains anonymous.

The following donations reflect cumulative donations made from 2006 onwards.

All donations to the ASQ are tax deductible and can be made by phoning the ASQ on 1800 040 444.

$400,000 + Allan J Myers AO & Maria J Myers AO $300,000+ Hunt Family Foundation $50,000+ Clitheroe Foundation Lyndsey & Peter Hawkins Klein Family Foundation Michael Lishman $30,000+ Nicholas & Elizabeth Callinan Elizabeth Clayton Richard & Tess Harvey Janet and Michael Hayes Norma Leslie David and Pamela McKee Peter and Pamela McKee Thyne Reid Foundation Peter and Melissa Slattery $20,000+ The Ian Potter Foundation Diana Ramsay AO DSJ $15,000+ John Clayton Bruce Debelle Josephine Dundon Robert Salzer Foundation $10,000+ Macquarie Group Foundation Mrs ST McGregor $5,000+ Berg Family Foundation Michael J Drew Dr EH & Mrs A Hirsch M & F Katz Family Foundation Michael & Susan Kiernan

Mr Robert Kenrick The Hon Christopher Legoe Q.C. & Jenny Legoe Kevin Long Joan Lyons Mrs Diana McLaurin P.M. Menz The Late Dame Elisabeth Murdoch AC DBE John O’Halloran Tony & Joan Seymour $2,000+ Don & Veronica Aldridge BJ & JM Barnwell David Bright Dianne Barron-Davis Graham & Charlene Bradley Jennifer & Stephen Charles Dr Peter Clifton David Cooke David Constable AM Maurice & Tess Crotti Dr Neo Douvartzidis John Funder & Val Diamond Higgins Coatings Pty Ltd Hillier Carter Properties Hilmer Family Foundation Janet Holmes à Court AC Keith Holt Mr S Johns Brian L. Jones Renata & Andrew Kaldor Kevin & Barbara Kane Rose Kemp Patricia H Reid Jeanette SandfordMorgan OAM Patrick & Kathie Moore Dr Robert Marin Jenny Perry

Anita Poddar & Peter Hoffmann Trish & Richard Ryan AO Paul & Margarita Schneider Vivienne Sharpe Andrew Sisson Keith & Dianne Smith Dr Nigel & Mrs Chris Steele Scott OAM Elizabeth Syme Gary & Janet Tilsley Eng Seng Toh Marjorie White Lyn Williams AM Janet Worth Pamela Yule $1,000+ David & Liz Adams Peter Allan Dr Reiko Atsumi Simon Bathgate Heather Bonnin OAM Jean & Geoff Baulch Alison C Beare Ms Baiba Berzins Candy Bennett Thomas Breen Pam Caldwell John & Libby Clapp Geoff Clark Colin & Robyn Cowan Robin Crawford & Judy Joye Marie Dalziel Rae De Teliga Jiri & Pamela Fiala Philip Griffiths Architects Dr Penny Herbert in memory of Dunstan Herbert Kevin & Barbara Jarry Hon Diana Laidlaw AM

Keith & Sue Langley Helen Lynch Simon Marks-Isaacs Rosemary McGlashan Phil & Helen Meddings Mrs Frances Morell Don & Jacquelyn Munro David Nelson Ken Nielsen Jonathon Nicholson John & Etelka Richards Chris & Fran Roberts Lesley Russell Jill Russell Michael & Chris Scobie Dick & Caroline Simpson Tony & Pamela Slater Nigel Stoke Carl Vine Ian Wallace & Kay Freedman Ted & Robyn Waters Fay Zaikos $500+ Terrey & Anne Arcus Angela & John Arthur Philip Barron GC Bishop & CM Morony Stephen Block Andrew & Olga Buchanan David Bullen Kate Bullen Captain & Mrs DP Clarke Caroline & Robert Clemente TC and MR Cooney Alan Fraser Cooper Martin Dykstra Philip & Barbara Fargher Margaret Flatman Dieter Grant-Frost Professor Keith Hancock

Tim & Irena Harrington Graeme Harvey Mary Haydock Dr EH & Mrs A Hirsch Dr Anthony & Emily Horton Dr Greg Jaunay Stephen and Kylie King Rod and Elizabeth King Wayne & Victoria Laubscher Edwina Lehmann David & Anne Marshall Ian and Margaret Meakin HE & RJ McGlashan John McKay & Claire Brittain Alison McIntyre James McLeod Susan & Frank Morgan Mrs Frances Morrell Victor & Barbara Mulder Mimi Murphy Derrick Nicholas Edward Nuffield John Overton Leon & Moira Pericles Sabine Pfuhl Colin A Physick Graham & Robyn Reaney Ian & Gabrielle Reece Susan M Renouf Mr. J. Standring James Syme Brian & Robyn Waghorn Jenny Wily & Adrian Hawkes Pat & Rosslyn Zito $100+ Bill Anderson Kelly Ainsworth Julie Almond Marion R Allen Susan Armitage Suzanne Atkins David & Elaine Annear Merrawyn Bagshaw Patricia Barker Joy Barrett-Lennard Mrs J Beare Mrs Jillian Beare

Mr & Mrs Peter & Alison Beer Iain Berriman Helen Biar Mrs Joyce Billings Wendy Birman Michael Bland John Blattman Stephen & Caroline Brain Sue Bratasiuk Max & Elizabeth Bull Pip Burnett Mr Gary Byron Lyndie & Tim Carracher Don Carroll Mrs Ann Caston Richard & Lina Cavill Max & Stephanie Charlesworth Peter Cleary Brian & Barbara Crisp Greg Coulter & Carolyn Polson Mrs Margaret Daniel OAM Susan Davidson Graham Dudley Ron & Dorothy Dyer Dr H Eastwell Mrs Alexandra Elliott Susan Fallaw Mrs Judy Flower Helen Forrester Pamela Foulkes Richard Frolich Christopher Fyfe Ross & Jen Gallery The Allen G Garrett Trust Prof. Robert Gilbert Margrette Glynn Dr Joan Godfrey John & Carole Grace Ross Grainger Jan Grant H.P. Greenberg Helen Greenslade Ms Margaret Gregory Angela Grutzner Tony Grybowski Des Gurry Dr & Mrs GC Hall

Geoff Hashimoto Geoffrey F Hayes Mrs Helen Healy Laurie & Philippa Hegvold Mr Trevor Henry Mr Dennis Henschke Hartley Higgins David Hilyard Emily Hunt Anthony Ingersent Vernon Ireland Jim & Freda Irenic Robin Isaacs Ms Nola Jennings Sarah Jewell Merle Jones Joan Jones Mr Martin Keith Angus & Gloria Kennedy Nicholas Korner David Leece Ida Llewellyn-Smith Grant Luxton Margaret & Cameron MacKenzie Greg Mackie OAM Sheelagh Mahon Mrs Rose McAleer Helen McBryde Duncan McKay Mrs Inese Medianik Mrs Janice Menz Dr Colin E Moore Ms Elizabeth Morris Hughbert Murphy June Nichols Lyn Nossal Mrs Mary O’Hara Lee Palmer Josie Penna The Rev Dr Philip Basil Phillips Mr William Pick Janice Pleydell J & M Poll Mr Franz Pribil Dr Barbara Radcliffe William & Elizabeth Riedel Dr James Robinson

Ms Chloe Roe Mrs Clare Rogers Peter Rush Jenny Salmon Meredyth Sarah AM Miss Judith Schroder Adrienne Shaw Antony & Mary Lou Simpson Mrs Angela Skinner Judy Sloggett Elizabeth Smith Derek Smith Marilyn Smith Barbara Stodart Terrie Stoyel Sandra Stuart Natalie Sugden Dr G Straznicky Robyn Tamke JJ & AL Tate Patricia Thorpe Michael Tingay Brian Vogt Professor Ray Wales Eric Wegman Jeffrey Whitford Jenny Wilson Peter Wilkinson Mr David Young Silvana Zerella

Music Library Fund The ASQ greatly appreciates the support of the following patrons who have generously contributed to the acquisition of musical works to establish and build the ASQ’s own music library.

Mr RS Divall Carole & John Grace Roz Greenwood & Marg Phillips Janet & Michael Hayes Mrs Diana McLaurin Gary & Janet Tilsley

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