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We celebrate the 10th anniversary of our National Education Program this year and are committed to providing immersive music education opportunities for children and young musicians across the country. Thanks to you, our supporters, we are nurturing the future of Australian music. It is my vision to continue delivering and expanding our important programs, introducing more young people to the joys and benefits of music. Please join us by supporting our National Education Program.
Richard Tognetti Artistic Director
AO
To donate please visit ACO.COM.AU/SUPPORT/DONATE For more information please phone Ali Brosnan on (02) 8274 3830 or email patrons@aco.com.au
Image: Students and ACO musicians participating in a workshop at Sunshine Harvester School, presented in partnership with the Australian Children’s Music Foundation. Image Š Lee Te Hira
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16–26 AUGUST ADELAIDE, BRISBANE, MELBOURNE, SYDNEY
Discover the ACO in full symphonic force. MOZART The Magic Flute Overture MOZART Sinfonia concertante in E-flat major BRAHMS Symphony No.3 in F major RICHARD TOGNETTI Director & Violin CHRISTOPHER MOORE Viola
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YOU CAN NOW EXPERIENCE THE ACO IN NEW PLACES. Introducing ACO VIRTUAL, the Australian Chamber Orchestra’s new virtual installation. This world first will be travelling around Australia, giving everyone the chance to get up close, like never before, to this critically acclaimed orchestra. Find out more at aco.com.au/acovirtual CommBank is proud to be the Founding Partner of ACO VIRTUAL.
ACO WH AT ’ S O N
BRAHMS 3 16–26 AUGUST After triumphant performances of Beethoven in 2012, Brahms in 2013 and Mahler & Sibelius in 2014, Richard Tognetti and the Orchestra return, in grand style, to Johannes Brahms. Brahms’ Third Symphony is perfect for the ACO. It’s a concise and confident masterpiece, mixing grandeur and intimacy in equal parts. Rich in melody and intensely lyrical, this is a truly passionate work. aco.com.au/brahms3 THE BEST OF BRITISH 19–30 AUGUST ‘The Best of British’ is performed by AcO2 and stars international director and violinist Alexander Sitkovetsky. The program draws on a rich body of British compositions from the Baroque period through to the 20th century, combining much-loved music by Handel, Purcell, Holst and Britten with the exquisite violin concerto by Sir Andrzej Panufnik, a highly respected 20th-century composer and conductor who escaped communist controlled Poland in the 1950s and made the UK his home. aco.com.au/bestofbritish OLLI MUSTONEN, BACH & SHOSTAKOVICH 12–20 SEPTEMBER Olli Mustonen is music’s ultimate triple threat: a virtuosic pianist; an extraordinary conductor; and, an outstanding composer. This will be an enthralling performance. Hindemith’s Four Temperaments is a lush, bluesy ballet, while Mustonen’s Cello Sonata is a gripping tale from a deft storyteller. Bookending the evening are wise and exhilarating masterpieces from Bach and Shostakovich. aco.com.au/olli ULURU FESTIVAL 30–31 OCTOBER The ACO will perform a series of intimate concerts led by Richard Tognetti at this exclusive first-time event in the spiritual heart of Australia. Limited to a maximum of 380 guests, the Festival features ARIA nominee Steve Pigram lending his soulful voice and rhythmic guitar to harmonise with the ACO. Tickets selling fast. ayresrockresort.com.au/acoulurufestival
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A FRE NCH CE LE BR ATION Susan Graham Mezzo-Soprano Karen Gomyo Violin Ike See Violin Christopher Moore Viola Timo-Veikko Valve Cello Christian Ihle Hadland Piano RAVEL Trois poèmes de Stéphane Mallarmé RAVEL Piano Trio in A minor INTERVAL RESPIGHI Il tramonto FRANCK Piano Quintet in F minor
Approximate durations (minutes): 12 – 30 – INTERVAL – 17 – 39 The concert will last approximately two hours including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
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M E S SAG E F RO M TH E G E N E R A L M A N AG E R
While Ravel’s Piano Trio and Franck’s Piano Quintet are quite frequently heard pieces of chamber music, the other pieces on this program (Ravel’s exquisite Mallarmé songs and Respighi’s ravishingly beautiful Il tramonto) call for the chamber group to collaborate with a vocalist of exceptional style and musicality. The ACO is so fortunate to have this opportunity to work with America’s best loved mezzo-soprano Susan Graham and we are all looking forward to these concerts immensely. For the last few weeks, Richard Tognetti has been working on some exciting new projects which will feature in our 2016 and 2017 seasons. In May, as soon as he returned from this Four Seasons concerts with The Academy of Ancient Music in London, he started work on two big film-and-livemusic projects which will come to fruition in 2016 and 2017. One of them is a further development of The Reef, involving another on-location shoot on the remote north coast of Western Australia. This new version of The Reef, will be unveiled in February 2016 just prior to the ACO’s US tour of The Reef, which includes a performance in Los Angeles at the Walt Disney Concert Hall, presented by our friends at the Los Angeles Philharmonic, followed by a performance in New York. The second big filmand-live-music project is still under wraps, but may involve a collaboration with one of Australia’s most exciting adventure film directors who has recently had a massive hit at the Sydney Film Festival… As soon as Richard returns from the film location in WA, he will be directing the biggest programs of 2015. In August, he leads the Orchestra in Brahms’s most lyrical and seductive symphony and teams up with Chris Moore in Mozart’s breathtaking double concerto for violin and viola. Then, in September, Richard officially celebrates his 25th year at the helm of the ACO with a program of Mozart last three symphonies – an orchestral tour de force from the heartland of the ACO’s repertoire. For a foretaste of the Brahms, you can hear the ACO’s spellbinding performance of his Symphony No.4 on Spotify and part of Spotify’s ACO Sessions. Timothy Calnin General Manager 12
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A BO U T TH E M U S I C
MAURICE RAVEL Born Ciboure, Basses-Pyrénées 1875. Died Paris 1937. Trois poèmes de Stéphane Mallarmé (Composed 1913) I. II. III.
Soupir (Sigh) Placet futile (Futile petition) Surgi de la croupe et du bond (Surging up from the rounded flank and leap)
Sometimes the international world of classical music seems very small. Just before the Great War, an intriguing confluence of composers and musical ideas resulted in three remarkable works. It began with an early performance of Schoenberg’s 1912 Pierrot Lunaire, a ‘melodrama’, a semistaged work for voice and small chamber ensemble: radical in its instrumentation, atonality, choice of tiny obscure poems, and use of sprechstimme (a vocal technique of pitched sung-speech).
PICTURED: Maurice Ravel, 1913
Stravinsky attended that performance in Berlin and was inspired to try his hand in a similar genre. The result was Three Japanese Lyrics, for voice, two flutes, two clarinets, string quartet and piano. At home in Switzerland in the northern spring of 1913, he showed the newly completed work to his visitor Maurice Ravel. Stravinsky dedicated the Lyrics respectively to three French composers: Maurice Delage (who had travelled to Japan and introduced Stravinsky to its art), Florent Schmitt (whose ballet influenced Stravinsky’s Rite of Spring), and Ravel. Ravel likewise immediately grasped the expressive possibilities of the chamber ensemble and voice combination, and decided to write his own three-part song sequence for the same forces. He repaid the courtesy and dedicated his songs in turn to Stravinsky, Schmitt, and the iconoclastic composer Erik Satie. Possibly before he’d even written them, Ravel planned a ‘concert scandaleux’ in Paris, with his Trois poèmes, Stravinsky’s Lyrics and Delage’s Quatre Poèmes Hindous – an event which duly took place in January 1914. Ravel attached enormous importance to his choice of poetry. He openly thought the Symbolist poet Stéphane Mallarmé (1842–1898) to be ‘the greatest French poet’. But unfortunately for those of us who don’t speak French, Mallarmé is considered almost impossible to fully translate, AUSTR ALIAN CHAM B ER ORCH ESTR A
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as very often part of his poetry’s effect is drawn from the sounds, not just the words themselves. By way of local example, consider Les Murray’s poem Bats’ Ultrasound, where he presents the bats’ own high-pitched, screeching language: ‘ah, eyrie-ire, aero hour, eh? / O’er our ur-area (our era aye / ere your raw row) we air our array’… and so on. While the words themselves could be translated literally, it would lose the descriptive impact of all those squeaky ‘ee’ and ‘i’ sounds. Likewise, Mallarmé believed saying his poetry out loud was important: sometimes he used homophones to create lengthy aural puns – words with two meanings – so the listener had to guess which was meant. It created a slipperiness of interpretation that Ravel found delightful. The Symbolism of which Mallarmé was such a leading figure was all about mystery, elusiveness: he found joy in evoking or suggesting things, ‘little by little’. Ravel’s wonderful ear for subtle shifts in instrumental colour was an ideal match for this. Musicologist Robert Craft has pointed out with what loving care Ravel set these three poems. Each syllable is delicately placed in a way which reflects the poet’s intentions; there are no ornaments, nor moments when the words become secondary to the music. Perhaps it was only through the introduction to Schoenberg’s sung-speech, via Stravinsky, that Ravel found a way to do his poetic hero justice in music? The third song, ‘Surgi de la croupe et du bond’ was composed months after the first two, but seems the most akin to the moonlit otherworld of Schoenberg’s Pierrot. Ravel considered the text the ‘strangest’ of Mallarmé’s sonnets, and set it with great attention to the rise and fall of the speech inflections, against a floating, washed-watercolour instrumental background. The first song has a more overt shape. Whether translated as ‘Sigh’ or the more nuanced ‘Aspiration’, more than one listener has detected the first half to be like a breathingin, with a subsequent second-half exhalation. There is no moment which can be called a real cadence or stopping point, lending it a dreamy, eternal quality. The second song, ‘Futile petition’, is more about the man’s struggle to ask a question, rather than the result; its atmospheric texture speaks of longing for the impossible, in this case, a princess in a painting. In writing about this song, Ravel summed up his approach to setting Mallarmé’s poetry. “It was essential that the contours of the music, the modulations and rhythms, be as precious, as exactly contoured to the feelings and images of the text as possible … and [true to] the profound and exquisite tenderness of the whole.” KP Kemp © 2015 14
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Soupir Sigh Mon âme vers ton front où rêve, ô calme soeur,
My soul rises toward your brow where, o peaceful
sister, where there lies dreaming,
Un automne jonché de taches de rousseur,
A dappled autumn strewn with russet freckles,
Et vers le ciel errant de ton oeil angélique
And towards the restless sky of your angelic eye,
Monte, comme dans un jardin mélancolique,
As in a melancholy garden,
Fidèle, un blanc jet d’eau soupire vers l’Azur!
A white plume of water faithfully sighs toward
heaven’s blue!
Vers l’Azur attendri d’Octobre pâle et pur
Towards the compassionate blue of pale and
pure October
Qui mire aux grands bassins sa langueur infinite
that mirrors infinite indolence in the vast pools
Et laisse, sur l’eau morte où la fauve agonie
and, over a swamp where the dark agony
Des feuilles erre au vent et creuse un froid sillon,
of leaves floats in the wind and digs a cold
furrow
Se traîner le soleil jaune d’un long rayon.
letting the yellow sun draw itself out a long ray.
Placet futile
Futile petition
Princesse! à jalouser le destin d’une Hébé
Princess! envious of the young Hebe
Qui poind sur cette tasse au baiser de vos lèvres, rising up on this cup at the kiss of your lips, J’use mes feux mais n’ai rang discret que d’abbé
Et ne figurerai même nu sur le Sèvres.
I spend my ardour, but have only the modest
rank of abbot and I will never appear even naked on the Sèvres
porcelain.
Comme je ne suis pas ton bichon embarbé,
Since I’m not your whiskered lap-dog,
Ni la pastille ni du rouge, ni jeux mièvres
nor candy, nor rouge, nor affected pose,
Et que sur moi je sais ton regard clos tombé,
and since I know you look on me with with your
eyes closed,
Blonde dont les coiffeurs divins sont des orfèvres!
O blonde, whose divine hairdressers are goldsmiths!
Nommez-nous... toi de qui tant de ris framboisés Appoint us – you whose many raspberried laughs Se joignent en troupeau d’agneaux apprivoisés
join into flocks of tame lambs
Chez tous broutant les vœux et bêlant aux délires. nibbling at every vow and bleating deliriously. Nommez-nous... pour qu’Amour ailé d’un éventail Appoint us – so that Love winged with a fan, M’y peigne flûte aux doigts endormant ce bercail, will paint upon me a flute in my fingers, lulling
the sheep,
Princesse, nommez-nous berger de vos sourires.
Princess, appoint us shepherd of your smiles.
Surgi de la croupe et du bond
Surging up from the rounded flank and leap
Surgi de la croupe et du bond
Surging up from the rounded flank and leap
D’une verrerie éphémère
of ephemeral glassware
Sans fleurir la veillée amère
without bloom bitter vigil,
Le col ignoré s’interrompt.
the neck, ignored, stops.
Je crois bien que deux bouches n’ont
I believe that the two mouths,
Bu, ni son amant ni ma mère,
of my mother and her lover
Jamais à la même chimère,
Never drank from the same chimera
Moi, sylphe de ce froid plafond!
Me, sylph of this cold ceiling!
Le pur vase d’aucun breuvage
The clean vessel of any drink
Que l’inexhaustible veuvage
that tireless widowhood
Agonise mais ne consent.
agonises yet never consents.
Naïf baiser des plus funèbres!
O naïve but funereal kiss!
A rien expirer annonçant
To expire anything that might announce
Une rose dans les ténèbres.
a rose in the darkness. AUSTR ALIAN CHAM B ER ORCH ESTR A
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MAURICE RAVEL Piano Trio in A minor (Composed 1914) I. Modéré II. Pantoum: Assez vif III. Passacaille: Très large IV. Final Although he was not a prolific composer, Ravel’s contribution to the repertoire of twentieth century chamber music is extremely significant. The String Quartet, the Piano Trio and the Sonata for Violin and Cello are all works of undisputed genius, displaying a mastery of form and instrumental balance, with a sophisticated control of tonal colour which is always accessible and appealing. Few composers can have displayed as wide a range of influences as Ravel, and fewer still shared his concern for formal experimentation mixed with sheer instrumental beauty. The formal clarity of Mozart, the rhythms and dissonances of modern jazz, and the hazy textures of the French impressionists all made their presence felt in Ravel’s music. And then there were the more obscure sources as well – the Pantoum of the Piano Trio, for instance, is inspired by Malay folk poetry! Ravel assimilated all these influences into a distinctive, exotic musical language which simultaneously affirmed and denied Western art music traditions. He extended the harmonic range of traditional chamber music ensembles, incorporated the most striking timbral effects, and altogether ‘Gallicised’ the heavy Teutonic bias in post-Wagnerian music, but he never lost touch with the logical structures and translucent textures – indeed the simplicity – of the classical forms. As a result, he was one of the few twentieth century musical innovators who took his audience with him through his experimental phases (in contrast, perhaps, to the Second Viennese School). His small output of chamber music contains some of his finest achievements in his quest for formal musical perfection. The Piano Trio – one of Ravel’s more astonishing achievements – was completed in the wartime winter of 1914–1915. Rejected by the French infantry because of physical frailty, Ravel joined the ambulance corps and was awaiting his call to duty while working on the Trio. It is easy to assume that the work reflects the anxieties of the loyal patriot on the eve of battle, but it is not specifically programmatic. Besides representing the full maturity of Ravel’s ‘impressionist’ period, the Trio also reflects its composer’s fascination with the music of Asia. Ravel extends his range of instrumental colour through repeated use of arpeggio figures, tremoli recurring at length, harmonics employed repeatedly in the string parts, and with the piano operating in the extreme registers. Dissonances 16
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remain unresolved, with seconds and sixths routinely being added to chords, and modal formulae are used to create strangely elaborate pentatonic melodic patterns. The symmetry inherent in traditional development devices is also avoided in favour of a freer structuring of phrases and larger units of design. The first movement is in 8/8 time divided 3:2:3 and has a long, slow, hypnotic melody which undergoes a variety of tempo
PICTURED: Ravel at the piano, 1914
and mood changes as the movement proceeds. This theme is announced immediately by the piano, with deceptively simple triadic harmony. The key of F major is established and a new idea is introduced. These two themes are then worked out in an astonishing variety of instrumental textures ranging through percussive piano writing, the strings playing two full octaves apart, and with assertive arpeggios high in the piano. In the second movement, Pantoum, Ravel seeks to imitate the rhythms of Malay poetry. The title refers to the Malay sun declamation, accompanied by instruments, and the movement takes the place of a scherzo. The hectic opening theme, together with the two other contrasting but related themes, creates an air of thinly-disguised panic which some listeners have attributed to the wartime conditions during which it was composed. After the frenzy of the Pantoum, the Largo, in the form of a Passacaglia (Passacaille in French), comes as a calm and dignified, but no less intense, contrast. The opening theme moves up from the lower part of the piano, through the cello, to the violin in a broad melodic statement which remains curiously unresolved. The Finale is a cheerful rondo in bipartite form, with an extensive main theme. This movement is brilliantly executed, with continued rhythmic and melodic invention creating a mood almost of celebration. The key of A major is established and the movement, and the work, ends in a mood of undaunted triumph. © Martin Buzacott AUSTR ALIAN CHAM B ER ORCH ESTR A
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OTTORINO RESPIGHI Born Bologna 1879. Died Rome 1936. Il tramonto (Composed 1914) Respighi, undoubtedly the most famous Italian composer of his time, is today best known for his brilliant writing for orchestra in visually evocative works such as The Pines of Rome, The Fountains of Rome and Roman Festivals: a natural genius honed by his studies with the great Russian master of orchestration, Rimsky-Korsakov (composer of Night on Bald Mountain and Sheherazade).
PICTURED: Ottorina Respighi
Through his own compositions and his influence as a teacher of composition at the Conservatorio di Santa Cecilia in Rome (of which he later became Director), Respighi was a key figure – probably the key figure – in the renaissance of instrumental music in Italy, the heartland of opera. Il tramonto belongs to another side of Respighi entirely. It is what he called a poemetto lirico, a ‘little lyric poem’, a setting of Roberto Ascoli’s translation into Italian of Percy Bysshe Shelley’s poem The Sunset. Respighi was obviously attracted to Shelley’s writing: he also set two other long poems as orchestral songs (Aretusa of 1910 and La sensitiva in 1914–15) as well as numerous shorter works for voice and piano. Originally composed for mezzo-soprano and string quartet – though arranged for string orchestra by the composer himself – Il tramonto recalls Respighi’s own skill on violin and viola, and his more than five years as a member of the Mugellini String Quartet in his home town of Bologna.
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“RESPIGHI USES A FULL PALET TE OF COLOURS AND DYNAMICS, FROM FULL-THROATED CRIES OF ANGUISH TO WHISPERING CARESSES.”
(Indeed, the piece was written during a visit to his home town in 1914.)
PICTURED: Page 1 of the Respighi Il tramonto score.
Il tramonto also reflects Respighi’s deep interest in the music of the past. He had quite early in his compositional career become active as a transcriber of music from the 17th and 18th centuries, and in fact it was his version for voice and orchestra of Monteverdi’s Lament of Ariadne that won him his first significant public acclaim outside Italy. In Il tramonto, Respighi, like Monteverdi in works like the Lament of Ariadne, uses recitative – words sung in a flexible, almost speech-like rhythm – as a musical genre capable of standing on its own and expressing the full range of human feeling: a departure from certain operatic conventions, where the emotional heart of the music lies in the arias and the recitatives are little more than a device to string the arias together into a plot. If the form harks back to the early Baroque, the sound world is pure Romanticism. Respighi uses a full palette of colours and dynamics, from full-throated cries of anguish to whispering caresses. Through much of the orchestral writing there runs a flowing rising and falling figure which is passed from one instrument to another to carry the music forward; at other times, the orchestra plays only chords that seem caught out of time. The prevailing mood, however, is one of sorrow, perfectly expressing the haunting tragedy of Shelley’s poem. Natalie Shea, Symphony Australia © 2003
Il tramonto
The Sunset
Già v’ebbe un uomo, nel cui tenue spirto
There late was One within whose subtle being,
(qual luce e vento in delicata nube
As light and wind within some delicate cloud
che ardente ciel di mezzo-giorno stempri)
That fades amid the blue noon’s burning sky,
la morte e il genio contendeano.
Genius and death contended.
Oh! quanta tenera gioia,
None may know
che gli fè il respiro venir meno
The sweetness of the joy which made his breath
(così dell’aura estiva l’ansia talvolta)
Fail, like the trances of the summer air,
quando la sua dama, che allor solo conobbe
When, with the lady of his love, who then
l’abbandono pieno e il concorde palpitar di due creature
First knew the unreserve of mingled being,
che s’amano, egli addusse pei sentieri d’un campo,
He walked along the pathway of a field
ad oriente da una foresta biancheggiante
Which to the east a hoar wood shadowed o’er,
ombrato
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ed a ponente discoverto al cielo!
But to the west was open to the sky.
Ora è sommerso il sole; ma linee d’oro
There now the sun had sunk, but lines of gold
pendon sovra le cineree nubi,
Hung on the ashen clouds, and on the points
sul verde piano sui tremanti fiori
Of the far level grass and nodding flowers
sui grigi globi dell’ antico smirnio,
And the old dandelion’s hoary beard,
e i neri boschi avvolgono,
And, mingled with the shades of twilight, lay
del vespro mescolandosi alle ombre. Lenta
On the brown massy woods – and in the east
sorge ad oriente l’infocata luna tra i folti rami
The broad and burning moon lingeringly rose
delle piante cupe:
Between the black trunks of the crowded trees,
brillan sul capo languide le stelle.
While the faint stars were gathering overhead.
E il giovine sussura: “Non è strano?
“Is it not strange, Isabel,” said the youth,
Io mai non vidi il sorgere del sole,
“I never saw the sun? We will walk here
o Isabella. Domani a contemplarlo verremo
Tomorrow; thou shalt look on it with me.”
insieme.” Il giovin e la dama giacquer tra il sonno e
That night the youth and lady mingled lay
il dolce amor congiunti ne la notte: al mattin
In love and sleep – but when the morning came
gelido e morto ella trovò l’amante.
The lady found her lover dead and cold.
Oh! nessun creda che, vibrando tal colpo,
Let none believe that God in mercy gave
fu il Signore misericorde.
That stroke. The lady died not, nor grew wild,
Non morì la dama, né folle diventò:
But year by year lived on – in truth I think
anno per anno visse ancora.
Her gentleness and patience and sad smiles,
Ma io penso che la queta sua pazienza,
And that she did not die, but lived to tend
e i trepidi sorrisi, e il non morir... ma vivere a custodia del vecchio
Her agèd father, were a kind of madness,
padre (se è follia dal mondo dissimigliare)
If madness ‘tis to be unlike the world.
fossero follia. Era, null’altro che a vederla,
For but to see her were to read the tale
come leggere un canto da ingegnoso bardo
Woven by some subtlest bard, to make hard hearts
intessuto a piegar gelidi cuori in un dolor
Dissolve away in wisdom-working grief;
pensoso. Neri gli occhi ma non fulgidi più;
Her eyes were black and lustreless and wan:
consunte quasi le ciglia dalle lagrime;
Her eyelashes were worn away with tears,
le labbra e le gote parevan cose morte tanto
Her lips and cheeks were like things dead – so pale;
eran bianche; ed esili le mani e per le erranti vene e le giunture rossa
Her hands were thin, and through their wandering veins
del giorno trasparia la luce.
And weak articulations might be seen
La nuda tomba, che il tuo fral racchiude,
Day’s ruddy light. The tomb of thy dead self
cui notte e giorno un’ombra tormentata abita,
Which one vexed ghost inhabits, night and day,
è quanto di te resta, o cara creatura perduta!
Is all, lost child, that now remains of thee!
“Ho tal retaggio, che la terra non dà:
“Inheritor of more than earth can give,
calma e silenzio, senza peccato e senza
Passionless calm and silence unreproved,
passione. Sia che i morti ritrovino (non mai il sonno!)
Where the dead find, oh, not sleep! but rest,
ma il riposo, imperturbati quali appaion,
And are the uncomplaining things they seem,
o vivano, o d’amore nel mar profondo scendano; Or live, a drop in the deep sea of Love; oh! che il mio epitaffio, che il tuo sia: Pace!”
Oh, that like thine, mine epitaph were – Peace!”
Questo dalle sue labbra l’unico lamento.
This was the only moan she ever made.
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AUSTR ALIAN CHAM B ER ORCH ESTR A
CÉSAR FRANCK Born Liège 1822. Died Paris 1890. Piano Quintet in F minor (Composed 1879) I. Molto moderato quasi lento – Allegro II. Lento, con molto sentimento III. Allegro non troppo, ma con fuoco Poor little César-Auguste Franck was afflicted with the kind of ambitious musical parent that makes Leopold Mozart look slack. Mr Franck’s ill-advised career plans for his eldest son saw him push the child into the kind of frivolous piano virtuoso show-offery that would suit the flamboyance of a Liszt, but was sadly at odds with the modest introspection of young César. Liszt himself was gently encouraging of the young pianist, especially of his compositions, but commented in a letter that ‘he is lacking in that convenient social sense that opens all doors’.
PICTURED: César Franck by Pierre Petit
Instead, César found his way to the organ loft. In 1847, he married Félicité Desmoussereaux – over whom he cut contact with his parents two years earlier – and he became the organist of a church with a beautiful new organ by the groundbreaking builder Cavaillé-Coll. Franck would later commission another instrument from the same firm when he got the top organ job at St Clotilde: a fantastic, inspiring mechanical musical creature he described as ‘like an orchestra’, and which would influence all his composing from then on. His duties as an organist required him to do lots of improvising, taking a theme and freely modifying it to cover moments of reflection in the service, or of movement. These skills are surely reflected in his most famous compositional idea: what became known as ‘cyclic’ form, a way of keeping a musical idea alive across all movements of a piece, and very akin to the kind of melodic transformations a church organist performs. In the Quintet it is the second subject of the first movement, beginning with a repeated note, which appears in different costume throughout the work. Franck’s other great gift was as a teacher. Though he became one of the top composition pedagogues in France, he had no ability to engage with the political backstabbing that was rife at the Paris Conservatoire. He offended colleagues by his disregard for their textbooks and rules. His personalised approach endeared himself to his students, and his encouragement of their innovations is reflected in his own more adventurous work, somewhat to the annoyance of conservative peers (and his wife). Perhaps in part because the Franco-Prussian war was so raw and recent, amongst the Parisian musical establishment Franck was almost alone in his pleasure in the new ideas of Germans like Wagner. AUSTR ALIAN CHAM B ER ORCH ESTR A
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“THOUGH THE WORK WAS DEDICATED TO HIM , SAINT-SAËNS REPORTEDLY WALKED OFF STAGE AS SOON AS THE L AST NOTE WAS PL AYED AND DID NOT RETURN .”
These problems were highlighted in a salon concert for the Société Nationale de Musique in 1879. Encouraged by the recent revival of his early piano trios, Franck composed his Piano Quintet, premiered by Camille Saint-Saëns and the Marsick Quartet. Though the work was dedicated to him, Saint-Saëns reportedly walked off stage as soon as the last note was played and did not return. Opinion differs as to whether it was the ‘Germanic’ musical content, or the gossip that Franck was expressing his passion for a student in this work, which offended Saint-Saëns the most. Franck’s wife hated it too; but again, we know she didn’t like the ‘modern’ style of composing and wished he’d write more elegant, pretty things. By way of comparison, the more restrained emotions of Franck’s later Violin Sonata (1886) were universally applauded. For the Quintet is massive in a number of ways. Franck’s handspan was huge, playing full chords within a 12th (most people can only comfortably do this with the outer notes an octave apart). Most pianists therefore approach his work with a degree of fear. Nadia Boulanger commented that the Quintet is chock-full of ‘ppp and fff’, the extremes of dynamic range, which make it quite an exhausting piece, and not the gentle salon music its premiere audience and performers were probably expecting. Stephen Hough has noted that ‘while organists comment on how Franck writes for the organ like a pianist, pianists point out how organ-like his piano music is’. For the Quintet, this can be applied to the entire work, not just the piano writing. The opening bars are a revealing illustration: organ-like string chords hover under the dramatic first motif. Elsewhere, the rippling arpeggios so beloved of pianists like Chopin are mostly avoided in favour of keeping the interest squarely on the harmonies and modulations. The five parts are often treated as though separate keyboards on the organ, with their own colours and roles. Moments of high contrast occur with the speed of a stop-change. The wild emotions of the first movement are only somewhat softened in the second. The ‘sentiment’ of its tempo marking is still a surging force, but perhaps experienced in quiet solitude rather than worn on the sleeve. But Franck requests the Finale to be played ‘with fire’, not too fast to obscure the sweeping melodic phrases, but with a drive and commitment that carries through to its whirling, almost tormented final bars and exhausted, unison conclusion. KP Kemp © 2015 22
AUSTR ALIAN CHAM B ER ORCH ESTR A
S U SA N G R A H A M – M E Z ZO -SO P R A N O
Grammy Award-winner Susan Graham achieved international stardom within a few years of her debut. Her operatic roles span four centuries, from Monteverdi’s Poppea to Jake Heggie’s Sister Helen Prejean (Dead Man Walking), which was written especially for her. Her recital repertoire is equally wide-ranging. As one of today’s foremost interpreters of French vocal music, the Texas native was awarded the French government’s Chevalier de la Legion d’honneur.
Photo by Benjamin Ealovega
SELECT DISCOGRAPHY VIRGINS, VIXENS & VIRAGOS ONYX 4105 UN FRISSON FRANÇAIS: A century of French song Onyx 4030 POÈMES DE L’AMOUR: Chausson, Ravel, Debussy Warner Classics 461 9382 BARBER: Vanessa Chandos CHSA 5032(2) IVES: Concord Sonata – Songs Warner Classics 460 2972 SUSAN GRAHAM AT CARNEGIE HALL Erato 460 2932 C’EST ÇA LA VIE, C’EST ÇA L’AMOUR: French Operetta Arias Erato 0927-42106-2 JAKE HEGGIE: DEAD MAN WALKING Alliance 8573-86238-2 All available from amazon.com
This season’s performances include a solo recital in Washington DC, a concert with Mercury Baroque in Houston, a muchanticipated return to the Metropolitan Opera to sing Countess Geschwitz in a new production of Berg’s Lulu by artist-director William Kentridge, and a revival of Strauss’ Die Fledermaus in the role of Prince Orlovsky. A string of European concert dates follows at Teatro Real Madrid and recitals at London’s Wigmore Hall, Glasgow’s Royal Conservatoire of Scotland, and the Vienna Konzerthaus. Graham will appear with the Philharmonia Baroque Orchestra in San Francisco; with Michael Tilson Thomas and the San Francisco Symphony; at the Celebrity Series of Boston; with the Orchestra of St Luke’s at Carnegie Hall; with the New York Philharmonic at Avery Fisher Hall; and at Carnegie Hall to headline a special evening of music called “Susan Graham & Friends.” Graham enjoyed early success in “trouser” roles, including Octavian (Der Rosenkavalier) and the Composer (Ariadne auf Naxos). She also created the female leads in John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy. Her signature role of Dido in Berlioz’s epic Les troyens was reprised at San Francisco Opera. Graham made her musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris, and has headlined gala concerts at Lyric Opera of Chicago and the Los Angeles Opera. Following the mezzo’s conquests in Berlioz’s Béatrice et Bénédict and Massenet’s Chérubin, new productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust, Massenet’s Werther, and Offenbach’s La belle Hélène and The Grand Duchess of Gerolstein were mounted for her in New York, London, Paris, Chicago, San Francisco, Santa Fe, and elsewhere. Her command of French music has also led to regular appearances with the world’s foremost orchestras. She has performed Berlioz with the Los Angeles Philharmonic, London Symphony, and the Orchestre Révolutionnaire et Romantique, and recently rejoined her frequent collaborator, pianist Malcolm Martineau, for a West Coast recital tour. Graham’s extensive and distinguished discography includes her Grammy Award-winning album of Ives songs. Among her additional honors are Musical America’s Vocalist of the Year and an Opera News Award. AUSTR ALIAN CHAM B ER ORCH ESTR A
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K A R E N G O M YO – VIOLIN
“A first-rate artist of real musical command, vitality, brilliance and intensity.” THE CHICAGO TRIBUNE
Recipient of the prestigious Avery Fisher Career Grant in 2008, Karen Gomyo was born in Tokyo, Japan but grew up in Montreal, Canada. At age 11, she moved to New York to pursue studies at the Juilliard School with legendary teacher Dorothy DeLay. At the age of 15, Gomyo won the Young Concert Artists International Auditions, launching her career as soloist and chamber musician around the world.
Photo by Minoru Kaburagi
She has performed as soloist with orchestras such as the New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia Orchestra and the Cleveland Orchestra. In Europe, she has appeared with the Danish National Symphony, Mozarteum Orchester Salzburg, Royal Liverpool Philharmonic, Scottish Chamber Orchestra, City of Birmingham Symphony Orchestra, Staatsoper Hannover and Radio-Sinfonieorchester Stuttgart, and in Asia with the Tokyo Symphony, Hong Kong Philharmonic and Taipei Symphony Orchestra. She also makes regular appearances with Australia’s major orchestras. In 2013, a documentary about Stradivarius called The Mysteries of the Supreme Violin, in which Gomyo is violinist, guide, and narrator, was broadcast worldwide on NHK World. In February this year, Gomyo performed the US premiere of Matthias Pintscher’s Violin Concerto Mar’eh with the National Symphony of Washington DC and the composer conducting. Gomyo is deeply interested in the Nuevo Tango of Astor Piazzolla, and has an ongoing special project with Piazzolla’s longtime pianist and tango legend Pablo Ziegler and his partners Hector del Curto (bandoneon), Claudio Ragazzi (electric guitar) and Pedro Giraudo (double bass).
SELECT DISCOGRAPHY LINDE: Violin Concerto & Cello Concerto Naxos 8.557855 BROSTROM: Kaléidoscope Swedish Society SSACD1145 All available from amazon.com
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Gomyo studied at the Pre-College and College divisions of the Juilliard School of Music from 1993 to 2001, the Indiana University Jacobs School of Music from 2001 to 2002, and the New England Conservatory of Music from 2002 to 2007, where she graduated with an Artist Diploma. Her teachers and mentors have included Mauricio Fuks, Dorothy DeLay, Donald Weilerstein and Heinrich Schiff. Karen plays the rare “Ex Foulis” Stradivarius of 1714 that is on permanent loan to her from a private sponsor.
AUSTR ALIAN CHAM B ER ORCH ESTR A
C H R I STI A N I H L E H A D L A N D – PIANO
“His musicality is very subtle, and no other pianist can match his poised and pearlised touch.” THE INDEPENDENT
Christian Ihle Hadland is widely recognised as one of Norway’s most exciting young piano talents. He was born in Stavanger in 1983 and received his first piano lessons at the age of eight. At the age of 11 he was enrolled at the Rogaland Music Conservatory, and in 1999 began lessons with Professor Jiri Hlinka, both privately and at the Barratt Due Institute of Music in Oslo.
Photo by Kim Laland
Making his Norwegian debut with the Norwegian Radio Orchestra at the age of 15, Christian has since gone on to perform with Europe’s leading orchestras. He was appointed a BBC New Generation Artist in 2011 and since has worked with all of the BBC orchestras as well as several chamber and recital projects. He toured the UK with the Bergen Philharmonic Orchestra performing Grieg and Beethoven to great critical success and later the same season he performed the Beethoven Piano Concerto No.2 with the Oslo Philharmonic Orchestra conducted by Vassily Petrenko at the BBC Proms in Royal Albert Hall. Christian is already highly sought-after both in recital and as a chamber musician and has appeared several times in prestigious venues and festivals such as Wigmore Hall, Risør Chamber Music Festival, the Schleswig Holstein Music Festival, Cheltenham and Bath Festivals and Kissinger Sommer. He has collaborated in chamber music with such prestigious artists as Henning Kraggerud, Lars Anders Tomter, Steven Isserlis, Tabea Zimmermann, Clemens Hagen, Christian Poltera and Truls Mørk. In 2009 he was appointed joint Artistic Director of the Stavanger Chamber Music Festival alongside Swedish clarinettist Martin Fröst. In 2013 he made his chamber music debut at the Proms with the Signum Quartet at Cadogan Hall.
SELECT DISCOGRAPHY MOZART PIANO CONCERTS 21 & 22 Simax Classics PSC 1323 CHOPIN & SCHUMANN PIANO WORKS Simax Classics PSC 1307 SINDING – MUSIKK FOR FIOLON OG KLAVER Naxos 8.572214-15
Christian Ihle Hadland released his debut solo album in April 2010 for Simax Classics. This recording of works by Chopin and Schumann in their 200th anniversary year attracted great deal of interest with positive reviews across the board. His 2013 recording of Mozart Piano Concertos with the Oslo Philharmonic Orchestra and Arvid Engegård was nominated for the Spellemann Prize, the Norwegian equivalent of the Grammys. AUSTR ALIAN CHAM B ER ORCH ESTR A
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AU STR A L I A N C H A M B E R O RC H E STR A
Richard Tognetti Artistic Director & Leader Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Ike See Violin Christopher Moore Principal Viola Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass PART-TIME MUSICIANS Zoë Black Violin Caroline Henbest Viola Daniel Yeadon Cello
This year marks the 40th anniversary of the Australian Chamber Orchestra. From its first concert in November 1975 to its first concert of 2015, the Orchestra has travelled a remarkable road. Inspiring programming, unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross artform projects and pieces specially commissioned for the ensemble. Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (three part-time), giving more than 100 performances in Australia each year, as well as touring internationally. From red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland.
“IF THERE ’S A BETTER CHAMBER ORCHESTR A IN THE WORLD TODAY, I HAVEN’T HEARD IT.” THE GUARDIAN (UK)
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The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank. The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.
AUSTR ALIAN CHAM B ER ORCH ESTR A
Photos: Jack Saltmiras
M U S I C I A N S O N STAG E
Ike See 1 Violin
Christopher Moore 2 Viola
Timo-Veikko Valve 3 Principal Cello
Chair sponsored by Di Jameson
Chair sponsored by peckvonhartel architects
Chair sponsored by Peter Weiss ao
Flute Sally Walker
Clarinet Andrew Seymour
Courtesy of The Conservatorium, University of Newcastle
Courtesy of Tasmanian Symphony Orchestra
Lina Andonovska
Mitchell Berick Courtesy of Adelaide Symphony Orchestra
Players dressed by AKIRA ISOGAWA
1. Ike See plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 2. Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. 3. Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao .
AUSTR ALIAN CHAM B ER ORCH ESTR A
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ACO B E H I N D TH E SC E N E S BOARD
EDUCATION
Guido Belgiorno-Nettis am Chairman
Phillippa Martin AcO2 & ACO VIRTUAL Manager
Angus James Deputy
Vicki Norton Education Manager
Bill Best John Borghetti Liz Cacciottolo Chris Froggatt John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo
Zoe Arthur Acting Education Manager
Richard Tognetti ao Artistic Director ADMINISTRATIVE STAFF EXECUTIVE OFFICE Timothy Calnin General Manager
Caitlin Gilmour Education Assistant
INFORMATION SYSTEMS
Steve Davidson Corporate Services Manager Yvonne Morton Accountant Shyleja Paul Assistant Accountant
Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti ao
Penelope Loane Investor Relations Manager
Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian
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Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist
DEVELOPMENT
Jill Colvin Philanthropy Manager
Megan Russell Tour Manager
Deyel Dalziel-Charlier Box Office & CRM Database Assistant
Maria Pastroudis Chief Financial Officer
Alexandra Cameron-Fraser Strategic Development Manager
Andreea Butucariu Artistic Administrator
Dean Watson Customer Relations Manager
Christina Holland Office Administrator
Rebecca Noonan Development Manager
Luke Shaw Head of Operations & Artistic Planning
Chris Griffith Box Office Manager
FINANCE
Jessica Block Deputy General Manager
ARTISTIC & OPERATIONS
Leo Messias Marketing Coordinator
Tom Tansey Events Manager Tom Carrig Senior Development Executive Ali Brosnan Patrons Manager Sally Crawford Development Coordinator MARKETING Derek Gilchrist Marketing Manager Mary Stielow National Publicist Hilary Shrubb Publications Editor
AUSTR ALIAN CHAM B ER ORCH ESTR A
AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not for profit company registered in NSW. In Person Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail PO Box R21, Royal Exchange NSW 1225 Telephone (02) 8274 3800 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au
V E N U E S U P P O RT
ADELAIDE TOWN HALL
MELBOURNE RECITAL CENTRE
128 King William Street,
31 Sturt Street, Southbank,
CITY HALL
Adelaide SA 5000
Victoria 3006
Owned and operated by the
GPO Box 2252, Adelaide SA 5001
Telephone +613 9699 3333
Venue Hire Information Telephone (08) 8203 7590 Email
GRAND VENUES OF NEWCASTLE
City of Newcastle
290 King Street,
mail@melbournerecital.com.au
Newcastle NSW 2300
Web melbournerecital.com.au
Telephone
townhall@adelaidecitycouncil.com
Kathryn Fagg
(Venue & Event Coordinators)
Web adelaidetownhall.com.au
Chair
(02) 4974 2996
Martin Haese Lord Mayor
Mary Vallentine ao
Ticketek Box Office
Peter Smith Chief Executive Officer
Chief Executive Officer
(02) 4929 1977 Email grandvenues@ncc.nsw.gov.au
PERTH CONCERT HALL
CITY RECITAL HALL ANGEL PLACE
5 St Georges Terrace,
A City of Sydney Venue
Perth WA 6000 PO Box 3041, East Perth WA 6892 Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager
2–12 Angel Place, Sydney NSW 2000 GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000 Box Office (02) 8256 2222 Web cityrecitalhall.com Anne-Marie Heath General Manager City Recital Hall Angel Place is managed by Pegasus Venue Management (AP) Pty Ltd
AUSTR ALIAN CHAM B ER ORCH ESTR A
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TO U R DATE S & P R E- CO N C E RT TA L KS A FRENCH CELEBRATION Sat 11 Jul, 7.30pm – Newcastle City Hall
Fri 17 Jul 1.30pm – Sydney City Recital Hall Angel Place
Tue 21 Jul 8pm – Adelaide Town Hall
Pre-concert talk by Ken Healey am
Pre-concert talk by Ken Healey am
Pre-concert talk by Eugene Ragghianti
Tue 14 Jul 8pm – Sydney City Recital Hall Angel Place
Sat 18 Jul 7pm – Sydney City Recital Hall Angel Place
Wed 22 Jul 7.30pm – Perth Concert Hall
Pre-concert talk by Ken Healey am
Pre-concert talk by Ken Healey am
Pre-concert talk by Marilyn Philips
Wed 15 Jul 7pm – Sydney City Recital Hall Angel Place
Mon 20 Jul 8pm – Melbourne Recital Centre
Pre-concert talk by Ken Healey am
Pre-concert talk by Caroline Almonte
Pre-concert talks take place 45 minutes before the start of every concert.
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AUSTR ALIAN CHAM B ER ORCH ESTR A
ACO M E D I C I P ROG R A M In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre. MEDICI PATRON
CORE CHAIRS
GUEST CHAIRS
AMINA BELGIORNO-NETTIS
VIOLIN
Brian Nixon Principal Timpani
PRINCIPAL CHAIRS Richard Tognetti ao Artistic Director & Lead Violin Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts Helena Rathbone Principal Violin Kate & Daryl Dixon Satu Vänskä Principal Violin
Glenn Christensen Terry Campbell ao & Christine Campbell Aiko Goto Anthony & Sharon Lee Foundation
Liisa Pallandi The Melbourne Medical Syndicate
Christopher Moore Principal Viola
VIOLA
Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation
Mr R. Bruce Corlett am & Mrs Ann Corlett
Ilya Isakovich The Humanity Foundation
Ike See Di Jameson
Timo-Veikko Valve Principal Cello
FRIENDS OF MEDICI
Mark Ingwersen Ian Wallace & Kay Freedman
Kay Bryan
peckvonhartel architects
Mr Robert Albert ao & Mrs Libby Albert
Alexandru-Mihai Bota Philip Bacon am Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Clayton Family
ACO L I F E PATRO N S IBM
Mrs Roxane Clayton
Mrs Alexandra Martin
Mr Robert Albert ao & Mrs Libby Albert
Mr David Constable am
Mrs Faye Parker
Mr Guido Belgiorno-Nettis am
Mr Martin Dickson am & Mrs Susie Dickson
Mr John Taberner & Mr Grant Lang
Mrs Barbara Blackman ao
Dr John Harvey ao
Mr Peter Weiss ao
AUSTR ALIAN CHAM B ER ORCH ESTR A
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ACO B EQ U E ST PATRO N S The late Charles Ross Adamson
Carol Farlow
The late Josephine Paech
The late Kerstin Lillemor Andersen
Ms Charlene France
The late Richard Ponder
The late Mrs Sybil Baer
Suzanne Gleeson
Ian & Joan Scott
Steven Bardy
Lachie Hill
Dave Beswick
The late John Nigel Holman
The late Mr Geoffrey Francis Scharer
Ruth Bell
Penelope Hughes
Leslie C Thiess
Sandra Cassell
The late Dr S W Jeffrey am
G.C. & R. Weir
The late Mrs Moya Crane
Estate of Pauline Marie Johnston
Margaret & Ron Wright
Mrs Sandra Dent
The late Mr Geoff Lee am oam
Mark Young
Leigh Emmett
Mrs Judy Lee
Anonymous (11)
The late Colin Enderby
The late Shirley Miller
Peter Evans
Selwyn M Owen
ACO I N STR U M E NT F U N D The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman) Jessica Block Chris Frogatt John Leece am John Taberner PATRONS VISIONARY $1m+ Peter Weiss ao LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 Amina Belgiorno-Nettis Naomi Milgrom ao
SONATA $25,000 – $49,999
INVESTORS
ENSEMBLE $10,000 – $24,999 Lesley & Ginny Green
Stephen & Sophie Allen
Peter J Boxall ao & Karen Chester
Guido & Michelle Belgiorno-Nettis
SOLO $5,000 – $9,999
Bill Best Benjamin Brady
PATRON $500 – $4,999 Michael Bennett & Patti Simpson Leith & Darrel Conybeare Dr Jane Cook Geoff & Denise Illing Luana & Kelvin King Jane Kunstler John Landers & Linda Sweeny Genevieve Lansell Bronwyn & Andrew Lumsden Patricia McGregor
OCTET $100,000 – $199,999 John Taberner
Trevor Parkin
QUARTET $50,000 – $99,999 John Leece am & Anne Leece
Robyn Tamke
Elizabeth Pender Anonymous (2)
Anonymous
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John & Deborah Balderstone
AUSTR ALIAN CHAM B ER ORCH ESTR A
Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D’Orsogna Garry & Susan Farrell Gammell Family Edward Gilmartin Philip Hartog Brendan Hopkins Angus & Sarah James Daniel and Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven Ian Wallace & Kay Freedman
TR U STS & FO U N DATI O N S
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
ACO S P E C I A L CO M M I S S I O N S & S P E C I A L P RO J E CTS SPECIAL COMMISSIONS PATRONS
THE REEF NEW YORK PRODUCERS’ SYNDICATE
MELBOURNE HEBREW CONGREGATION PATRONS
Peter & Cathy Aird
Executive Producers
Gerard Byrne & Donna O’Sullivan
Tony & Michelle Grist
LEAD PATRONS
Mirek Generowicz
Lead Producers
Peter & Valerie Gerrand
Danielle & Daniel Besen Foundation
G Graham
PATRONS
Jon & Caro Stewart Foundation
Marc Besen ac & Eva Besen ao
Major Producers
Leo & Mina Fink Fund
Janet Holmes à Court ac
Drs Victor & Karen Wayne
Anthony & Conny Harris Rohan Haslam John Griffiths & Beth Jackson Andrew & Fiona Johnston Lionel & Judy King David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson
Charlie & Olivia Lanchester Producers Steve Duchen & Polly Hemphill
CORPORATE PARTNERS
Steve Paridis
Adina Apartment Hotels
Peter Shorthouse
Meriton Group
Alden Toevs & Judi Wolf
PATRONS
Alison Reeve
ACO ACADEMY BRISBANE
Augusta Supple
LEAD PATRONS
Dr Suzanne M Trist
Philip Bacon ao
Team Schmoopy
Kay Bryan
Rebecca Zoppetti Laubi
Dr Ian Frazer ac & Mrs Caroline Frazer
Anonymous (1) INTERNATIONAL TOUR PATRONS
THE GREAT SYNAGOGUE PATRONS
David & Helen Baffsky Leslie & Ginny Green The Narev Family Greg & Kathy Shand
Dr Edward Gray
Peter Weiss ao EMANUEL SYNAGOGUE PATRONS
Wayne Kratzmann
CORPORATE PARTNERS
The ACO would like to pay tribute to the following donors who support our international touring activities in 2015:
Bruce & Jocelyn Wolfe
Adina Apartment Hotels
PATRONS
Meriton Group
Linda & Graeme Beveridge
Ian & Cass George
Jan Bowen
Professor Peter Høj
Bee & Brendan Hopkins
Helen McVay
Delysia Lawson
Shay O’Hara-Smith
Mike Thompson
Brendan Ostwald
Andrew Clouston
LEAD PATRON
Michael Forrest & Angie Ryan
The Narev Family
Marie-Louise Theile
PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
Beverley Trivett AUSTR ALIAN CHAM B ER ORCH ESTR A
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ACO N ATI O N A L E D U CATI O N P ROG R A M The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is pivotal in securing the future of the ACO and the future of music in Australia. We are extremely grateful for the support that we receive. If you would like to make a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on (02) 8274 3830 or ali.brosnan@aco.com.au Donor list current as at 15 June 2015 PATRONS
Margie Seale & David Hardy
Keith & Maureen Kerridge
Marc Besen ac & Eva Besen ao
Tony Shepherd ao
Lorraine Logan
Janet Holmes à Court ac
Peter & Victoria Shorthouse
Macquarie Group Foundation
EMERGING ARTISTS & EDUCATION PATRONS $10,000+
Anthony Strachan
David Maloney & Erin Flaherty
John Taberner & Grant Lang
Pam & Ian McDougall
Leslie C. Thiess
Brian & Helen McFadyen
Mr Robert Albert ao & Mrs Libby Albert
Alden Toevs & Judi Wolf
P J Miller
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
The Myer Foundation
David & Julia Turner
peckvonhartel architects
Australian Communities Foundation – Ballandry Fund
E Xipell
Elizabeth Pender
Peter Yates am & Susan Yates
John Rickard
Daria & Michael Ball
Peter Young am & Susan Young
Andrew Roberts
Steven Bardy & Andrew Patterson
Anonymous (2)
Paul Schoff & Stephanie Smee
Australian Communities Foundation – Annamila Fund
The Belalberi Foundation
DIRETTORE $5,000 – $9,999
Guido Belgiorno-Nettis am
The Abercrombie Family Foundation
Luca Belgiorno-Nettis am Andre Biet Leigh & Christina Birtles Liz Cacciottolo & Walter Lewin Mark Carnegie Stephen & Jenny Charles The Cooper Foundation Rowena Danziger am & Ken Coles am Mark Delaney Ann Gamble Myer Daniel & Helen Gauchat Andrea Govaert & Wik Farwerck Dr Edward C. Gray Kimberley Holden Angus & Sarah James PJ Jopling am qc Miss Nancy Kimpton Bruce & Jenny Lane Andrew Low Anthony & Suzanne Maple-Brown Alf Moufarrige Jim & Averill Minto Louise & Martyn Myer Foundation Jennie & Ivor Orchard Bruce & Joy Reid Trust Mark & Anne Robertson 34
Geoff Ainsworth & Jo Featherstone Geoff Alder Bill & Marissa Best John & Lynnly Chalk Elizabeth Chernov Clockwork Theatre Inc Andrew Clouston
Willy & Mimi Packer
Greg Shalit & Miriam Faine Joyce Sproat & Janet Cooke Jon & Caro Stewart Mary-Anne Sutherland John Vallance & Sydney Grammar School Geoff Weir Westpac Group Shemara Wikramanayake Cameron Williams Anonymous (5)
Victor & Chrissy Comino
MAESTRO $2,500 – $4,999
Leith & Darrel Conybeare
Michael Ahrens
David Craig
David & Rae Allen
Liz Dibbs
Ralph Ashton
Ellis Family Bridget Faye am
Will & Dorothy Bailey Charitable Gift
Ian & Caroline Frazer
Brad Banducci
Chris & Tony Froggatt
Adrienne Basser
David Friedlander
Doug & Alison Battersby
Kay Giorgetta
The Beeren Foundation
Tony & Michelle Grist
Berg Family Foundation
Liz Harbison
Rosemary & Julian Block
Kerry Harmanis
Neil & Jane Burley
Annie Hawker
Gilbert Burton
Fraser Hopkins
Arthur & Prue Charles
Dr Wendy Hughes
Kathryn Chiba
I Kallinikos
Caroline & Robert Clemente
AUSTR ALIAN CHAM B ER ORCH ESTR A
Alan Fraser Cooper
Philip Bacon am
Robert & Jeanette Corney
Samantha Baillieu
Judy Crawford
Barry Batson
Dee de Bruyn
Ruth Bell
Monique D’Arcy Irvine & Anthony Hourigan
Kate & Daryl Dixon
Justice Annabelle Bennett ao
Penelope Hughes
Suellen Enestrom
Virginia Berger
Stephanie & Mike Hutchinson
Euroz Securities Limited
Brian Bothwell
Colin Isaac & Jenni Seton
Jane & Richard Freudenstein
Jan Bowen
Phillip Isaacs oam
Tom Goudkamp oam
Michael & Tina Brand
Will & Chrissie Jephcott
Megan Grace
Vicki Brooke
Brian Jones
Maurice Green am & Christina Green
Diana Brookes
Bronwen L Jones
Mrs Kay Bryan
In memory of Graham Lang
Warren Green
Sally Bufé
Genevieve Lansell
Nereda Hanlon & Michael Hanlon am
Gerard Byrne & Donna O’Sullivan
Mrs Judy Lee
Ivan Camens
Airdrie Lloyd
Gavin & Christine Holman
Ray Carless & Jill Keyte
Robin & Peter Lumley
James Carnegie
Diana Lungren
Roslyn Carter
Greg & Jan Marsh
Andrew Chamberlain
Massel Australia Pty Ltd Julianne Maxwell
Carolyn Kay & Simon Swaney
Julia Champtaloup & Andrew Rothery
John Kench
K. Chisholm
Brian & Helen McFadyen
Julia Pincus & Ian Learmonth
Peter Clifton
Ian & Pam McGaw
The Alexandra & Lloyd Martin Family Foundation
Angela and John Compton
J A McKernan Diana McLaurin
Peter Mason am & Kate Mason
P Cornwall & C Rice Laurie & Julie Ann Cox
Phil & Helen Meddings
Judith Crompton
Roslyn Morgan
Ian Davis
Suzanne Morgan
Michael & Wendy Davis
Glenn Murcutt ao
Stephen Davis
Baillieu Myer ac
Defiance Gallery
Dennis & Fairlie Nassau
Martin Dolan
Nola Nettheim
Anne & Thomas Dowling
Anthony Niardone
Dr William F Downey
Paul O’Donnell
Emeritus Professor Dexter Dunphy am
Ilse O’Reilly
Leigh Emmett
James & Leo Ostroburski
Peter Evans
Anne & Christopher Page
Julie Ewington
Prof David Penington ac
Ian Fenwicke & Prof. Neville Wills
Dr S M Richards am & Mrs M R Richards
Elizabeth Finnegan Bill Fleming
Warwick & Jeanette Richmond In memory of Andrew Richmond
Elizabeth Flynn
Josephine Ridge
Don & Marie Forrest
David & Gillian Ritchie
VIRTUOSO $1,000 – $2,499
Anne & Justin Gardener
Roadshow Entertainment
Jennifer Aaron
Matthew Gilmour
Em. Prof. A. W. Roberts am
AJ Ackermann
In memory of Fiona Gardiner-Hill
J. Sanderson
Aberfoyle Partners
Colin Golvan qc
In memory of H. St. P. Scarlett
Alceon Group
Fay Grear
Lucille Seale
Annette Adair
Kathryn Greiner ao
Gideon & Barbara Shaw
Michael & Margaret Ahrens
Paul & Gail Harris
Dr Margaret Sheridan
Antoinette Albert
Bettina Hemmes
Diana & Brian Snape am
Matt Allen
Reg Hobbs & Louise Carbines
Simon & Katrina Holmes à Court Mark Johnson Ros Johnson John Karkar qc
Paul & Elizabeth McClintock Jane Morley Sandra & Michael Paul Endowment Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard The Sandgropers D N Sanders Petrina Slaytor Andrew Strauss John & Josephine Strutt David Thomas oam Peter Tonagh Ralph Ward-Ambler am & Barbara Ward-Ambler Simon Whiston Anna & Mark Yates Anonymous (4)
Michael Horsburgh am & Beverley Horsburgh
Kevin & Deidre McCann
Origin Foundation
Maria Sola
AUSTR ALIAN CHAM B ER ORCH ESTR A
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Dr P & Mrs D Southwell-Keely
In memory of Raymond Dudley
Keith Spence
M T & R L Elford
Greg Lindsay ao & Jenny Lindsay
Geoffrey Stirton & Patricia Lowe
Christine Evans
Megan Lowe
Dr Charles Su & Dr Emily Lo
Eddy Goldsmith & Jennifer Feller
Dr & Mrs Donald Maxwell
Magellan Logistics Pty Ltd
Penelope & Susan Field
H E McGlashan
Victoria Taylor
Jean Finnegan & Peter Kerr
Suzanne Mellor
Jane Tham & Philip Maxwell
Michael Fogarty
Tempe Merewether
Robert & Kyrenia Thomas
Brian Goddard
I Merrick
Anne Tonkin
Louise Miller
Ngaire Turner
George H. Golvan qc & Naomi Golvan
Kay Vernon
Prof Ian & Dr Ruth Gough
Cameron Moore & Cate Nagy
Marion W Wells
Arnoud Govaert
John K Morgan
Barbara Wilby
Grandfather’s Axe
Simon Morris & Sonia Wechsler
Nick & Jo Wormald
Katrina Groshinski & John Lyons
Julie Moses
Harley Wright & Alida Stanley
Annette Gross
Elizabeth Manning Murphy
Don & Mary Ann Yeats am
Lesley Harland
Dr G Nelson
William Yuille
Alan Hauserman & Janet Nash
J Norman
Rebecca Zoppetti Laubi
Gaye Headlam
Graham North
Anonymous (20)
Peter Hearl
Robin Offler
Kingsley Herbert
Deborah Pearson
Lachie Hill
Robin Pease
Elsa Atkin am
Dr Penny Herbert in memory of Dunstan Herbert
Michael Peck
A. & M. Barnes
Marian Hill
Tessa Barnett
Bernard Hanlon & Rhana Pike
Sue & David Hobbs
Robin Beech
Rosie Pilat
How to Impact Pty Ltd
Elizabeth Bolton
GV Pincus
Peter & Ann Hollingworth
In memory of Peter Boros
Michael Power
Pam & Bill Hughes
The Hon. Catherine Branson & Dr Alan Down
Beverly & Ian Pryer
Prof Angela Hull ao
Angela Roberts
Dr & Mrs Michael Hunter
GM & BC Robins
Mary Ibrahim
Mrs J Royle
Margaret & Vernon Ireland
Garry Scarf & Morgie Blaxill
Lynda Campbell
Dr Robert & Mrs Margaret Jackson
Boris & Jane Schlensky
Heather Carmody
Dr Anne James & Dr Cary James
Helen Carrig & Ian Carrig oam
Owen James
J. M. Carvell
John C Sheahan qc
Nada Chami
Barry Johnson & Davina Johnson oam
Andrew & Rhonda Shelton
Fred & Jody Chaney
Caroline Jones
Colleen & Michael Chesterman
Florine Simon
Mrs Angela Karpin
Richard & Elizabeth Chisholm
Roger & Ann Smith-Johnstone
Bruce & Natalie Kellett
Stephen Chivers
Mary Stephen
Professor Anne Kelso ao
Olivier Chretien
Professor Fiona Stweart
ClearFresh Water
Graham Kemp & Heather Nobbs
Judy Ann Stewart
Warren & Linda Coli
Josephine Key & Ian Breden
Sally Collier
Karin Kobelentz & Miguel Wustermann
CONCERTINO $500 – $999 Mrs C A Allfrey
Mrs Pat Burke Hugh Burton-Taylor Jasmine Brunner
P. Cornwall & C. Rice Annabel Crabb Sam Crawford Architects Marie Dalziel Jill Davies Mari Davis Dr Christopher Dibden Kath & Geoff Donohue 36
Wendy Kozica & David O’Callaghan qc Ms Sarah R Lambert TFW See & Lee Chartered Accountants
John Mitchell
Kevin Phillips
Berek Segan obe am & Marysia Segan
Sherborne Consulting
In memory of Dr Aubrey Sweet Barbara Symons Gabrielle Tagg Arlene Tansey David & Judy Taylor Barrie & Jillian Thompson Matthew Toohey G C & R Weir
Wayne & Irene Lemish
Sally Willis
David & Sandy Libling
Anonymous (24)
AUSTR ALIAN CHAM B ER ORCH ESTR A
ACO C H A I R M A N ’ S CO U N C I L Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra & Executive Director Transfield Holdings
Mr Richard Freudenstein Chief Executive Officer, FOXTEL
Mr Alf Moufarrige Chief Executive Officer, Servcorp
Ms Ann Gamble Myer
Aurizon Holdings Limited
Mr Daniel Gauchat Principal, The Adelante Group
Libby Nutt GM Global Sales & Marketing, Peter Lehmann Wines
Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao
Mr Colin Golvan qc & Dr Deborah Golvan
Mr Brad Banducci Director, Woolworths Liquor Group
Mr John Grill ao Chairman, WorleyParsons
Mr Marc Besen ac & Mrs Eva Besen ao Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Matt Byrne Director, ROVA Media Mr Michael & Mrs Helen Carapiet
Mr Grant Harrod Chief Executive Officer, LJ Hooker
Mr Glen Sealey General Manager, Maserati Australia & New Zealand
Mr Richard Herring Chief Executive Officer, APN Outdoor Mrs Janet Holmes à Court ac
Mr Tony Shepherd ao
Mr & Mrs Simon & Katrina Holmes à Court Observant
Ms Anne Sullivan Chief Executive Officer, Georg Jensen
Mr John Kench Chairman, Johnson Winter & Slattery
Mr Paul Sumner Director, Mossgreen Pty Ltd
Ms Catherine Livingstone ao Chairman, Telstra
Mr Stephen & Mrs Jenny Charles
Mr Andrew Low
Mr & Mrs Robin Crawford
Mr Didier Mahout CEO Australia & NZ BNP Paribas
Dr Bob Every ao Chairman, Wesfarmers
Mr David Mathlin
Ms Tracey Fellows Chief Executive Officer, REA Group
Mr Michael Maxwell
Mr Bruce Fink Executive Chairman, Executive Channel Network Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel
Mr Mark Robertson oam & Mrs Anne Robertson Ms Margie Seale & Mr David Hardy
Mr Jim Carreker Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux
Rowena Danziger am & Kenneth G. Coles am
Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects
Mr Mitsuyuki (Mike) Takada Managing Director & CEO, Mitsubishi Australia Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Mr David & Mrs Julia Turner Ms Vanessa Wallace & Mr Alan Liddle
Ms Julianne Maxwell Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank Ms Naomi Milgrom ao
Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Mr Peter Young am & Mrs Susan Young
Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto
ACO N E X T ACO Next is an exciting new philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering a unique musical and networking experience. For more information please call Ali Brosnan, Patrons Manager, on 02 8274 3830. Members Claire Ainsworth-Herschell Este Darin-Cooper & Chris Burgess Catherine & Sean Denney Alexandra Gill Rebecca Gilsenan
Adrian Giuffre & Monica Ion Aaron Levine Royston Lim Grant Marjoribanks Rachael McVean Nicole Pedler
Michael Radovnikovic Louise & Andrew Sharpe Michael Southwell Joanna Walton & Alex Phoon Nina Walton & Zeb Rice Peter Wilson
AUSTR ALIAN CHAM B ER ORCH ESTR A
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G OV E R N M E NT PA RTN E RS THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ACO is supported by the NSW Government through Arts NSW.
QUEENSLAND REGIONAL TOURING PARTNER The ACO’s Queensland regional touring is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.
ACO CO M M IT TE E S SYDNEY DEVELOPMENT COMMITTEE
MELBOURNE DEVELOPMENT COUNCIL
EVENT COMMITTEES
Heather Ridout ao (Chair) Director, Reserve Bank of Australia
Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Lillian Armitage
Debbie Brady
Fay Geddes Julie Goudkamp
Bill Best
Paul Cochrane Investment Advisor, Bell Potter Securities
Maggie Drummond
Ann Gamble-Myer
Julianne Maxwell
Tony Gill
Colin Golvan qc
Andrea Govaert
Shelley Meagher Director, Do it on the Roof
Nicola Sinclair
James Ostroburski Director, Grimsey Wealth
Lynne Testoni
Ed Prendergast Fund Manager Pengana Capital
Judi Wolf
Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings
John Kench Chairman, Johnson Winter & Slattery Jennie Orchard Tony O’Sullivan Peter Shorthouse Client Advisor, UBS Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton
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Joanna Szabo Simon Thornton Partner, McKinsey & Co.
SYDNEY Judy Anne Edwards Sandra Ferman
Elizabeth Harbison Lisa Kench Elizabeth McDonald Catherine Powell John Taberner (Chair) Liz Williams
BRISBANE Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer
DISABILITY ADVISORY COMMITTEE
Cass George
Amanda Tink Independent Consultant, Amanda Tink Consultancy
Wayne Kratzmann
Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
Marie-Lousie Theile
AUSTR ALIAN CHAM B ER ORCH ESTR A
Edward Gray Helen McVay Shay O’Hara-Smith Beverley Trivett Bruce and Jocelyn Wolfe
ACO CO R P O R ATE PA RTN E RS THE ACO THANKS OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT
FOUNDING PARTNER
NATIONAL TOUR PARTNERS
FOUNDING PARTNER: ACO VIRTUAL
CONCERT AND SERIES PARTNERS
OFFICIAL PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
PERTH SERIES AND WA REGIONAL TOUR PARTNER
EVENT PARTNERS
AUSTR ALIAN CHAM B ER ORCH ESTR A
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ACO N E WS Packer Family Foundation Thank You Dinner
Ken Coles am , Satu Vänskä, Richard Tognetti ao and Rowena Danziger am .
Last month, Guido Belgiorno-Nettis am and Michelle Belgiorno-Nettis hosted a very special private dinner at their home, to thank Ms Gretel Packer and the Packer Family Foundation, and the Trustees of the Crown Resorts Foundation, for their generous support of the ACO. The Packer Family Foundation’s pledge of support over the next ten years will go towards finding a new home for the Orchestra and the Crown Resorts Foundation is helping us to establish our Penrith Youth Orchestra, over the next two years. With the Foundation’s strong support, we are working with the Penrith Symphony Orchestra and the Joan Sutherland Performing Arts Centre to provide a Music and Art program for primary school children, Penrith’s first Youth Orchestra and a Western Sydney home for AcO 2 , our Regional Touring Orchestra. Gretel Packer, The Hon. Andrew Rogers ao qc, Satu Vänskä, The Hon. Helen Coonan, Richard Tognetti ao .
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We thank the Packer Family and the Trustees most warmly, for their wonderful support of these visionary programs.
AUSTR ALIAN CHAM B ER ORCH ESTR A
Busy times for ACO Education May and June were busy months for our education team. We ran 12 workshops, five schools’ concerts and two open rehearsals around the country, including regional workshops in regional NSW and QLD during AcO 2 ’s extremely successful Around the World with Benjamin Schmid tour. Penrith Strings had their second rehearsal period for the year and our MOVE workshop series for young people with disability began with workshop facilitator, Dean Watson. Our ACO Inspire Quartet toured to north-west WA, visiting Carnarvon, Geraldton and Port Hedland. This tour included a very special performance for the Carnarvon School of the Air students, as well as a session with primary school students in Geraldton who are taking part in our ACO Music & Art program. We also began our much anticipated program with the Australian Children’s Music Foundation (ACMF) at three primary schools in the Sunshine area in Melbourne. Our ACO Inspire Quartet will visit these schools throughout the term, working with ACMF teachers and introducing the children to the ACO and classical music.
Students work with at our annual Sydney String Workshop. PICTURED: Right – Satu Vänskä Below – Christopher Moore Below, right – Ilya Isakovich Photos: Fiora Sacco
AUSTR ALIAN CHAM B ER ORCH ESTR A
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ACO N E WS ACO Hosts Luncheon in Western Australia On 18 June, the ACO’s newest Board member, Simon Yeo, hosted a lunch for 50 guests at Perugino Restaurant in Perth. Guests enjoyed a spirited private performance by Satu Vänskä on her 1728/29 Stradivarius. Deputy General Manager, Jessica Block, spoke about the ACO’s vision for Western Australia, where we are building on the highly successful regional touring and education programs we have established there, including Strings Workshops and Schools Concerts for disadvantaged children. Jessica also outlined plans to take The Reef, our breathtaking surf/music collaboration, to New York, where it will be presented at the 92nd Street Y on 18 February 2016. The event concluded with a report on the ACO’s Instrument Fund, which has grown from strength to strength. The unit price is now $1.40, an increase of 40% from its launch price of $1.00 in 2011.
Photos: Claire Pelliccia
For more information about any of these programs, please contact Jessica Block on (02) 8274 3803 or via email jessica.block@aco.com.au
ACO and ACOIF Director John Taberner with National Education Program Patron Janet Holmes à Court.
The Reef Patron Tony Grist with Carol Evans.
The Reef Patrons John Stewart and Michelle Grist.
National Education Program Patrons Kay and Nick Giorgetta.
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AUSTR ALIAN CHAM B ER ORCH ESTR A
G E T TI N G TO K N OW… Susan Graham
Photo: Benjamin Ealovega
What word or phrase best describes you? Sunny What makes you happy? Passion What makes you unhappy? Lethargy. Which I sometimes have! Who is your favourite composer? Mahler. What is your favourite piece of music? Pretty much any slow movement from a Mahler symphony. What are you listening to right now? I listen to a lot of classic rock. What are you reading right now? The libretto to LULU!!! What are you watching on tv? House redecorating shows. What is your favourite food? New Mexico cuisine! Specifically green chile enchiladas. Favourite holiday destination? Hawaii. What talent do you not have that you wish you did? Cooking. If you could invite four people to dinner who would they be and why? Outside of the time/space continuum, I would invite Mozart (he’d be bizarre and amusing), Shirley Temple as a child (fascinating little grown-up mind with a child’s perspective), Jesus (just to ask Him what we’re supposed to do with all the hate and craziness in our world these days) and George Clooney, because he’s George Clooney. If you weren’t a Mezzo-Soprano, what would you be? Either a jewellery designer or a dog groomer.
Satu V채nsk채, Principal Violin
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AUSTR ALIAN CHAM B ER ORCH ESTR A
MURAL: MAYA HAYUK PHOTO: CAITLIN WORTHINGTON DESIGN: BRONWYNROGERS.COM WESF1341