Tognetti Tchaikovsky Brahms Concert Program by Australian Chamber Orchestra

TOGNETTI TCHAIKOVSKY BRAHMS THE SEASON BEGINS

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TarraWarra Festival 3 – 4 MARCH HEALESVILLE, TARRAWARRA

Bringing together fine art, stunning views and live music directed by Richard Tognetti, the festival features concerts in the TarraWarra Museum of Art in the Yarra Valley.

Death and the Maiden 15 – 26 MARCH NEWCASTLE, CANBERRA, MELBOURNE, SYDNEY

Russian violinist Alina Ibragimova brings her awe-inspiring energy to Schubert’s Death and the Maiden.

The Lark Ascending 15 – 24 MARCH GERALDTON, KALGOORLIE, MANDURAH, BUNBURY, MARGARET RIVER, ALBANY

ACO Collective take Vaughan Williams’ The Lark Ascending to Western Australia, led by their energetic Artistic Director Pekka Kuusisto.

Nicole Car 8 – 24 APRIL SYDNEY, MELBOURNE, PERTH, BRISBANE

Australian Soprano Nicole Car returns home for her only orchestral performance in Australia this year.

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2018 National Concert Season

ALINA IBRAGIMOVA DEATH AND THE MAIDEN 15 – 26 March Canberra, Melbourne, Newcastle, Sydney

One of the world’s most electrifying violinists directs the ACO in an intensely moving program, featuring Schubert’s Death and the Maiden for string orchestra and Barber’s Adagio for Strings.

“The immediacy and honesty of Ibragimova’s playing collapses any sense of distance between performer and listener” – THE GUARDIAN

Tickets from $49* *Booking fee of $7.50 applies to all bookings.

Message from the Managing Director It has begun! It is with great enthusiasm that I welcome you to our first concert of the season, Tognetti Tchaikovsky Brahms. Our Artistic Director Richard Tognetti leads the Orchestra back from their summer break as we traverse works by two of the most beloved composers of the Romantic period, Tchaikovsky and Brahms, together with works by two exciting contemporary composers, Anna Clyne and Missy Mazzoli. Prince of Clouds, a ravishing double violin concerto by Grammy Award-nominated Anna Clyne, will showcase two of the Orchestra’s prominent young players, Ike See and Glenn Christensen. We will also hear from a much-loved ACO veteran, Principal Bass Maxime Bibeau, who in 2018 is celebrating his 20th anniversary with the ACO. Brooklyn-based composer Missy Mazzoli has written Dark with Excessive Bright especially for the occasion. Tchaikovsky’s buoyant Serenade for Strings and Brahms’ sumptuous Sextet No.2 in G major complete the program. Joining the Orchestra are players from the Australian National Academy of Music, and we are very thrilled to welcome these wonderful young musicians to the stage for this six-city national tour. 2018 promises to be another packed year of musicmaking. For those of you who have not yet subscribed, it’s not too late. You can subscribe to the rest of the 2018 season by visiting aco.com.au/subscribe Concerts such as this, and the ACO’s myriad performances throughout the year would not be possible were it not for the unstinting support and generosity of our sponsors. I particularly thank our Principal Partner, Virgin Australia, now entering their sixth year supporting the Orchestra. Thanks to our philanthropic patrons around Australia, and of course our broader audience. I look forward to sharing the experience of our 2018 season together with you all.

Richard Evans 2018 National Concert Season

ACO 2018 National Concert Season RICHARD TOGNETTI – ARTISTIC DIRECTOR

“One of the wonders of the musical world” — THE GUARDIAN UK Nicole Divall Viola

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Tognetti Tchaikovsky Brahms APPROXIMATE DURATION (MINUTES)

Richard Tognetti Director & Violin Maxime Bibeau Double Bass Ike See Violin Glenn Christensen Violin with Musicians from the Australian National Academy of Music

ANNA CLYNE Prince of Clouds Australian Premiere

TCHAIKOVSKY Serenade for Strings in C major, Op.48 I. Pezzo in forma di Sonatina II. Walzer III. Élégie IV. Finale (Tema Russo)

INTERVAL (20 MINUTES)

MISSY MAZZOLI Dark with Excessive Bright Concerto for Contrabass and String Orchestra World Premiere Co-commissioned by Bruce and Jenny Lane for the Australian Chamber Orchestra, and by the Aurora Orchestra

The concert will last approximately two hours including a 20-minute interval.

2018 National Concert Season

BRAHMS (arr. strings) String Sextet No.2 in G major, Op.36 I. Allegro non troppo II. Scherzo: Allegro non troppo III. Adagio IV. Poco Allegro

The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.

Introduction by Richard Tognetti For our inaugural 2018 ‘grand thronging together’, we unite two typical ‘classical’, concert-hall-fare, 19th-century composers Tchaikovsky and Brahms, with two composers from the now, Anna Clyne and Missy Mazzoli. And we present three soloists from within the orchestra – two relatively freshly hatched members in Clyne’s Prince of Clouds (Ike See and Glenn Christensen), and Monsieur Maxime Bibeau, who takes centre-stage, manifesting his desire to celebrate 20 years with the Orchestra via a commission by Mazzoli.

Richard Tognetti AO Artistic Director & Lead Violin

To top it off, we incorporate young musicians completing their elite training at the Australian National Academy of Music (ANAM) in Brahms’ chamber work, the second string Sextet, hereby reworked as a ‘String Symphony’. There are two distinct types of musical creators: those who, propelled by agenda, aspire to revolution (the avantgardists), and those who, detached from extra-musical agenda, are evolution-aries, building on, as Richard Taruskin writes, ‘a past that enables the present’, or as I would say, ‘building on traditions to release the new.’ To illustrate this point: Brett Dean is an agenda composer, hence his ongoing success with narrative-driven genres such as opera, whereas Finnish composer Olli Mustonen sends forth his music mostly unencumbered by agenda, narrative or moral imperative. John Lennon, agenda driven, McCartney, not so. Then you have Mozart and Haydn, not so driven by political agenda. And Beethoven is the inspiration to Wagner. Wagner was the self-proclaimed leader of the ‘Music of the Future’ party who vehemently pitted his revolutionary style against Brahms, whom Liszt taunted by calling him leader of ‘the posthumous party’. Because of this barb, Brahms, heeding advice from Ferdinand Hiller who told him ‘the best means of struggle would be to create good music’, withdrew from public political discourse. What he did privately is another matter. As Jan Swafford points out in his biography of Brahms: ‘[Brahms] hated passionately and admired extravagantly…[responding] to rivals with the same deeprooted integrity that he brought to bear on his own music.’ As a young boy growing up in Hamburg, Brahms honed his skills in dives not dissimilar to where the Fab Four cut their

Australian Chamber Orchestra

‘ By arranging Brahms’ Sextet for orchestra, our aim is to democratise it; to play it as a massed force on stage for the massed forces in the audience...’

teeth. He related sordid stories to his friends of prostitutes and debauched sailors involving him in adult affairs which appear to have had a debilitating effect on his relationships with, and views towards, women in his later life. Certainly, in today’s climate, what happened to Brahms would’ve generated a hashtag of some description. There is conjecture about the veracity of such reports (see the excellent biography by Jan Swafford and the diatribe against his thesis by Charles Rosen). Whatever the case, Brahms’ early years hardly foreshadow the stature that Brahms, the bearded pillar of Bourgeoise Viennese society, left us in his lasting legacy. Even though Brahms the symphonist has left a profound and enduring impression on the Symphonic form, (indeed becoming the signal music for the new mass market), his prolific output of chamber music continued to be written for private occasions for a coterie of like-minded music enthusiasts – for whom the agenda remained music for music’s sake. By arranging Brahms’ Sextet for orchestra, our aim is to democratise it; to play it as a massed force on stage for the massed forces in the audience, and to transform it in an acute way that releases it from its historical trappings. Some may find this sacrilegious; others may be open to adaption. One thing is for sure: taking it out of aspic and arguing with it, keeps it alive. Whilst Brahms’ music might incite argument, Brahms did not invite public discourse, going to great pains to cover as many tracks as possible by burning personal letters, (especially correspondence with Clara Schumann) and compositions (like Sibelius) that he deemed second rate. But sometimes, no matter how hard an artist tries to be apolitical, they are drawn into the political arena. Under Brett Dean’s helm, ANAM was thrust into political warfare with the threat of closure in 2008. I would argue that, in today’s age, unless an organisation or individual can mount a convincing defence for the acquittal of public funds received by them, then the vulnerability of losing that support is high. I encourage the students of ANAM at each turn to arm themselves with a manifesto of survival. The proof of the pudding is in the eating.

2018 National Concert Season

What You Are About to Hear EVERYTHING OLD IS NEW AGAIN Martin Buzacott, presenter of ABC Classic FM’s Mornings, finds that creative renewal is the theme of this first ACO concert of the year… With his First Piano Concerto finally nearing completion, in 1858 the 25-year-old Johannes Brahms visited the home of his friend Julius Grimm in the German university town of Göttingen, where Grimm was Director of Music. That night, Grimm introduced Brahms to 23-year-old Agathe von Siebold, a stunning, highly intelligent and intensely musical soprano who was the daughter of one of the university’s professors. Johannes Brahms, 1853

With his voice only having broken the year before and still ten years away from having to shave, the notoriously latedeveloping Brahms was smitten, as was Agathe. After a whirlwind summer romance they became engaged, much to the delight of Grimm and his wife, who referred to the four of them as a lucky ‘four-leaf clover’. But soon the sordid truth about Brahms began to emerge. Agathe, it turned out, wasn’t his only love, and certainly not his greatest. As he later explained, ‘I am in love with music. I think of nothing else, or only of other things when they make music more beautiful for me.’ That was composer-speak for ‘You’re ditched.’

‘I am in love with music. I think of nothing else…’ JOHANNES BRAHMS

Breaking off the engagement, Brahms made Agathe return their many love-letters and she later married a Göttingen doctor just like her father, while Brahms eventually poured out his unfulfilled love for her in his Second String Sextet, whose first movement contains a theme based on the letters of Agathe’s name, translated into musical notes. After being chastised by alternative soul-mate Clara Schumann for his shoddy treatment of Agathe, Brahms never got himself in so deep with a woman again, and instead saved his mature adoration for his musical heroes, like Beethoven, Mozart, Handel, going back to Bach and the other musical masters of the Lutheran Reformation. At a time when music’s most ambitious maximalists were creating their self-described ‘music of the future’, Brahms invited their contempt by cherishing the music of the past, finding his own identity in the revival and renewal of an ongoing cultural tradition.

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And it’s that creative renewal inspired by a distant past that figures so prominently in all four works in this first ACO concert for 2018. Scratch below the surface here and everything old is new again, not just with Brahms and his first true chamber music masterpiece, but also with contemporary American composer Missy Mazzoli, whose double bass concerto written especially for Maxime Bibeau was conceived within the sound world of the Renaissance and the Baroque.

Missy Mazzoli

‘Scratch below the surface here and everything old is new again…’

Conscious that Maxime’s double bass from 1581 had been cossetted away in a monastery for centuries and then finally emerging with all that musical history contained within it, Missy listened to music from all those intervening eras as she worked on Dark with Excessive Bright. With these ancient musical masterpieces as a constant backdrop, and the poetry of Milton’s Paradise Lost supplying the title, Maxime then joined her in modern-day Brooklyn to ‘keep the old feeling of Max’s bass alive’. And so just as with Brahms, this world premiere from a composer at the peak of her powers surges into the future through harnessing the momentum of the past. Tchaikovsky did a similar thing in his immortal Serenade for Strings. Famously, its first movement channels Tchaikovsky’s beloved Mozart, explicitly so, with Tchaikovsky never making any secret of his love for the clarity and lyricism of the Classical era, and his desire to emulate it. And yet, for all that homage being paid to past masters, nothing could be more powerful, nor more distinctive, than that surging opening theme of the Serenade for Strings, drama-charged, intense, and almost weeping with raw emotion. It was one of Tchaikovsky’s personal favourites among his own works, so much more so than its more superficially ‘innovative’ chronological neighbour, the 1812 Overture, that he loathed. For Tchaikovsky, the Serenade was the source of pride, because it stood more closely aligned with the music of the past than most of his other works. And the same theme of the past in the present appears too in Anna Clyne’s much-acclaimed Prince of Clouds, a modern meditation on musical lineage where the Britishborn, American-based composer contemplates the way in which musical knowledge passes down from generation to generation, like a family tree, from mentor to student, from

2018 National Concert Season

‘…creative renewal inspired by a distant past…figures so prominently in all four works…’

student onto the next generation and beyond.

Pyotr Ilyich Tchaikovsky as a young man – Picture from 1863–1864.

But this isn’t some reactive, nostalgic reflection on a distant idyllic and imaginary past as proponents of the future might once have characterised it as being. On the contrary, for Anna Clyne this celebration of intergenerational influence is made possible by the rise of new technology, where boundaries between different genres of music and different historical periods have been broken down, allowing contemporary musicians to unleash their creative imaginations as never before, with collaborations and cross-pollination across artforms from all genres and periods of time. Brahms would have loved it, because now, the world of the web, the hyperlink and apps-for-everything let you reimagine the past in the present, offering a window on an ancient world seen from a thrilling, risk-taking, multivoiced modernity. And it was that excitement at the potential for centuries of profound cultural transmission to shape the creative practice of the present and the future that made Brahms choose music over love, and having done so, leaving us all, more than a century on, in his musical debt, inspired by his ongoing example as a musician who knew that the way forward was to look back. Martin Buzacott © 2018

Anna Clyne

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The Music ‘ This transfer of knowledge and inspiration between generations in a beautiful gift.’

ANNA CLYNE Born London, 1980.

PRINCE OF CLOUDS For Two Violins and String Orchestra Composed 2012.

When writing Prince of Clouds, I was contemplating the presence of musical lineage – a family-tree of sorts that passes from generation to generation. This transfer of knowledge and inspiration between generations is a beautiful gift. Composed specifically for Jennifer Koh and her mentor at the Curtis Institute of Music, Jaime Laredo, this thread was in the foreground of my imagination as a dialogue between the soloists and ensemble. As a composer, working with such virtuosic, passionate and unique musicians is also another branch of this musical chain.

PICTURED: London-born Anna Clyne has been described by the New York Times as a ‘composer of uncommon gifts and unusual methods’. 2018 National Concert Season

Prince of Clouds was co-commissioned by the Chicago Symphony Orchestra, IRIS Orchestra, Los Angeles Chamber Orchestra and the Curtis Institute of Music. It was premiered in November 2012 at the Germantown Performing Arts Center, Tennessee with conductor Michael Stern. Prince of Clouds was composed at the Hermitage Artist Retreat in Summer 2012. Anna Clyne © 2012 17

About the composer… London-born Anna Clyne is a Grammy-nominated composer of acoustic and electro-acoustic music. Clyne’s work often includes collaborations with cuttingedge choreographers, visual artists, filmmakers and musicians worldwide.

PICTURED: Anna Clyne

Appointed by Music Director Riccardo Muti, Clyne served as a Mead Composer-in-Residence for the Chicago Symphony Orchestra from 2010–2015. She also recently served as Composer-in-Residence for the Baltimore Symphony Orchestra during the 2015–2016 season and for L’Orchestre national d’Île-de-France from 2014– 2016. Clyne is the Music Alive Composer-in-Residence with the Berkeley Symphony through the 2018–2019 season. She has been commissioned by such renowned organisations as American Composers Orchestra, BBC Radio 3, BBC Scottish Symphony, Carnegie Hall, Chicago Symphony Orchestra, Houston Ballet, London Sinfonietta, Los Angeles Philharmonic, Seattle Symphony, and the Southbank Centre, and her work has been championed by such world-renowned conductors as Marin Alsop, Pablo Heras-Casado, Riccardo Muti, Leonard Slatkin and EsaPekka Salonen. Clyne was nominated for the 2015 Grammy Award for Best Contemporary Classical Composition for the work on this program, Prince of Clouds. She is the recipient of several prestigious awards and grants. Her new opera, Eva, will be workshopped in Spring 2018 at National Sawdust where Clyne is a Composer-in-Residence for the 2017–2018 season. annaclyne.com

Australian Chamber Orchestra

A word from the Composer... ‘ Reimagining the concert experience... such as videos with composers introducing their works, digital program notes, and through presenting music in unusual venues, is also opening up the experience to a wider audience’

Anna Clyne talks about what it’s like to be a composer today and how technology impacts on the art of composition… Now is an incredibly exciting time to be creating music – boundaries between and within different genres of music have been smashed open as artists explore new approaches to their craft, and as organisations and ensembles are more creative with programming and risk-taking with younger composers. Collaboration between composers and musicians with artists from other fields, such as visual art, film and dance, has also provided fertile ground for further exploration. Technology has also had a massive impact on the creation, production, promotion and presentation of today’s music, whether it be through the internet – working with notation and sound-editing software incorporating live electronic processing – or the creation of new instruments driven by cutting edge technologies such as new robotics and a plethora of innovative apps, again drawing on collaborations and innovation. At the touch of a button, you can hear music from anywhere in the world. Technology drives the presentation of, and our exposure to, music within an internet-driven platform for interaction. Reimagining the concert experience in terms of the integration of technology, to present information such as videos with composers introducing their works, digital program notes, and through presenting music in unusual venues, is also opening up the experience to a wider audience, as does the cross-pollination of audiences that results from collaborative partnerships between artists and institutions. Anna Clyne © 2018

2018 National Concert Season

The Music PETER ILYICH TCHAIKOVSKY Born Kamsko-Votinsk, 1840. Died St Petersburg, 1893.

SERENADE FOR STRINGS IN C MAJOR, OP.48 Composed 1880

I. Pezzo in forma di Sonatina II. Walzer III. Élégie IV. Finale (Tema Russo)

PICTURED: Tchaikovsky as a young man – Picture from 1863–1864.

Tchaikovsky spent the latter part of 1880 at his family’s country estate of Kamenka. From 21 September to 4 November he worked on what turned out to be the Serenade for Strings, and, interlocking with this, from 12 October to 19 November, on the very different 1812 Overture. Writing to his friend and patroness, Madame Nadezhda von Meck, he recalled: ‘I wrote the Overture without much warmth…the Serenade on the other hand, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.’ It is indeed heartfelt music, while lacking Tchaikovsky’s potential for more extreme, heart-on-sleeve emotionalism. And his hunch that it had ‘real qualities’ was endorsed by

PICTURED: Nadezhda von Meck (far left) was an influential musical patron. She supported Tchaikovsky for more than a decade so he could devote himself to composition. 20

Australian Chamber Orchestra

‘the Serenade…is a heartfelt piece and so, I dare to think, is not lacking in real qualities.’

PICTURED: Portrait of Tchaikovsky at the piano

his former teacher, and stern critic, Anton Rubinstein. He declared it to be ‘Tchaikovsky’s best piece’ to that time, when conducting the work in Moscow in June 1882. Earlier, equally successful performances in St Petersburg and Moscow included a surprise performance by friends at the St Petersburg Conservatory just three weeks after the work’s completion, on 3 December 1880. Initial sketches of the Serenade moved in the direction of a symphony or a string quintet – rather different in themselves – and by 7 October, with three movements complete, it had become a Suite for strings. Before its completion, however, Tchaikovsky decided to call it a Serenade, aware of this title’s lighter, Viennese classical connotations. Here, Tchaikovsky’s adoration of Mozart comes into focus, for, as the composer wrote to Nadezhda von Meck, ‘the first movement is actually in the style of Mozart. It is intended as an imitation, and I should be delighted if I thought that I had in any way approached my model.’ Elsewhere he had written: ‘It is due to Mozart that I devoted my life to music. He gave me the first impulse in my efforts, and made me love it above all else in the world.’ Tchaikovsky’s Mozartian ‘imitation’ isn’t neo-classical in the way that his Russian successors Stravinsky and Prokofiev would manufacture so successfully decades later. The movement is a ‘little sonata’ where there is no designated ‘development’ section, and where the balance of identical exposition and recapitulation (except for the second 2018 National Concert Season

subject’s tonal area) is further balanced by the return of the opening Andante to close the movement. But in terms of the actual sound of the Serenade, only the second subject of this first movement is overtly Mozartian, with its bubbling semi-quavers and lightness of touch. Tchaikovsky’s own creative personality is never being masked; he is not letting another age’s music climb into that personality, but he is still observing the spirit of that age.

PICTURED: Nadezhda von Meck

‘It is due to Mozart that I devoted my life to music. He gave me the first impulse in my efforts, and made me love it above all else in the world.’ PETER ILYICH TCHAIKOVSKY

Following this opening Sonatina is a deft and graceful Waltz, whose main material Tchaikovsky subtly varies in texture and ornamentation upon its return after a contrasting central episode. Similarly, in the Elegy, the return towards the end of the opening Larghetto is muted and moves closer into Tchaikovsky’s more despairing, tragic territory of expression. The central body of this Elegy is more emotionally neutral, immediately pleasing for its broad sweep of melody in the first violins and cellos, though still tinged with a certain melancholy. The transition to the Russian-flavoured final movement (Mozart is left behind here, and replaced by two tunes Tchaikovsky had arranged back in 1869) is subtly achieved, with the lofty conclusion of the Elegy merging into a serene statement of a folk tune from the Volga region. Apart from bringing us back from the Elegy’s key centre of D to the finale’s C major, Tchaikovsky also teases the melody of the subsequent Allegro – another, more rollicking folk tune – from the cadential residue of the first melody. It is as impressively clear a lesson in motivic transformation as any student, or interested listener could wish for. Tchaikovsky continues to have fun with his material in this fully worked sonata movement. First, he introduces a smooth, subordinate melody in the cellos that is then superimposed, later in the upper strings, on the principal folk theme. Close to the conclusion, he then brings back the stately introduction of the first movement. The descending fourth of this melody – which, when inverted, becomes the thematic stuff of the middle two movements – when gradually wound up back to speed clearly transforms to the Russian theme. With the end looping back to the beginning, the Mozartian sonatina moves east and is finally grafted to the Russian peasant dance. © Australian Chamber Orchestra

Australian Chamber Orchestra

MISSY MAZZOLI Born Pennsylvania, 1980.

DARK WITH EXCESSIVE BRIGHT Concerto for Contrabass and String Orchestra Composed 2018

PICTURED: Missy Mazzoli

In celebration of his 20th year with the orchestra, Principal Bass Maxime Bibeau was given the opportunity to commission a new work from a composer he felt reflected his time with the ACO. After considerable research and exploration (including hours of listening), Max landed on Brooklyn-based Mazzoli, who ‘stood out to me as a composer with a very strong and distinctive voice that I hadn’t heard anywhere else’. This is the point in a commission where the story generally ends – one artist passes the baton to the other, and both reconvene at rehearsals. But Missy opted for a different route, tugging at the thread of Max’s instrument’s history to set the foundation for the work.

‘I imagined this instrument as a historian, an object that collected the music of the passing centuries…’ MISSY MAZZOLI

‘I was inspired in no small part by Maxime’s double bass, a massive instrument built in 1580 that was stored in an Italian monastery for hundreds of years and even patched with pages from the Good Friday liturgy’, says Mazzoli. ‘I imagined this instrument as a historian, an object that collected the music of the passing centuries in the twists of its neck and the fibres of its wood, finally emerging into the light at age 400 and singing it all into the world.’ From this foundation, Mazzoli and Max worked together throughout the creative process, collaborating through Skype or in person during a special trip to Brooklyn. ‘Missy has been very open about bouncing ideas back and forth, and exploring the full range of the instrument’, says Max. ‘The solo part features these beautiful, soaring melodic lines, alongside some grittier, crunchier moments from both the bass and the orchestra.’ Missy also took the collaborative approach to heart, while immersing herself in music from the Baroque and Renaissance to keep the old feeling of Max’s bass alive. ‘I’ve worked with Maxime on this piece more than I’ve ever worked with a soloist,’ says Mazzoli. ‘A Contrabass Concerto

2018 National Concert Season

‘I was inspired in no small part by Maxime’s double bass…’ MISSY MAZZOLI

is a tricky medium in that there are all sorts of potential issues with balance and range, but Maxime was very adventurous and willing to help me come up with innovative solutions. While loosely based in Baroque idioms, this piece slips between string techniques from several centuries, all while twisting a pattern of repeated chords beyond recognition.’

ACO Principal Double Bass Maxime Bibeau

The outcome of this collaboration is Dark with Excessive Bright – a piece two years in the making that carefully interweaves the unique story of Max’s instrument into a modern composition that’s considered in every detail, right down to the name. ‘Dark with Excessive Bright, a phrase from Milton’s Paradise Lost is a surreal and evocative description of God, written by a blind man’, explains Mazzoli. ‘I love the impossibility of this phrase, and felt it was a strangely accurate way to describe the dark but heartrending sound of the double bass itself.’

About the composer… As an established composer on the contemporary music scene, Missy Mazzoli’s talent draws audiences equally into concert halls, opera houses and rock clubs. Her unique music reflects a trend among composers of her generation who combine styles, writing music for the omnivorous audiences of the 21st century. She inhabits an exquisite and mysterious soundworld that melds indierock sensibilities with formal training from Louis Andriessen, David Lang, Aaron Jay Kernis, Richard Ayres and others. Her music has been performed around the world by the BBC Symphony, Kronos Quartet, JACK Quartet, eighth blackbird, LA Opera, Roomful of Teeth, Crash Ensemble, Britten Sinfonia, Detroit Symphony, Los Angeles Philharmonic, among many others.

PICTURED: Maxime’s instrument is made by late-16th-century maker Gasparo da Salò. 24

Mazzoli is currently on the composition faculty of the Mannes College of Music, a division of the New School and a co-founder of Luna Composition Lab. An active pianist, Mazzoli performs with Victoire, a band she founded in 2008 which is dedicated to playing her own compositions. missymazzoli.com Australian Chamber Orchestra

JOHANNES BRAHMS Born Hamburg, 1833. Died Vienna, 1897.

STRING SEXTET NO.2 IN G MAJOR, OP.36 Arranged strings Composed 1864-5

I. Allegro non troppo II. Scherzo: Allegro non troppo III. Adagio IV. Poco Allegro

PICTURED: Johannes Brahms

Brahms wrote to Agathe. ‘I love you, I must see you again, but I cannot be bound…’

There is a photograph of Brahms taken around 1858 or early 1859, where, if you know to look for it, you can just discern a ring on his engagement finger. The ring belonged to Agathe von Siebold, and we know that at that time a matching ring was on her finger too. Agathe was the daughter of a law professor in Göttingen, and studied singing with Julius Otto Grimm. Grimm was probably the best and most constant friend Brahms ever had, and the composer took great pleasure in visiting the Göttingen household – not least because of a certain singing student with dark eyes, black hair, and (according to Joachim, who should know) ‘a voice like an Amati violin’. She was evidently a very capable musician, and Brahms wrote various songs for her including Opp.14, 19 and 20. He also wrote a Bridal Song which was later, like so many of his works, withdrawn and destroyed.

PICTURED: Agathe von Siebold, Brahms’ fiancée for a short time (left) and Johannes Brahms, the man who did not want to be tied down. 2018 National Concert Season

‘I loved Johannes Brahms very much, and for a short time, he loved me.’ DR AGATHE SCHÜTTE (NÉE VON SIEBOLD)

These days he would be written off as a hopeless commitment-phobe, continually running back to the reassuring safe haven of his friendship with Clara Schumann. Even then, his eternal bachelorhood was ‘almost a social scandal’. It wasn’t as if he couldn’t find anyone willing to marry him. In 1859, it looked likely that Brahms could walk into the kind of job that would make him perfectly capable of supporting a wife (although he said otherwise). His friends the Grimms were enthusiastic supporters of the growing affection between Brahms and Agathe. They noted with pleasure the sudden appearance of a ring on her finger and Julius wrote to Brahms urging him to make his intentions clear and formal, as Göttingen society was beginning to gossip. It was at that point Brahms wrote to Agathe. ‘I love you, I must see you again, but I cannot be bound,’ was his stance; and being a respectable girl of her time she must have felt she had no real choice other than to call a halt. Marriage was the only possible development from a relationship, and he had now made it clear that wasn’t on the cards. It is easy to imagine her intense pain and mortification. As many as ten years later, she married someone else.

PICTURED: Brahms in Vienna with singer Alice Barbi

It seems it wasn’t easy for Brahms to forget her, either. Six years after they parted company he confided to a friend that he had ‘finally said goodbye’ in his new Sextet No.2. Brahms’ friend and mentor Schumann was almost obsessively fond of encoding words as musical notes, so it is reasonable to find (as Brahms’ biographer Kalbeck did) AGATHE lurking in the Sextet: A-G-A-[no T, although there’s a similar-sounding letter D in another part]-H [B in English musical notation]-E. This little motto appears repeatedly, passionately, and often underpinned by an unusually harmonised sighing motif. Some commentators also identify A-D-E, ‘Ade’ being a common word for farewell in Romantic German poetry. Why was she on his mind again at this time? Was it because his parents’ marriage was coming to a longforeseen and ugly conclusion? His father was preparing to leave his 73-year-old wife, who was nearly blind. Brahms’ siblings also seemed ill-equipped to take care of themselves and the young composer took on a lot of emotional and financial responsibility. Taking a

Australian Chamber Orchestra

summer break at Lichtenthal, he composed the first three movements of the Sextet; and the next year returned and finished the Finale. The Sextet is a Romantic work, dense in texture and with the extended irregular phrasing and harmonic development that is a hallmark of the time. Yet, behind it all is Brahms’ anachronistic interest in earlier music – in this case, that of the Baroque era and works such as Bach’s ‘English’ suites.

PICTURED: Clara Schumann was Brahms’ lifelong confidante

‘As many as ten years later, (Agathe von Siebold) married someone else…’

The first movement, though, draws more on the models of Schubert’s Quintet in C and Beethoven’s chamber music. The arching, lyrical principal theme delighted Clara Schumann when she was sent an early copy of the work in progress. The Scherzo is placed second instead of third and draws on a gavotte Brahms had written as part of a piano suite, in 1855. Like so much of his music, the suite itself was consigned to the furnace, but parts of it re-appear here, and in the first String Quintet and the Clarinet Quintet. The gavotte theme evolves into a fugue-like secondary subject; and the dance-like feel gains pace with a remarkable Presto giocoso trio-section. The slow movement was described by someone as ‘variations on no theme’. It’s a bit harsh but you know what they meant – even as superb a musician as Clara found it hard to discern at first. Familiarity with the rather chromatic ‘melody’ allows the listener to appreciate Brahms’ confidence in using the Baroque skills of imitation and counterpoint. The last movement likewise contains hints of that Classical favourite, the fugal finale, and is broadly structured around an entirely Classical sonata-form. But once again Brahms takes an original approach to his task, and borrows techniques freely from the past two hundred years. Much later, Frau Dr Agathe Schütte née von Siebold wrote a little memoir for her children, from which this excerpt is taken: ‘I think I may say that from that time until the present, a golden light has been cast on my life, and that even now, in my late old age, something of the radiance of that unforgettable time has remained. I loved Johannes Brahms very much, and for a short time, he loved me.’ © Australian Chamber Orchestra

2018 National Concert Season

The Musicians Richard Tognetti Conductor, Artistic Director & Lead Violin Richard began his studies in his home town of Wollongong with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. Richard performs on period, modern and electric instruments, and his numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all the major Australian symphony orchestras, most recently as soloist and director with the Melbourne and Tasmanian Symphony Orchestras. Richard also performed the Australian premieres of Ligeti’s Violin Concerto and Lutoslawski’s Partita. In November 2016, he became the Barbican Centre’s first Artist-in-Residence at Milton Court Concert Hall in London. Richard created the Huntington Festival in Mudgee, New South Wales and was Artistic Director of the Festival Maribor in Slovenia from 2008 to 2015. Richard was the co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Storm Surfers; and created The Red Tree, inspired by Shaun Tan’s book. He also created the documentary film Musica Surfica, as well as The Glide, The Reef and The Crowd. Most recently, Richard collaborated with Director Jennifer Peedom and Stranger Than Fiction Films to create the film Mountain for the ACO.

Richard Tognetti is Artistic Director of the Australian Chamber Orchestra. He has established an international reputation for his compelling performances and artistic individualism.

Photo by Ben Sullivan

Richard was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

Australian Chamber Orchestra

Maxime Bibeau Double Bass French-Canadian Maxime Bibeau’s musical career started, as many young musicians do, in the high school garage band! Initially, he wanted to pursue a career as a scientist, but the lure of music, particularly jazz, inspired Max to take up the double bass instead. He completed his undergraduate degree at the Conservatoire de Musique du Québec à Montréal and received his Master’s of Music from Rice University in Houston with Timothy Pitts and Paul Ellison where he was awarded a full university scholarship, as well as grants from the Canada Arts Council and the Canadian Research Assistance Fund.

Photo by Ben Sullivan

Early in his career, Max has appeared at numerous programs and music festivals worldwide including the SHIRA International Symphony Orchestra Israel, Jeunesses Musicales World Orchestra, Music Academy of the West, Waterloo Festival Centre d’Art d’Orford and Domaine Forget. These days, he regularly participates as a chamber musician and has appeared as a guest artist with orchestras both in Australia and overseas. This year, Max celebrates 20 years as Principal Double Bass with the ACO and one of the reasons for his long tenure is he really enjoys the creativity, drive, talent and commitment of his ACO colleagues. His solo performances with the ACO include Bottesini’s Gran Duo Concertante with renowned American violinist Stefan Jackiw, Mozart’s Per questa bella mano with Baritone Teddy Tahu Rhodes, Piazzolla’s Kicho, Contrabajeando and Contrabajissimo. He has also premiered James Ledger’s Folk Song, Matthew Hindson’s Crime and Punishment, Elena Kats-Chernin’s Singing Trees and most recently Joe Chindamo’s Five Revelations for double bass and strings. As an educator, he has been involved with the Australian Youth Orchestra’s National Music Camp, Sydney Youth Orchestra, University of NSW, Australian National Academy of Music, and as a lecturer at the Sydney Conservatorium of Music. When he isn’t collecting frequent flyer points, Max enjoys his downtime swimming in the ocean with his active 16-month-old twin boys, Luc and Rémy. Max plays a late-16th-century Gasparo da Salò double bass, kindly made available to him by anonymous Australian benefactors. 2018 National Concert Season

Ike See Violin Ike See has been a core member of the Australian Chamber Orchestra since 2013. A three-time first prize winner at the Singapore National Violin Competition, Ike has performed as soloist with the ACO, Adelaide Symphony, Singapore Symphony and Singapore National Youth Orchestras. In his performance of Bruch’s First Violin Concerto with the Orchestra of the Music Makers, he was praised for his ‘warmth and purity of tone, with unfailing musicality ... natural and unforced virtuosity’ (The Straits Times).

‘...warmth and purity of tone, with unfailing musicality ... natural and unforced virtuosity’ THE STRAITS TIMES

Ike began his musical life in Singapore, studying with Sylvia Khoo from the age of four and later with Qian Zhou, Head of Strings at the Yong Siew Toh Conservatory of Music. In 2006, he was accepted into the Curtis Institute of Music under the tutelage of renowned violinists Joseph Silverstein and Pamela Frank, graduating in 2012 with a Bachelor of Music. Ike has appeared at numerous festivals including the Australian, Amelia Island, and Singapore Chamber Music Festivals, Kirishima International Music Festival and Singapore Arts Festival. In 2011, he was invited to perform chamber music across Europe as part of Curtis on Tour, collaborating with his peers and distinguished faculty members. Possessing a passion for collective music-making, Ike has led numerous ensembles and orchestras, previously holding the position of Associate Concertmaster of the Adelaide Symphony Orchestra. He studied chamber music with members of the Guarneri, Orion and Vermeer Quartets, and has shared the stage with musicians such as James Dunham, Karen Gomyo, Susan Graham, Clive Greensmith, Gary Hoffman and Anthony McGill.

Photo by Ben Sullivan

Ike has just returned from Singapore, having performed Korngold’s Violin Concerto and play/directed re:Sound Collective, and is thrilled to kick off ACO’s 2018 season with the first notes of Anna Clyne’s Prince of Clouds.

Australian Chamber Orchestra

Glenn Christensen Violin Glenn Christensen was born and raised in the regional Queensland town of Mackay, where he received his early music education through the Suzuki Method with local teacher Diane Powell. Glenn then studied with Michele Walsh at the Queensland Conservatorium, Griffith University and graduated in 2011 with a Bachelor of Music, First Class Honours. He was also the first person ever to be awarded the three highest prizes â&#x20AC;&#x201C; the Conservatorium Medal, the Music Medal and the University Medal. From 2015, Glenn has been a full-time member of the Australian Chamber Orchestra. Prior to this appointment, he held the position of Principal First Violin in the Queensland Symphony Orchestra from 2012. He has also performed as Guest Principal with the Melbourne Symphony Orchestra, was the Concertmaster of the Australian Youth Orchestra in both 2012 and 2013, and was an Australian Chamber Orchestra Emerging Artist in 2012.

Photo by Ben Sullivan

As a soloist, Glenn has performed with the Australian Chamber Orchestra and the Queensland Symphony Orchestra on multiple occasions, including an appearance as Guest Concertmaster, Director and Soloist for a regional Queensland tour. He has had performances broadcast live on ABC Classic FM, was a finalist in the 2014 ABC Young Performer Awards, and in 2009 won every category in the prestigious Kendall National Violin Competition. Also, a keen chamber musician, Glenn is the violinist in the Lyrebird Trio, which won both the audience choice prize and the Piano Trio prize in the 2013 Asia Pacific Chamber Music Competition. Glenn has also appeared at numerous festivals and masterclasses around Australia and internationally, and in 2018 is the Artistic Director of the inaugural Mackay Chamber Music Festival.

2018 National Concert Season

Australian National Academy of Music The Australian National Academy of Music (ANAM) is dedicated to the artistic and professional development of the most exceptional young musicians from Australia and New Zealand. The only institute of its kind, and one of the few in the world, ANAM is a place in which musicians fulfil their potential as music leaders, distinguished by their skill, imagination and courage, and by their determined contribution to a vibrant music culture.

‘ANAM aims to inspire these future music leaders and encourages audiences to share the journey.’

Renowned for its innovation, energy and adventurous programming, ANAM believes that a future for classical music lies in the hands of musicians who understand that historical and contemporary music are interdependent, and who are engaged with a broad range of styles and genres. They are musicians with the highest technical and musical accomplishment, but also with an understanding of the context in which the art form finds itself today and the courage and commitment to ensure its future. ANAM musicians learn and transform through public performance in some of the finest venues in Australia, sharing the stage with their peers and the world’s finest artists. In 2018, audiences can experience their music-making more often – and in more venues – than ever before. The 2018 ANAM Season includes conductors José Luis Gomez, Simone Young, Douglas Boyd and Brett Dean directing four major ANAM orchestral events in partnership with the Melbourne Recital Centre. Plus a year-long project presenting the complete piano and chamber music of Claude Debussy led by an esteemed collection of local and international pianists, and a national touring program in partnership with some of Australia’s leading organisations. In over 180 events presented throughout the year, ANAM musicians hurl themselves at each performance as if there was no tomorrow. With an outstanding track record of success, ANAM musicians and alumni regularly receive major national and international awards, and are currently working in orchestras and chamber ensembles around the world, performing as soloists, and educating the next generation of musicians.

The involvement of ANAM musicians in this ACO national tour is generously supported by: Robert Peck am and Yvonne von Hartel am, peckvonhartel architects Martyn Myer ao and Louise Myer

ANAM aims to inspire these future music leaders and encourages audiences to share the journey. For more information on ANAM, please visit anam.com.au or call 03 9645 7911.

Australian Chamber Orchestra

Australian Chamber Orchestra The Australian Chamber Orchestra travels a remarkable road. Founded by cellist John Painter in November 1975, this 17-piece string orchestra lives and breathes music, making waves around the world for their explosive performances and brave interpretations. Steeped in history but always looking to the future, ACO programs embrace celebrated classics alongside new commissions, and adventurous cross-artform collaborations. Led by Artistic Director Richard Tognetti since 1990, the ACO performs more than 100 concerts across Australia each year. This intrepid spirit isn’t confined to the country they call home, as the Orchestra maintains an international touring schedule that finds them in many of the world’s greatest concert halls including Amsterdam’s Concertgebouw, London’s Barbican Centre and Royal Festival Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. In 2018 the ACO commenced a three-year London residency as International Associate Ensemble at Milton Court in partnership with the Barbican Centre, with whom they share a commitment in presenting concerts that inspire, embolden and challenge audiences. Whether performing in Manhattan, New York, or Wollongong, New South Wales, the ACO is unwavering in their commitment to creating transformative musical experiences. The Orchestra regularly collaborates with artists and musicians who share their ideology: from Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Olli Mustonen, Brett Dean and Ivry Gitlis, to Neil Finn, Jonny Greenwood, Katie Noonan, Barry Humphries and Meow Meow; to visual artists and film makers such as Michael Leunig, Bill Henson, Shaun Tan, Jon Frank, and Jennifer Peedom, who have co-created unique, hybrid productions for which the ACO has become renowned. In addition to their national and international touring schedule, the Orchestra has an active recording program across CD, vinyl and digital formats. Their recordings of Bach’s violin works won three consecutive ARIA Awards. Recent releases include Mozart’s Last Symphonies, Bach Beethoven: Fugue and the soundtrack to the acclaimed cinematic collaboration, Mountain. Documentaries featuring the ACO have been shown on television worldwide.

‘The Australian Chamber Orchestra is uniformly high octane, arresting and never ordinary.’ THE AUSTRALIAN

Richard Tognetti Artistic Director & Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi Violin Maja Savnik Violin Ike See Violin Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Bass PART-TIME MUSICIANS

Thibaud Pavlovic-Hobba Violin Caroline Henbest Viola Daniel Yeadon Cello

aco.com.au 2018 National Concert Season

Musicians on Stage

Richard Tognetti 1 Leader and Violin

Helena Rathbone 2 Principal Violin

Glenn Christensen 3 Violin

Aiko Goto Violin

Chair sponsored by Wendy Edwards, Peter & Ruth McMullin, Andrew & Andrea Roberts

Chair sponsored by Kate & Daryl Dixon

Chair sponsored by Terry Campbell AO & Christine Campbell

Chair sponsored by Anthony & Sharon Lee Foundation

Ilya Isakovich Violin

Liisa Pallandi Violin

Ike See Violin

Thibaud Pavlovic-Hobba Violin

Chair sponsored by The Humanity Foundation

Chair sponsored by The Melbourne Medical Syndicate

Chair sponsored by Di Jameson

Nicole Divall Viola

Timo-Veikko Valve 4 Principal Cello

Julian Thompson 5 Cello

Chair sponsored by Ian Lansdown

Chair sponsored by Peter Weiss AO

Chair sponsored by The Grist & Stewart Families

Violin Ben Adler Katherine Lukey * Mana Ohashi # William Huxtable # Kyla Matsuura-Miller # Riley Skevington #

Viola Nathan Greentree Elizabeth Woolnough^ Molly Collier-O’Boyle # Beth Condon # Mariette Reefman # Eli Vincent #

Guest Principal Viola Ida Bryhn ~ Chair sponsored by peckvonhartel architects

Cello David Moran # Eliza Sdraulig # Caleb Wong #

Daniel Yeadon Cello

Double Bass David Campbell ˚ ˚ Courtesy of Sydney Symphony Orchestra * Courtesy of Opera Australia Orchestra Courtesy of Melbourne Symphony Orchestra ^

Maxime Bibeau 6 Principal Bass Chair sponsored by Darin Cooper Foundation

Courtesy of the Norwegian Chamber Orchestra ~

Courtesy of Australian National Academy of Music (ANAM) #

Players dressed by Willow and SABA 1 Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 3 Glenn Christensen plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. 4 Timo-Veikko Valve plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund. 5 Julian Thompson plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly donated to the ACO by Peter Weiss AO. 6 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor. 34

Australian Chamber Orchestra

Behind the Scenes BOARD

EDUCATION

MARKETING

Guido Belgiorno-Nettis AM

Vicki Norton

Antonia Farrugia

Chairman

Education Manager

Director of Marketing

Liz Lewin

Caitlin Gilmour

Caitlin Benetatos

Deputy

Emerging Artists and Education Coordinator

Communications Manager

Sarah Stait

Digital Marketing Manager

Regional Touring Coordinator

Christie Brewster

Bill Best John Borghetti AO Judy Crawford John Kench Anthony Lee Martyn Myer AO James Ostroburski Carol Schwartz AM Julie Steiner John Taberner Nina Walton Simon Yeo ARTISTIC DIRECTOR

Richard Tognetti AO

Lead Creative

FINANCE

Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

DEVELOPMENT

Anna McPherson Director of Corporate Partnerships

ADMINISTRATIVE STAFF EXECUTIVE OFFICE

Jill Colvin

Richard Evans

Tom Tansey

Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

Director of Philanthropy Events & Special Projects Manager

Sarah Morrisby

Katie Henebery

Philanthropy Manager

Executive Assistant to Mr Evans and Mr Tognetti AO & HR Officer

Patrons Manager

ARTISTIC OPERATIONS

Luke Shaw Director of Artistic Operations

Anna Melville Artistic Administrator

Lisa Mullineux Tour Manager

Ross Chapman Touring & Production Coordinator

Rory Oâ&#x20AC;&#x2122;Maley

Sally Crawford

Cristina Maldonado Marketing & Communications Executive

Shane Choi Marketing Coordinator

Hilary Shrubb Publications Editor

Colin Taylor

Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Christina Holland Office Administrator

Robin Hall Archival Administrator

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not-for-profit company registered in NSW.

In Person

Capital Campaign Manager

Opera Quays, 2 East Circular Quay, Sydney NSW 2000

Yeehwan Yeoh

By Mail

Lillian Armitage

Investor Relations Manager

Camille Comtat Corporate Partnerships Executive

Belinda Partyga Researcher

Kay-Yin Teoh Corporate Partnerships Administrator

PO Box R21, Royal Exchange NSW 1225 Australia

Telephone (02) 8274 3800 Box Office 1800 444 444

Email aco@aco.com.au

Nina Kang

Web

Travel Coordinator

aco.com.au

Bernard Rofe Librarian

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

2018 National Concert Season

Venue Support

ADELAIDE TOWN HALL 128 King William Street, Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590 Email townhall@adelaidecitycouncil.com Web adelaidetownhall.com.au Martin Haese Lord Mayor Mark Goldstone Chief Executive Officer

QUEENSLAND PERFORMING ARTS CENTRE

AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music

Cultural Precinct, Cnr Grey & Melbourne Street, South Bank QLD 4101

William Herbert Place (off Childers Street), Acton, Canberra

PO Box 3567, South Bank QLD 4101

Venue Hire Information Telephone (02) 6125 2527 Email music.venues@anu.edu.au

Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au Professor Peter Coaldrake AO Chair John Kotzas Chief Executive

ARTS CENTRE MELBOURNE

CITY RECITAL HALL LIMITED

PO Box 7585, St Kilda Road, Melbourne VIC 8004

2–12 Angel Place Sydney NSW 2000

Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au

Administration (02) 9231 9000 Box Office (02) 8256 2222 Web www.cityrecitalhall.com

James MacKenzie President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer

Renata Kaldor AO Chair, Board of Directors Elaine Chia CEO

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron AM Chief Executive Officer

WOLLONGONG TOWN HALL Wollongong Town Hall is managed by Merrigong Theatre Company Crown & Kembla Streets, Wollongong NSW 2500 PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959 Email info@merrigong.com.au Web wollongongtownhall.com.au

IN CASE OF EMERGENCIES… Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

Australian Chamber Orchestra

Tour Dates and Concert Talks Pre-concert talks take place 45 minutes before the start of every concert. Please share our concert program with your companion/s, where possible – one between two. Our programs are also available on our website for download.

Thu 1 Feb, 6.45pm Wollongong Town Hall

Sun 11 Feb, 1.15pm Sydney Opera House