Death and the Maiden Concert Program by Australian Chamber Orchestra

DEATH AND THE MAIDEN ALINA IBRAGIMOVA, VIOLIN AND DIRECTOR

PRINCIPAL PARTNER

COMING HOME IS NICE BUT

TA K I N G OFF IS WHERE THE EXCITEMENT LIVES

P R I N C I PA L PA R T N E R O F AUSTRALIAN CHAMBER ORCHESTRA

Death and the Maiden APPROXIMATE DURATION (MINUTES)

45mins prior

Alina Ibragimova Guest Director & Violin

Pre-Concert Talk 45 minutes prior to the concert (see page 30 for details)

BARBER Adagio for Strings, Op.11

p14

MOZART Adagio and Fugue in C minor, K.546 I. Adagio – II. Fuga

p18

HARTMANN Concerto funebre I. Introduction (Largo) – II. Adagio – III. Allegro di molto – IV. Choral (Langsamer Marsch)

p20

INTERVAL (20 MINUTES)

ARVO PÄRT p22 Silouan’s Song (‘My soul yearns after the Lord…’)

SCHUBERT (arr. Richard Tognetti) String Quartet No.14 in D minor, D.810 Death and the Maiden I. Allegro II. Andante con moto III. Scherzo (Allegro molto) IV. Presto

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.

p24

MUSIC THAT TAKES YOU PLACES

As an ACO Subscriber, enjoy discounts on selected domestic and international routes* when you fly with Virgin Australia. Itâ&#x20AC;&#x2122;s just our little way of thanking you for supporting the Australian Chamber Orchestra too. For more information visit aco.com.au/vadiscount or call the ACO on 1800 444 444.

Principal Partner of the Australian Chamber Orchestra *Terms and Conditions: Offer is available to ACO Subscribers only. Offer is available on selected Virgin Australia domestic and international operated services in Economy and Business class for travel until 30th September 2018. 20 day advance purchases applies. You may be required to provide verification of your ACO subscription. Fares are subject to availability. Phone booking fee applies for bookings made by phone. A card payment fee will apply if payment is made via credit card or debit card. Additional fees will be charged for baggage in excess of any published allowances. Conditions and travel restrictions apply for all fares. Flights are subject to VA condition of carriage which are available at www.virginaustralia.com

National Tour Partner Virgin Australia is proud to be the Principal Partner of the Australian Chamber Orchestra and its National Tour Partner for Death and the Maiden. This collaboration with the ACO will move audiences with its beautiful and passionate music played by brilliant violinist and guest director, AlinaÂ Ibragimova. In 2018, we will be celebrating our sixth year of partnership with the ACO. Through our comprehensive domestic and international network, reaching more than 450 destinations worldwide, we have enabled the ACO to share its awe-inspiring programs with audiences across Australia and theÂ world. If these concerts inspire you to travel, Virgin Australia is pleased to offer ACO Subscribers an exclusive discount on domestic and international flights. Please visit aco.com.au/vadiscount for more information. I hope you enjoy this inspiring performance.

John Borghetti AO Chief Executive Officer and Managing Director Virgin Australia

PRINCIPAL PARTNER

2018 National Concert Season

NICOLE CAR

8 – 24 April

Sydney, Melbourne, Perth, Brisbane

Australia’s star soprano sings Mozart and Beethoven heroines alongside Principal Violin Satu Vänskä who showcases the ACO’s new 1726 Belgiorno Stradivarius with Beethoven’s Romance in F major for Violin and Orchestra. Richard Tognetti Director Nicole Car Soprano Satu Vänskä Violin

“A voice full of emotion, power and range.” – HERALD SUN

Tickets from $55* *Booking fee of $7.50 applies to all bookings. Prices vary according to venue and reserve.

Message from the Managing Director The ACO is privileged to perform with some of the world’s great artists who share our commitment in pursuing adventurous music-making and performance. Alina Ibragimova is one such artist. It has been ten years since Alina last played with the ACO, and we are delighted to welcome her back for our Death and the Maiden concerts. This program examines and celebrates life in all its forms and requires a musician such as Alina who has an intensity of intelligence and an athletic virtuosity. She will be drawing upon her powers of performance to explore the full gamut of the human experience, from darkness and despair to hope and pure joy. I thank our Principal Partner Virgin Australia who are the National Tour Partner for this series of concerts. They are instrumental in enabling us to perform all around the country, and the world, for which we are enormously grateful. I am similarly delighted to take this opportunity to welcome the newest member of the ACO: the 1726 Belgiorno Stradivarius violin. This extraordinary 292-year-old instrument has been purchased by our Chairman Guido Belgiorno-Nettis am and Michelle Belgiorno for long-term loan to the ACO, where its custodian will be Principal Violin Satu Vänskä. It is due to the generosity of patrons like the Belgiorno-Nettis’ that we are in the very fortunate position of having one of the finest collections of string instruments of any orchestra in the world. You can hear the 1726 Belgiorno Stradivarius make its national debut at our upcoming Nicole Car concerts, when Satu will perform Beethoven’s Romance for Violin and Orchestra in F major. I urge you not to miss the opportunity to hear this magnificent instrument in full voice. I hope that you enjoy what promises to be an enlivening concert.

Richard Evans 2018 National Concert Season

What’s On Visit aco.com.au to learn more.

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

ACO In Hobart & Darwin 13 MAY & 16 JUNE HOBART & DARWIN

Oud player Joseph Tawadros joins the ACO for their highly anticipated return where they’ll perform Vivaldi’s Four Seasons.

Steven Isserlis Plays Shostakovich 23 JUNE – 4 JULY CANBERRA, MELBOURNE, ADELAIDE, PERTH, SYDNEY

Shostakovich’s monumental First Cello Concerto and Haydn’s London Symphony see Isserlis and the ACO at their sublime best.

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Radio

Did you enjoy the concert? What was you favourite piece? Is this your first ACO experience? We love to hear what you think about our concerts and recordings or anything else youâ&#x20AC;&#x2122;d like to tell us.

ACO concerts are regularly broadcast on ABC Classic FM. Death and the Maiden will be broadcast on Sunday 8 April at 5pm.

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2018 National Concert Season

Introduction from Alina Ibragimova ‘Music is a means for us to express our most complex, and often intertwined, emotions.’

Music has the capacity to convey the vast expanse of human emotions, and this is what I set out to explore when curating this program. At times this may seem quite dark – there are themes of death, of loss – but darkness is often intermingled with other feelings, of hope, and even beauty and love. Karl Amadeus Hartmann’s Concerto funebre is a piece that has stayed with me ever since I first performed it many years ago. Hartmann wrote this concerto in 1939 in the lead up to the second world war and was, I think, very much troubled by the world he was seeing around him. You can hear the desperation, the sheer terror, but at the same time there is something very human in the return to hope at the very end of the concerto. Schubert is another composer who is a master at conveying what can almost be seen as a conflict of emotions. In his Death and the Maiden quartet there is so much sadness and melancholy, but also joy, sometimes within the same note. Even in the quartet’s darkest moments there are underlying feelings of tenderness. It is impossible to listen to this music and be unmoved. Music is a means for us to express our most complex, and often intertwined, emotions. And it is the shared experience of these emotions that connect and bind us to one another as human beings. Alina Ibragimova Guest Director & Violin

2018 National Concert Season

Music and Melancholia ‘Music doesn’t create emotion, but rather amplifies what is already within us’

Arts Editor at The Weekly Review and faculty member of the School of Life Myke Bartlett, explores how music helps us tap into, and navigate, our inner emotions. It’s not uncommon for anything in a minor key to be branded depressing. To put on Schubert’s Death and the Maiden during a lively party is to invite everyone to finish drinks and clear out, pronto. But it’s unfair to blame music for being depressing. After all, there is nothing inherently miserable about Samuel Barber’s Adagio for Strings, even if it has a knack for reducing an audience to tears. Music doesn’t create emotion, but rather amplifies what is already within us. It elucidates and gives permission to emotions that we might struggle to express through language alone. There’s a reason that teenagers have forever been drawn to music that swings between extremes of ecstasy and despair. Adolescence is a time of great turmoil, when our developing inner geography can seem a foreign and bewildering land. This is a time of life when music matters most. We map our inner lives in songs that give sense to the apparently insensible, helping us fashion the emotional toolkit we’ll need to navigate the delights and hardships that await us in adulthood.

OPPOSITE: This dreamy illustration by John Craig featured on the cover image of The Smashing Pumpkins’ 1995 album Mellon Collie and the Infinite Sadness

Little wonder that we often return to music for solace in times of hardship. It was through composing his Concerto funebre that Karl Amadeus Hartmann made sense of the horrors inflicted on Germany by the Nazi party. Its mournful violin refrain echoes his despair and foreboding at what is to come, but also seems to speak of a tender humanity, wounded but not without hope. It is telling that some of the most melancholic music is also the most beautiful, perhaps because we recognise truth in its complexity. Sad songs shine a light into our own private darknesses, showing us things we already knew were there, however we might have tried to deny them. To embrace melancholy feels deeply counter cultural at this moment in history. Ours is a world of celebration and Australian Chamber Orchestra

‘Melancholic music offers a roadmap to the parts of ourselves we most need to access, in dark times and bright.’

2018 National Concert Season

hedonism, where music exists to inspire us to party on or, more often, to cheerily distract us. But melancholic tunes offer an antidote to this relentless, noisy and exhausting positivity. They invite us to slow down and spend time with our own thoughts – a prospect many seem to find confronting. Melancholic music offers a roadmap to the parts of ourselves we most need to access, in dark times and bright. It helps us hone in on the wordless emotions we need to feel in order to better understand ourselves. Far from being depressing, it reminds us of the full breadth of our emotional landscapes and the solace of knowing that life can’t – and shouldn’t – always play out in a major key. 13

Samuel Barber (1910-1981) Adagio for Strings, Op.11 On completing the second movement of his String Quartet, Op.11 in 1936, Samuel Barber knew that he had created something special, declaring it a ‘knockout!’. What he had intuitively recognised was the special quality of this movement which, in its incarnation as an arrangement for string orchestra in five parts, was one day to make the Adagio into his most resoundingly successful and popular work.

Samuel Barber photographed by Carl Van Vechten, December 11, 1944

‘Barber’s Adagio gives voice to otherwise inexpressible human emotions.’

Barber’s personal belief in the Adagio led him to present the string orchestra arrangement along with his First Essay for orchestra for the perusal of the great conductor Arturo Toscanini. Departing America for Italy in the summer, Toscanini sent back the scores to Barber without comment. Distressed and ‘annoyed’ at the lack of response, Barber sent his composer-friend Gian-Carlo Menotti on a prearranged visit to Toscanini’s summer house without him, apologising that he was not feeling well. Toscanini is reported to have told Menotti, ‘I don’t believe that. He’s mad at me. Tell him not to be mad. I’m not going to play one of his pieces, I’m going to play both!’ Toscanini’s regular orchestral broadcasts in many ways defined American musical taste during the 1930s and so it was of the utmost significance that the Italian conductor recognised the American composer. The broadcast on 5 November 1938 brought Barber’s music to the attention of a national audience. A subsequent review by Olin Downes in the New York Times included the comment: ‘This is the product of a musically creative nature…who leaves nothing undone to achieve something as perfect in mass and detail as his craftsmanship permits.’ Downes alludes to one of the great appeals of this work. By no means is it an ‘intellectual exercise’; there is something in the shape and simple truth of the Adagio that is emotionally satisfying. It is written in a language that enables it to speak to the most diverse cross-section of society and this has ensured its popularity. Barber’s Adagio gives voice to otherwise inexpressible human emotions.

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‘It comes straight from the heart.’ AARON COPLAND

Modern perceptions of the Adagio have been coloured by its frequent use in advertising and films. Through its association with the deaths of prominent American personalities the Adagio has also acquired the unfortunate reputation of ‘national funeral music’, having been performed at the funerals of such diverse individuals as President Franklin D. Roosevelt, Albert Einstein and Princess Grace of Monaco. The Adagio has its own innate intensity which in many ways is generated by the seamless line of its structure. This is most obvious in the original version for string quartet, but which is also apparent in the string orchestra arrangement, and Barber’s subsequent setting of the work as a choral Agnus Dei. Any added emphasis in performance is in danger of distorting the Adagio and corrupting its graceful simplicity. The extra weight of the orchestral version is already enough to encourage most conductors to a slower, more extended reading. The additional resonance of the full string sections can make the Adagio up to three minutes longer than the quartet version, while still making musical sense. Perhaps Aaron Copland best captured the essence of the Adagio when he commented: It’s really well felt, it’s believable you see, it’s not phoney. He’s not just making it up because he thinks that it would sound well. It comes straight from the heart…The sense of continuity, the steadiness of the flow, the satisfaction of the arch that it creates from beginning to end – they’re all very gratifying, satisfying, and it makes you believe in the sincerity which he obviously put into it. Kylie Burtland, Symphony Australia ©1996. Reprinted with permission.

2018 National Concert Season

Film and the Power of Music ‘The role of classical music in cinema runs the gamut from the perfunctory to the profound. Less than two minutes of Barber’s piece is heard in Platoon, but its inclusion added immeasurably to the film.’

Classical music has accompanied some of the most iconic moments in cinema history. When sound and vision are in perfect harmony, the effect can be exhilarating says UK film journalist and critic Ian Haydn Smith. A pivotal scene in Platoon (1986), Oliver Stone’s Oscarwinning Vietnam drama, takes place as a battalion of US soldiers are airlifted out of the jungle. Rising above the dense green canopy, they witness a GI entering a clearing. He is severely injured and pursued by Viê.t Cô.ng guerrillas. The soldiers watch on helplessly from the helicopters, unable to save the sergeant. We know his first wounds were inflicted by one of his own, and the conflict between the good but doomed Elias and his nemesis Barnes plays out on a mythical level, as a battle for the souls of the young soldiers conscripted to fight. That mythic quality is reinforced by the music that accompanies Elias’ fall. As bullets riddle his body and in a final, Christ-like pose, Elias dies, Samuel Barber’s Adagio for Strings reaches its crescendo. The role of classical music in cinema runs the gamut from the perfunctory to the profound. Less than two minutes of Barber’s piece is heard in Platoon, but its inclusion added immeasurably to the film. It works because the drama of the scene is matched by the emotional force of the music. In a similar vein, the final moments of Robert De Niro’s The Good Shepherd (2006) are played out to Arvo Pärt’s solemn, measured Silouan’s Song. The music here adds weight to the tragedy of a man who has sacrificed his personal life in the pursuit of power. A piece of classical music needn’t dominate a scene to work effectively. (Although a skilled filmmaker like Stanley Kubrick fully understood its impact when employed at the right moment, as evinced by his use of The Blue Danube in 2001: A Space Odyssey [1968], Handel’s Sarabande as a portend of tragedy in Barry Lyndon [1975] and, most chillingly, Beethoven’s Ninth in A Clockwork Orange [1971].) In her adaptation of The Portrait of a Lady (1996), Jane Campion subtly employs Franz Schubert’s String Quartet in D minor to accentuate Isabel Archer’s inner

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‘It works because the drama of the scene is matched by the emotional force of the music.’

ABOVE: Scene from Platoon (1986) Director: Oliver Stone 2018 National Concert Season

torment. By contrast, Roman Polanski’s Death and the Maiden (1994), a faithful adaptation of Ariel Dorman’s taut chamber play, introduces Schubert’s 1824 composition less as a backdrop than a character – an involuntary witness to a terrible past. When classical music is used poorly or without imagination in a film, it can be insipid or manipulative – cheap sentimentality that undermines the power of a scene and the emotional weight of the original composition. When it works, it can move us. If the use of Adagio for Strings in Platoon accentuated the fall of man, in David Lynch’s The Elephant Man (1980) it reaches out into the universe. In the film’s closing moments, John Merrick carefully removes the pillows on his bed and lies back. His hope is to dream – to reach up into the sky, lifted out of the pain of his physical being, and into the heavens. In these transcendent moments, it is the power and grace of Barber’s music that transports us along with him. 17

Wolfgang Amadeus Mozart (1756–1791) Adagio and Fugue in C minor, K.546 (Composed 1782/1788)

I. Adagio – II. Fuga In 1781 Mozart moved to Vienna. His disapproving father is not alone in thinking that the abrupt shift – from the quiet enclave of an archbishop’s palace in Salzburg to the cosmopolitan capital – went to his head. However, some of the notables with whom he began to rub shoulders were very useful, not least as unofficial and unacknowledged mentors. One such was Baron Gottfried van Swieten (1733-1803), a minor diplomat at the Viennese court. He is remembered now with great affection by music lovers as the writer of libretti for Haydn, including The Creation and The Seasons; as one of Beethoven’s principal patrons; and as the man who tried unsuccessfully to organise a decent funeral for Mozart. Swieten was one of the first notable ‘early music’ fanatics. It’s hard for us now to fathom the thirst for novelty which, coupled with the total lack of recording technology, meant that Baroque composers such as Bach and Vivaldi were rather obscure by Mozart’s time. Bach cropped up a bit in church music or as the author of contrapuntal exercises used for teaching. Mozart had doubtless encountered this music during his happy time in London as a child, where he learned from Bach’s son Johann Christian. But it seems to have been at Swieten’s social Sunday salon concerts that he gained a deeper knowledge of Bach. What else was Mozart doing around this time? He was writing music of all sorts, getting married to Constanze Weber, and teaching piano to young ladies. One of these was Josepha von Auernhammer. He was famously rude about her. Mozart only ever wrote two duets for two separate pianos (as opposed to duets for four hands, where the performers sit closely side by side at the keyboard). Given that both these two-piano works were written for himself and Josepha to perform, it is tempting to draw conclusions about his seating plan.

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‘ When we hear something like the fugal finale to the ‘Jupiter’ symphony (1788), we know that by then Mozart definitely knew his way around a fugue’

The second of these two-piano works was a fugue in C minor, now catalogued as K.426. It is relevant here because in 1788 Mozart returned to it and orchestrated it for strings, and added an Adagio in order to create the work on this program, K.546. Constanze also rates a separate mention here, because her husband’s letters tell us that she liked fugues. There are a number of autograph scraps of fugal works intended for her to play, for entertainment and education (although it seems Mozart never got around to finishing most of them). Many seem to have been a response to his experiences with Baroque music at Swieten’s salons. When we hear something like the fugal finale to the ‘Jupiter’ symphony (1788), we know that by then Mozart definitely knew his way around a fugue, but he doesn’t seem to have really warmed to them. Perhaps he simply regarded them, as did many of his contemporaries, as rather old-fashioned and even a little contrived – clever, rather than emotional. Fugues could also carry certain connotations of church music; and indeed by adding the Adagio Mozart effectively created the twomovement form known as a ‘church’ sonata; plus of course implying the prelude-fugue pattern he knew from Bach. This rather sombre, formal work appears to have been completed on 26 June 1788 (the same day, weirdly, on which Mozart signed off on his joyous and entirely ‘modern’ Symphony No.39). He was not a composer who wasted much time on writing music just for the fun of it – is it possible that this Adagio and Fugue was intended for a Swieten salon performance? It’s nice to think that perhaps it was, and that this urbane and generous man enjoyed Mozart’s musical offering as a reflection of, and tribute to, his own tastes and interests. K.P. Kemp © 2005

2018 National Concert Season

Karl Amadeus Hartmann (1905–1963) Concerto funebre

for violin and string orchestra (1939, rev. 1959) I. Introduction (Largo) – II. Adagio – III. Allegro di molto – IV. Choral (Langsamer Marsch)

Karl Amadeus Hartmann bust by Leo von Klenze, 1843-53 Munich Hall of Fame.

Like many artists in Hitler’s Germany, the composer Karl Amadeus Hartmann went into what is often known as ‘internal exile’. Born in Munich in 1905, Hartmann grew up in a liberal, cosmopolitan family. The Hartmanns refused to join in the anti-French hysteria whipped up during the First World War; as Hitler’s rise to power became more and more inevitable, Karl and his brothers campaigned actively against the Nazis. The composer later wrote that as the Nazis consolidated their power: my brothers and I managed to distance ourselves from the army, the labour battalions and similar pleasantries…we are known as one of the few genuinely anti-fascist families in Munich. Nevertheless, Hartmann saw what was coming, saying that the year 1933 ‘with its misery and hopelessness… was logically bound to develop from the idea of tyranny, the most terrible of all crimes – war’. While other artists either fled Germany, or to some degree accommodated themselves to the new regime, Hartmann stayed on and continued to work, producing a large amount of music including several symphonies. (Fortunately for him, Hartmann’s father-in-law was a ball bearing magnate who naturally had a ‘good war’.) His symphonic poem Miserae was composed in 1934 and dedicated to those who had been murdered in the Dachau concentration camp, which had been established the previous year. The work was performed in Prague, but its reception led to Hartmann’s being intimidated by Nazi functionaries. He therefore decided to have nothing performed in Germany while the regime lasted. In 1939, Hartmann composed a work for violin and strings entitled Musik der Trauer (‘Music of mourning’) and dedicated it to his four-year-old son Richard. The score was smuggled out of Germany to Switzerland, where it was

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‘No artist, unless wishing himself as written off to nihilism, can sidestep his commitment to humanity.’ KARL AMADEUS HARTMANN

premiered at St Gallen in 1940. In 1959, Hartmann revised the score, giving it its present title, Concerto funebre. It is a document of the composer’s repudiation of Nazism. Embedded in the work are quotations and references to other music which make this clear. Shostakovich also cultivated this kind of quotation, and Hartmann’s style has other aesthetic affinities with the Russian’s. In the first movement, for instance, Hartmann quotes hymns of the 13th-century Czech Hussite sect to express his feelings on the invasion by Germany of Czechoslovakia in 1938 (and the rest of Europe’s policy of appeasement). There are references to themes from two movements of Smetana’s Má vlast, and, in the final movement, the Russian revolutionary song known in Germany as Unsterbliche Opfer (Immortal offerings) – which Shostakovich later used – provides the main material.

Zurich Tonhalle, Musica Viva Poster, 1971. Designed by Joseph Müller-Brockmann

Much of Hartmann’s music came to light only when he organised a series of Musica Viva concerts after the War. Despite his having studied with Webern during the war, his essentially diatonic style was out of step with the developments of the postwar avant-garde of Boulez and Stockhausen, and Norman Lebrecht has suggested that ‘powerful conductors with a Nazi past – Karajan, Böhm – eliminated his work from concert circulation’. Hartmann wrote that ‘no artist, unless wishing himself as written off to nihilism, can sidestep his commitment to humanity’. His music shows that he had the courage of his convictions. Gordon Kerry © 2005 Reprinted with permission of Symphony Services International

2018 National Concert Season

Arvo Pärt (born 1935) Silouan’s Song (‘My soul yearns after the Lord...’) Pärt brought the inevitable official disfavour of Estonia’s Communist government on himself in 1968 with his Credo, a work that was not only Christian in motivation but decadently ‘formalist’ in style. Between then and the mid-70s, Pärt wrote little music, and his religious faith increased while his commitment to avant-garde modernism ebbed away. Then, at the time he was formally received into the Orthodox Church, he produced works, such as the popular Fratres, which established his individual voice and international reputation. Estonian composer Arvo Pärt

Since 1991 Pärt has often turned to the theology of Saint Silouan (1866–1938), a Russian-born mystic who lived as a monk on Mount Athos and was canonised in 1987. Composed in 1991, Silouan’s Song is Pärt’s first work based on Silouan’s writings about the soul’s urge to reunite with God, and is dedicated to Silouan’s disciple and amanuensis, the Archimandrite Sophrony. In his unique ‘tintinnabuli’ (bell-ringing) style, Pärt pits a stepwise melody, representing the sinful world, against a more stable triadic line, representing the world of objective reality, over a static drone bass. Silouan’s Song begins and ends on the edge of audibility, moving into and away from the higher registers with increasing emotional intensity. The stepwise melody is at times heard within the texture, with repeated notes in the highest lines. With relatively short phrases punctuated by silence, the effect is something like the repetitions of musical phrases as the verses of a psalm are chanted; and indeed, the work’s subtitle ‘My soul yearns after the Lord...’ refers to Psalm 42:1. Simple rhythm enhances sudden contrasts of texture – passages in the achingly dissonant middle register against serene higher passages – and there is an impassioned climax (prepared, typically for Pärt, by two bars of silence marked crescendo), though the piece ends provisionally: the soul continues to yearn. © Gordon Kerry 2018

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‘ Pärt pits a stepwise melody, representing the sinful world, against a more stable triadic line, representing the world of objective reality’

Icon of Saint Silouane at the entrance of Saint Silouane Monastery

2018 National Concert Season

Franz Schubert (1797–1828) String Quartet No.14 in D minor, D.810 Death and the Maiden Arranged for string orchestra by Richard Tognetti I. Allegro II. Andante con moto III. Scherzo (Allegro molto) IV. Presto

Franz Schubert, 1846. Lithograph by artist Josef Kriehuber.

‘An orchestra has powers of expressiveness and warmth beyond that of a quartet.’

Franz Schubert managed to compress a world of drama into each of his many small but perfectly formed songs. In his great Lied Die Erlkönig, for example, three quite distinct characters (the King of the Elves, a dying child and a distraught father) present a complete scenario in the space of a few minutes. The song Death and the Maiden D.531 draws on similar techniques to juxtapose two contrasting characters and their respective musical themes. With both these songs, in the best traditions of German Romantic literature, it is never totally clear whether the ‘evil’ characters of the Erlkönig and Death are real or wholly imaginary. The frightened victims in each case are thoroughly convinced of their solidity, which is enough to create a dramatic conflict. It’s somewhat ironic that this natural compositional flair for drama never successfully transferred to opera, something which frustrated Schubert immensely. Schubert’s achievements in song writing also owe something to a happy confluence of events. As any composer looking to write vocal music has found, there are far fewer good librettists than composers. For some reason, there did seem to be an unusual number of Germanic poets in the 18th and 19th centuries whose work lent itself easily to music. Alongside the still-famous names of Schiller and Goethe, Schubert set words by countless lesser poets including Matthias Claudius, author of Death and the Maiden. Claudius was inclined from an early age to focus on spiritual themes, and after the death of his beloved brother he became even more intensely religious. This particular poem seems to draw on both the 19th-century fascination with Gothic horror stories, and the basic human need (especially in times of poor medical care) to find a level of acceptance

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of mortality. Death could be a scourge or a blessing, and in a strongly Christian culture the boundary was not always clear. The song Death and the Maiden was composed in 1817, the same year as the more lighthearted The Trout. Some time between 1824 and 1827, Schubert reworked the principal melodies of these songs into chamber music. The Trout Quintet was a suitably sunny work, in keeping with its original inspiration; but the String Quartet D.810 reached a new level of dark expression. Schubert wrote his last three string quartets, including D.810, shortly after enduring a bad bout of syphilis. Besides the physical discomfort, there must have been the mental anguish of knowing that this particular illness precluded him from forming an honourable and eventually permanent relationship.

‘...does one go gently, or rage?’

Although the thematic music of the Maiden makes no appearance in the quartet D.810, the agitated, driving Allegro first movement is its emotional equivalent. For the slow movement, however, Schubert revisited the voice of Death and found a theme which could be presented with five variations. The movement increases in intensity, but as with the original song, the ending comes to rest with indefinable calm. A grimly energetic Scherzo and its correspondingly mild Trio maintain the ambiguity – does one go gently, or rage? The Finale gives no answers, although there may be a clue lurking in this danse macabre: the second subject bears a strange similarity to the otherworldly voice of the Erlkönig. Richard Tognetti’s desire to recast the quartet for a string orchestra is not an unnatural one. Mahler did it too, although in his lifetime he only performed the slow movement. An orchestra has powers of expressiveness and warmth beyond that of a quartet. A new and welcome depth can be added with a double bass line, and the increased opportunities for intensity and contrast are surely true to the spirit of Schubert’s composition. © Katherine Kemp

2018 National Concert Season

Death and the Maiden BY MATTHIAS CLAUDIUS (1740-1815)

The Maiden ‘Pass by, oh, pass by me! Pass by, you cruel skeleton! I am still young – go, please dear man! And leave me untouched.’ Death ‘Give me your hand, you pretty, sweet creature, I am your friend; I have not come to punish you. Be of good courage! For I am not cruel; Gently, in my arms, you shall sleep.’

Death and the Maiden (1915) by Artist Egon Schiele (Oil on canvas)

Alina Ibragimova Performing music from baroque to new commissions on both modern and period instruments, Alina Ibragimova has established a reputation as one of the most accomplished and intriguing violinists of the younger generation. This was illustrated in her prominent presence at the 2015 BBC Proms, which included a concerto with a symphony orchestra, a concerto with a baroque ensemble and two Royal Albert Hall late-night recitals featuring the complete Bach partitas and sonatas, which commanded capacity audiences, and for which The Guardian commented “The immediacy and honesty of Ibragimova’s playing has the curious ability to collapse any sense of distance between performer and listener”.

“The immediacy and honesty of Ibragimova’s playing has the curious ability to collapse any sense of distance between performer and listener”.

Highlights among future concerto engagements include debuts with the Boston Symphony, Montreal Symphony, Chamber Orchestra of Europe, Royal Stockholm Philharmonic, Hungarian National Philharmonic, Scottish Chamber Orchestra, Tokyo Symphony, returns with the London Symphony, BBC Symphony, residencies with the Strasbourg Philharmonic and at the Casa della Musica in Porto, as well as extensive touring in Australia (Sydney, Melbourne, Adelaide and Tasmania symphony orchestras). As a recitalist, Alina has appeared at venues including the Wigmore Hall, Concertgebouw Amsterdam, Salzburg Mozarteum, Vienna’s Musikverein, Park Avenue Armory in New York, Carnegie Hall, Palais des Beaux Arts Brussels, Theatre des Champs-Elysees, Vancouver Recital Series, San Francisco Performances, and at festivals including Salzburg, Verbier, Gstaad, MDR Musiksommer, Manchester International, Lockenhaus, Lucerne, Mostly Mozart New York and Aldeburgh. Her long-standing duo partnership with pianist Cédric Tiberghien has featured a highly successful complete cycle of both the Beethoven and Mozart violin sonatas at the Wigmore Hall. Future plans for the duo also include extensive touring in Japan and North America.

Australian Chamber Orchestra

“A violinist of uncompromising intensity.” – The Guardian UK

Over the years, Alina has appeared with orchestras including the London Symphony Orchestra, Cleveland Orchestra, Philadelphia Orchestra, Bamberger Symphoniker, Deutsche Kammerphilharmonie Bremen, WDR Sinfonieorchester Köln, Stuttgart Radio Symphony, Orquestre Philharmonique de Radio-France, Seattle Symphony, Mariinsky Theatre Orchestra, Philharmonia, Orchestra of the Age of Enlightenment, and all the BBC orchestras. Conductors with whom Alina has worked include Bernard Haitink, Sir John Eliot Gardiner, Valery Gergiev, Paavo Järvi, Yannick Nézet-Séguin, Vladimir Jurowski, Rafael Frühbeck de Burgos, Sir Charles Mackerras, Sir Mark Elder, Philippe Herreweghe, Osmo Vänskä, Hannu Lintu, Sakari Oramo, Ilan Volkov, Tugan Sokhiev, Jakub Hrusa, Ludovic Morlot, Edward Gardner and Gianandrea Noseda. As soloist/director Alina has toured with the Kremerata Baltica, Britten Sinfonia, Academy of Ancient Music, and the Australian Chamber Orchestra. Born in Russia in 1985 Alina studied at the Moscow Gnesin School before moving with her family to the UK in 1995 where she studied at the Yehudi Menuhin School and Royal College of Music. She was also a member of the Kronberg Academy Masters programme. Alina's teachers have included Natasha Boyarsky, Gordan Nikolitch and Christian Tetzlaff. Alina has been the recipient of awards including the Royal Philharmonic Society Young Artist Award 2010, the Borletti-Buitoni Trust Award 2008, the Classical BRIT Young Performer of the Year Award 2009 and was a member of the BBC New Generation Artists Scheme 2005-7. She was made an MBE in the 2016 New Year Honours List. Alina records for Hyperion Records and performs on a c.1775 Anselmo Bellosio violin generously provided by Georg von Opel.

2018 National Concert Season

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.

‘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

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. aco.com.au 30

Australian Chamber Orchestra

Musicians on Stage

Helena Rathbone 1 Principal Violin

Aiko Goto Violin

Ilya Isakovich Violin

Chair sponsored by Kate & Daryl Dixon

Chair sponsored by Anthony & Sharon Lee Foundation

Chair sponsored by Chair sponsored by The Humanity Foundation The Melbourne Medical Syndicate

Maja Savnik 2 Violin

Ike See Violin

Lachlan Oâ&#x20AC;&#x2122;Donnell Violin

Chair sponsored by Alenka Tindale

Chair sponsored by Di Jameson

Thibaud Pavlovic-Hobba Violin

Alina Ibrigamova Leader and Violin

Liisa Pallandi Violin

Veronique Serret Violin

Florian Peelman 4 Nicole Divall Guest Principal Viola Viola

Elizabeth Woolnough Timo-Veikko Valve 3 Viola Principal Cello

Melissa Barnard Cello

Chair sponsored by peckvonhartel architects

Courtesy of Melbourne Symphony Orchestra

Chair sponsored by Dr & Mrs J Wenderoth

Chair sponsored by Ian Lansdown

Chair sponsored by Peter Weiss ao

Players dressed by SABA 1 Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

Timothy Nankervis Cello Courtesy of Sydney Symphony Orchestra

Tim Gibbs Guest Principal Double Bass Courtesy of Philharmonia Orchestra

2018 National Concert Season

2 Maja Savnik plays a 1714 Giuseppe Guarneri filius AndreĂŚ violin kindly on loan from the ACO Instrument Fund. 3 Timo-Veikko Valve plays a 1616 Brothers Amati cello kindly on loan from the ACO Instrument Fund. 4 Florian Peelman plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor.

Pre-concert Talks Pre-concert talks take place 45 minutes before the start of every concert. Pre-concert speakers are subject to change.

Thu 15 March, 6.45pm Newcastle City Hall

Tue 20 March, 7.15pm City Recital Hall

Sat 24 March, 6.15pm City Recital Hall

Pre-concert talk by Francis Merson

Sat 17 March, 7.15pm Llewellyn Hall

Wed 21 March, 6.15pm City Recital Hall

Sun 25 March, 1.15pm Sydney Opera House

Pre-concert talk by Francis Merson

Sun 18 March, 1.45pm Arts Centre Melbourne

Fri 23 March, 12.45pm City Recital Hall

Mon 26 March, 6.45pm Arts Centre Melbourne

Pre-concert talk by Lucy Rash

Pre-concert talk by Francis Merson

Pre-concert talk by Lucy Rash

AUSTRALIAN NATIONAL UNIVERSITY Llewellyn Hall School of Music

ARTS CENTRE MELBOURNE

Venue Support

GRAND VENUES OF NEWCASTLE CITY HALL Owned and operated by the City of Newcastle 290 King Street, Newcastle NSW 2300 Telephone (Venue & Event Coordinators) (02) 4974 2996 Ticketek Box Office (02) 4929 1977 Email grandvenues@ncc.nsw.gov.au

CITY RECITAL HALL LIMITED 2–12 Angel Place Sydney NSW 2000 Administration (02) 9231 9000 Box Office (02) 8256 2222 Web www.cityrecitalhall.com Renata Kaldor ao Chair, Board of Directors Elaine Chia CEO

William Herbert Place (off Childers Street), Acton, Canberra Venue Hire Information Telephone (02) 6125 2527 Email music.venues@anu.edu.au

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

PO Box 7585, St Kilda Road, Melbourne VIC 8004 Telephone (03) 9281 8000 Box Office 1300 182 183 Web artscentremelbourne.com.au James MacKenzie President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer

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

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

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

Digital Marketing Manager

FINANCE

Fiona McLeod Chief Financial Officer

Yvonne Morton Financial Accountant & Analyst

Dinuja Kalpani Transaction Accountant

Samathri Gamaethige Business Analyst

DEVELOPMENT ARTISTIC DIRECTOR

Richard Tognetti ao

Anna McPherson Director of Corporate Partnerships

Richard Evans Managing Director

Alexandra Cameron-Fraser Chief Operating Officer

Christie Brewster Lead Creative

Cristina Maldonado Marketing & Communications Executive

Shane Choi Marketing Coordinator

Colin Taylor

Ticketing Sales & Operations Manager

Dean Watson Customer Relations & Access Manager

Christina Holland Office Administrator

Robin Hall Archival Administrator

Jill Colvin Director of Philanthropy

ADMINISTRATIVE STAFF EXECUTIVE OFFICE

Rory Oâ&#x20AC;&#x2122;Maley

Tom Tansey Events & Special Projects Manager

Sarah Morrisby Philanthropy Manager

Sally Crawford

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

In Person

Katie Henebery

Patrons Manager

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

Capital Campaign Manager

Opera Quays, 2 East Circular Quay, Sydney NSW 2000

Yeehwan Yeoh

By Mail

Lillian Armitage

Investor Relations Manager

ARTISTIC OPERATIONS

Luke Shaw Director of Artistic Operations

Anna Melville Artistic Administrator

Lisa Mullineux Tour Manager

Camille Comtat Corporate Partnerships Executive

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

Ross Chapman

Web

Touring & Production Coordinator

aco.com.au

Nina Kang Travel Coordinator

Bernard Rofe Librarian

Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

2018 National Concert Season

ACO Medici Program 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 The late Amina Belgiorno-Nettis PRINCIPAL CHAIRS

Richard Tognetti ao Artistic Director & Lead Violin Wendy Edwards Peter & Ruth McMullin Louise & Martyn Myer ao Andrew & Andrea Roberts

Helena Rathbone Principal Violin Kate & Daryl Dixon

Satu Vänskä Principal Violin Kay Bryan

Principal Viola peckvonhartel architects

Timo-Veikko Valve Principal Cello Peter Weiss ao

Maxime Bibeau Principal Double Bass Darin Cooper Foundation

CORE CHAIRS

ACO COLLECTIVE

VIOLIN Glenn Christensen

Pekka Kuusisto

Terry Campbell ao & Christine Campbell

Aiko Goto Anthony & Sharon Lee Foundation

Mark Ingwersen Julie Steiner & Judyth Sachs

Ilya Isakovich The Humanity Foundation

Liisa Pallandi The Melbourne Medical Syndicate

Artistic Director & Lead Violin Horsey Jameson Bird

GUEST CHAIRS

Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert

FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Annie Corlett am

Maja Savnik Alenka Tindale

Ike See Di Jameson

VIOLA Ripieno Viola Philip Bacon am

Nicole Divall Ian Lansdown

CELLO Melissa Barnard Dr & Mrs J. Wenderoth

Julian Thompson The Grist & Stewart Families

ACO Life Patrons IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido Belgiorno-Nettis am Mrs Barbara Blackman ao

Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson The late John Harvey ao

Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao

ACO Bequest Patrons The ACO would like to thank the following people, who remembered the Orchestra in their wills. Please consider supporting the future of the ACO with a gift in your will. For more information on making a bequest, please call Jill Colvin, Director of Philanthropy, on 02 8274 3835. The late Charles Ross Adamson The late Kerstin Lillemor Andersen The late Mrs Sybil Baer The late Prof. Janet Carr The late Mrs Moya Crane The late Colin Enderby

The late Neil Patrick Gillies The late John Nigel Holman The late Dr S W Jeffrey am The late Pauline Marie Johnston The late Mr Geoff Lee am oam The late Shirley Miller

The late Josephine Paech The late Richard Ponder The late Mr Geoffrey Francis Scharer The late Scott Spencer

Australian Chamber Orchestra

ACO Continuo Circle The ACO would like to thank the following people who are generously remembering the ACO in their wills. If you are interested in finding out more about making such a bequest, please contact Jill Colvin, Director of Philanthropy, on 02 8274 3835 for more information. Every gift makes a difference. Steven Bardy Ruth Bell David Beswick Dr Catherine Brown-Watt & Mr Derek Watt Sandra Cassell Mrs Sandra Dent Peter Evans Carol Farlow

Suzanne Gleeson Lachie Hill David & Sue Hobbs Penelope Hughes Toni Kilsby & Mark McDonald Mrs Judy Lee John Mitchell Selwyn M Owen Michael Ryan & Wendy Mead

Ian & Joan Scott Cheri Stevenson Leslie C Thiess Ngaire Turner G C & R Weir Margaret & Ron Wright Mark Young Anonymous (16)

ACO Reconciliation Circle Contributions to the ACO Reconciliation Circle directly support ACO music education activities for Aboriginal and Torres Strait Islander students, with the aim to build positive and effective partnerships between Aboriginal and Torres Strait Islander peoples and the broader Australian community. To find out more about becoming a member of the Circle, please contact Sarah Morrisby, Philanthropy Manager, on 02 8274 3803 Colin & Debbie Golvan Kerry Landman Peter & Ruth McMullin

Patterson Pearce Foundation Sam Ricketson & Rosie Ayton

ACO Excellence Fund Patrons ACO Excellence Fund Patrons enhance both our artistic vitality and ongoing sustainability. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830. Dr Jane Cook Robert & Jennifer Gavshon Carole A.P. Grace Rohan Haslam Mike & Stephanie Hutchinson

Geoff & Denise Illing Megan Lowe Baillieu Myer ac David Shannon J Skinner

Kim & Keith Spence Christina Scala & David Studdy Mike Thompson Dr Jason Wenderoth Anonymous (3)

ACO Next ACO Next is an exciting philanthropic program for young supporters, engaging with Australiaâ&#x20AC;&#x2122;s next generation of great musicians while offering unique musical and networking experiences. For more information, please call Sally Crawford, Patrons Manager, on 02 8274 3830.

MEMBERS Clare Ainsworth Herschell Lucinda Bradshaw Marc Budge Justine Clarke Este Darin-Cooper & Chris Burgess Amy Denmeade Jenni Deslandes & Hugh Morrow Anthony Frith & Amanda Lucas-Frith Shevi de Soysa Rebecca Gilsenan & Grant Marjoribanks Ruth Kelly

2018 National Concert Season

Aaron Levine & Daniela Gavshon Royston Lim Gabriel Lopata Rachael McVean Carina Martin Barry Mowszowski Lucy Myer James Ostroburski Nicole Pedler & Henry Durack Michael Radovnikovic Jessica Read Alexandra Ridout

Emile & Caroline Sherman Tom Smyth Michael Southwell Tom Stack Helen Telfer Karen & Peter Tompkins Nina Walton & Zeb Rice Peter Wilson & James Emmett Thomas Wright Anonymous (2)

ACO Instrument Fund 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 assets are the 1728/29 Stradivarius violin, the ‘ex Isolde Menges’ 1714 Joseph Guarnerius filius Andreæ violin and the ‘ex-Fleming’ 1616 Brothers Amati Cello. For more information, please call Yeehwan Yeoh, Investor Relations Manager on 02 8274 3878. Peter Weiss ao PATRON ACO Instrument Fund

BOARD MEMBERS Bill Best (Chairman) Jessica Block John Leece am Julie Steiner John Taberner PATRONS VISIONARY $1m+ Peter Weiss ao LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao OCTET $100,000 – $199,999 John Taberner QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous (1)

SONATA $25,000 – $49,999 ENSEMBLE $10,000 – $24,999 Leslie C. Thiess Anonymous (1) SOLO $5,000 – $9,999 PATRON $500 – $4,999 In memory of Lindsay Cleland Merilyn & David Howorth Luana & Kelvin King John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Peter McGovern John & Virginia Richardson Peter & Victoria Shorthouse Robyn Tamke Anonymous (2)

INVESTORS Stephen & Sophie Allen John & Deborah Balderstone Guido & Michelle Belgiorno-Nettis Bill Best

Benjamin Brady Sam Burshtein & Galina Kaseko Carla Zampatti Foundation Sally Collier Michael Cowen & Sharon Nathani Marco D’Orsogna Dr William Downey Garry & Susan Farrell Gammell Family Daniel & Helen Gauchat Edward Gilmartin Tom & Julie Goudkamp Philip Hartog Peter & Helen Hearl Brendan Hopkins Angus & Sarah James Paul & Felicity Jensen Daniel & Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Dr Lesley Treleaven The late Ian Wallace & Kay Freedman Media Super

ACO Special Projects SPECIAL COMMISSIONS PATRONS Peter & Cathy Aird Josephine Kay & Ian Bredan Mirek Generowicz Anthony & Conny Harris Rohan Haslam Lionel & Judy King Bruce Lane David & Sandy Libling Robert & Nancy Pallin Team Schmoopy Rebecca Zoppetti Laubi

INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities: Linda & Graeme Beveridge Anthony & Sharon Lee Foundation Professor Anne Kelso ao Bruce & Jenny Lane Delysia Lawson Friends of Jon & Caro Stewart Mike Thompson Oliver Walton Anonymous (1)

JEWISH MUSEUM PATRONS

ACO UK SUPPORTERS AMBASSADORS Brendan & Bee Hopkins Rupert Thomas & Kate Rittson-Thomas

LEAD PATRON PATRONS Marc Besen ac & Eva Besen ao SUPPORTERS The Ostroburski Family Julie Steiner FRIEND Leo & Mina Fink Fund

EMANUEL SYNAGOGUE PATRONS

FRIENDS John Coles John & Kate Corcoran Hugo & Julia Heath Dr Caroline Lawrenson John Taberner Patricia Thomas Paula Bopf & Rob Rankin SUPPORTER Isla Baring

ACO ACADEMY

CORPORATE PARTNERS Adina Apartment Hotels Meriton Group

LEAD PATRONS Louise & Martyn Myer ao

LEAD PATRON The Narev Family

PATRONS Peter Jopling am qc Walter Barda & Thomas O’Neill

PATRONS David Gonski ac Leslie & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

SUPPORTER Hilary Goodson

Australian Chamber Orchestra

ACO Special Projects ACO MOUNTAIN PRODUCERS’ SYNDICATE

The Australian Chamber Orchestra would like to thank the following people for their generous support of Mountain:

Major Producers Janet Holmes à Court ac Warwick & Ann Johnson

Charlie & Olivia Lanchester Rob & Nancy Pallin Andrew & Andrea Roberts Peter & Victoria Shorthouse Alden Toevs & Judi Wolf

Producers Richard Caldwell Warren & Linda Coli Anna Dudek & Brad Banducci Wendy Edwards David Friedlander Tony & Camilla Gill John & Lisa Kench

Supporters Andrew Abercrombie Joanna Baevski Ann Gamble Myer Gilbert George Charles & Cornelia Goode Foundation Charles & Elizabeth Goodyear Phil & Rosie Harkness

Executive Producer Martyn Myer ao

Peter & Janette Kendall Andy Myer & Kerry Gardner Sid & Fiona Myer Allan Myers ac The Penn Foundation Peppertree Foundation The Rossi Foundation Shaker & Diana Mark Stanbridge Kim Williams am Peter & Susan Yates

EUROPEAN TOUR PATRONS Philippa & John Armfield Walter Barda & Thomas O’Neill Steven Bardy & Andrew Patterson Chris & Katrina Barter Russell & Yasmin Baskerville David Bohnett & Maria Bockmann Paula Bopf & Robert Rankin Paul Borrud Craig & Nerida Caesar Terry Campbell ao & Christine Campbell Michael & Helen Carapiet Stephen & Jenny Charles Andrew Clouston & Jim McGown John Coles Robin Crawford am & Judy Crawford Graham & Treffina Dowland Dr William F Downey Vanessa Duscio & Richard Evans Terry & Lynn Fern Fitzgerald Foundation Daniel & Helen Gauchat Robert & Jennifer Gavshon Nick & Kay Giorgetta Colin Golvan qc & Debbie Golvan John Grill ao & Rosie Williams

2018 National Concert Season

Tony & Michelle Grist Eddie & Chi Guillemette Liz Harbison Paul & April Hickman Catherine Holmes à Court-Mather Simon & Katrina Holmes à Court Family Trust Jay & Linda Hughes Di Jameson Andrew & Lucie Johnson Simon Johnson Steve & Sarah Johnston Russell & Cathy Kane John & Lisa Kench Wayne Kratzmann Dr Caroline Lawrenson John Leece am & Anne Leece David & Sandy Libling Patrick Loftus-Hills & Konnin Tam Dr Wai Choong Lye & Daniel Lye Christopher D. Martin & Clarinda Tjia-Dharmadi Janet Matton & Robin Rowe Julianne Maxwell Nicholas McDonald & Jonnie Kennedy Andrew & Cate McKenzie

Peter & Ruth McMullin Jim & Averill Minto Rany & Colin Moran Usmanto Njo & Monica Rufina Tjandraputra Dr Eileen Ong James Ostroburski Susan Phillips Simon Pinniger & Carolyne Roehm Andrew & Andrea Roberts The Ryan Cooper Family Foundation Carol Schwartz am & Alan Schwartz am Rosy Seaton & Seumas Dawes Jennifer Senior & Jenny McGee Peter & Victoria Shorthouse Hilary Stack Jon & Caro Stewart John Taberner Jamie & Grace Thomas Alenka Tindale Dr Lesley Treleaven Beverley Trivett & Stephen Hart Phillip Widjaja & Patricia Kaunang Simon & Jenny Yeo

ACO National Education Program 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 Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au

Donor list current as at 26 February 2018 PATRONS

DIRETTORE $5,000 – $9,999

Marc Besen ac & Eva Besen ao Janet Holmes à Court ac

Walter Barda & Thomas O’Neill The Belalberi Foundation Carmelo & Anne Bontempo Helen Breekveldt Veronika & Joseph Butta Suellen & Ron Enestrom Paul & Roslyn Espie Bridget Faye am Vivienne Fried Louise Gourlay oam Liz Harbison Annie Hawker John Griffiths & Beth Jackson I Kallinikos The Key Foundation Kerry Landman In memory of Dr Peter Lewin Lorraine Logan Danita Lowes & David File Macquarie Group Foundation David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation Rany Moran Beau Neilson & Jeffrey Simpson Paris Neilson & Todd Buncombe Libby & Peter Plaskitt John Rickard Greg Shalit & Miriam Faine Victoria & Peter Shorthouse J Skinner Sky News Australia Petrina Slaytor Jeanne-Claude Strong Tamas & Joanna Szabo Vanessa Tay Alenka Tindale Simon & Amanda Whiston Cameron Williams Woods5 Foundation Anonymous (3)

EMERGING ARTISTS & EDUCATION PATRONS $10,000 + Mr Robert Albert ao & Mrs Libby Albert Geoff Alder Karen Allen & Dr Rich Allen Australian Communities Foundation Ballandry Fund Steven Bardy & Andrew Patterson Rod Cameron & Margaret Gibbs Stephen & Jenny Charles Jane & Andrew Clifford In memory of Wilma Collie Ryan Cooper Family Foundation Rowena Danziger am & Ken Coles am Irina Kuzminsky & Mark Delaney Eureka Benevolent Foundation Terry & Lynn Fern Mr & Mrs Bruce Fink Dr Ian Frazer ac & Mrs Caroline Frazer Daniel & Helen Gauchat John Grill ao & Rosie Williams Angus & Kimberley Holden Catherine Holmes à Court-Mather Belinda Hutchinson am & Roger Massy-Greene GB & MK Ilett John & Lisa Kench Miss Nancy Kimpton Anthony & Sharon Lee Foundation Liz & Walter Lewin Andrew Low Anthony & Suzanne Maple-Brown Jim & Averill Minto Servcorp Louise & Martyn Myer Foundation Jennie & Ivor Orchard James Ostroburski & Leo Ostroburski The Bruce & Joy Reid Trust Margie Seale & David Hardy Rosy Seaton & Seumas Dawes Tony Shepherd ao Anthony Strachan Leslie C. Thiess Alden Toevs & Judi Wolf Shemara Wikramanayake Libby & Nick Wright E Xipell Peter Young am & Susan Young Anonymous (3)

MAESTRO $2,500 – $4,999 Jennifer Aaron Annette Adair David & Rae Allen Stephen & Sophie Allen Will & Dorothy Bailey Charitable Gift The Beeren Foundation Neil & Jane Burley Caroline & Robert Clemente Laurie & Julie Ann Cox Carol & Andrew Crawford

Anne & Tom Dowling Angelos & Rebecca Frangopoulos Warren Green Nereda Hanlon & Michael Hanlon am Peter & Helen Hearl Ruth Hoffman & Peter Halstead Warwick & Ann Johnson Peter & Ruth McMullin In memory of Rosario Razon Garcia Roslyn Morgan Jane Morley Jenny Nicol David Paradice & Claire Pfister Sandra & Michael Paul Endowment Prof David Penington ac Kenneth Reed am Ruth & Ralph Renard Mrs Tiffany Rensen Fe & Don Ross D N Sanders Carol Schwartz am & Alan Schwartz am Kathy & Greg Shand Maria Sola Josephine Strutt Susan Thacore Ralph Ward-Ambler am & Barbara Ward-Ambler Don & Mary Ann Yeats Professor Richard Yeo William & Anne Yuille Anonymous (4)

VIRTUOSO $1,000 – $2,499 Barbara Allan Jane Allen Lillian & Peter Armitage In memory of Anne & Mac Blight David Blight & Lisa Maeorg Lyn Baker & John Bevan Adrienne Basser Doug & Alison Battersby Robin Beech Berg Family Foundation Graeme & Linda Beveridge Leigh Birtles Jessica Block In memory of Peter Boros Brian Bothwell Vicki Brooke Diana Brookes Dr Catherine Brown-Watt psm & Mr Derek Watt Stuart Brown Sally Bufé Gerard Byrne & Donna O’Sullivan Australian Chamber Orchestra

Ian & Brenda Campbell Ray Carless & Jill Keyte Ann Cebon-Glass Dr Peter Clifton John & Chris Collingwood Angela & John Compton Leith & Darrel Conybeare R & J Corney Anne Craig Gay Cruickshank Ian Davis & Sandrine Barouh Martin Dolan In memory of Ray Dowdell Dr William F Downey Pamela Duncan Emeritus Professor Dexter Dunphy Carmel Dwyer Karen Enthoven Peter Evans Julie Ewington Patrick Fair Penelope & Susan Field Elizabeth Finnegan Jean Finnegan & Peter Kerr Don & Marie Forrest John Fraser Chris & Tony Froggatt Anne & Justin Gardener Kay Giorgetta Brian Goddard Jack Goodman & Lisa McIntyre Ian & Ruth Gough Melissa & Jonathon Green Grussgott Trust In memory of Jose Gutierrez Lyndsey Hawkins Kingsley Herbert Lachie Hill Vanessa & Christian Holle Christopher Holmes Michael Horsburgh am & Beverley Horsburgh Penelope Hughes Professor Emeritus Andrea Hull ao Stephanie & Mike Hutchinson Owen James Anthony Jones & Julian Liga Brian Jones Bronwen L Jones Mrs Angela Karpin Michael Kohn Airdrie Lloyd Gabriel Lopata Garth Mansfield oam & Margaret Mansfield oam Greg & Jan Marsh Janet Matton & Robin Rowe Jane Tham & Philip Maxwell Kevin & Deidre McCann Jennifer Senior & Jenny McGee Helen & Phil Meddings Jim Middleton Peter & Felicia Mitchell Baillieu Myer ac Nola Nettheim

2018 National Concert Season

Jenny Nichol Paul O’Donnell Shay O’Hara-Smith Fran Ostroburski Chris Oxley Mimi Packer Leslie Parsonage Rosie Pilat Dr S M Richards am & Mrs M R Richards Em Prof A W Roberts am Julia Champtaloup & Andrew Rothery J Sanderson In Memory of H. St. P. Scarlett Morna Seres & Ian Hill Diana Snape & Brian Snape am Dr Peter & Mrs Diana Southwell-Keely Keith Spence Dr Charles Su & Dr Emily Lo David & Judy Taylor Rob & Kyrenia Thomas Anne Tonkin Ngaire Turner Kay Vernon Prof Roy & Dr Kimberley MacLeod Jason Wenderoth Peter Yates am & Susan Yates Rebecca Zoppetti Laubi Anonymous (21)

CONCERTINO $500 – $999 Mr & Mrs H T Apsimon Juliet Ashworth Elsa Atkin am Rita Avdiev Christine Barker Helen Barnes In memory of Hatto Beck Mrs Kathrine Becker Ruth Bell Elizabeth Bolton Lynne & Max Booth Carol Bower Denise Braggett Mrs Ann Bryce Henry & Jenny Burger Mrs Pat Burke Josphine Cai Helen Carrig Connie Chaird Angela & Fred Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Richard Cobden sc Dr Jane Cook John Curotta Marie Dalziel Mari Davis Rosemary Dean Kath & Geoff Donohue Jennifer Douglas In Memory of Raymond Dudley Agnes Fan Susan Freeman

Louisa Geddes M Generowicz Paul Gibson & Gabrielle Curtin Don & Mary Glue Sharon Goldie Colin Golvan qc & Debbie Golvan Mrs Megan Grace Paul Greenfield & Kerin Brown Annette Gross Kevin Gummer & Paul Cummins Hamiltons Commercial Interiors Lesley Harland Paul & Gail Harris Sue Harvey Gaye Headlam Henfrey Family Dr Penny Herbert in memory of Dunstan Herbert Dr Marian Hill Charissa Ho Sue & David Hobbs Geoff Hogbin Peter & Edwina Holbeach Richard Hunstead Geoff & Denise Illing Caroline Jones Phillip Jones Irene Kearsey & Michael Ridley Bruce & Natalie Kellett Irene Ryan & Dean Letcher qc Megan Lowe Diana Lungren Dr & Mrs Donald Maxwell HE & RJ McGlashan J A McKernan Claire Middleton Andrew Naylor G & A Nelson Nevarc Inc. Robyn Nicol Robin Offler Sue Packer Effie & Savvas Papadopoulos Ian Penboss Elizabeth Pender Helen Perlen Kevin Phillips Denis & Erika Pidcock Beverly & Ian Pryer Jennifer Rankin Jedd Rashbrooke Michael Read Joanna Renkin & Geoffrey Hansen Alexandra Ridout Jennifer Royle Trish Ryan & Richard Ryan ao Scott Saunders Garry Scarf & Morgie Blaxill Marysia Segan David & Daniela Shannon Agnes Sinclair Ken Smith Brian Stagoll Patricia Stebbens Ross Steele am

Cheri Stevenson Nigel Stoke Douglas Sturkey cvo am In memory of Dr Aubrey Sweet Dr Niv & Mrs Joanne Tadmore Gabrielle Tagg TWF Slee & Lee Chartered Accountants

Visionads Pty Ltd Joy Wearne GC & R Weir Westpac Group Harley & Penelope Whitcombe Kathy White James Williamson

Sally Willis Janie Wittey Dr Mark & Mrs Anna Yates Gina Yazbek LiLing Zheng Anonymous (25)

Heather Ridout ao (Chair)

Jason Li

Mark Stanbridge

Chair, Australian Super

Chairman, Vantage Group Asia

Partner, Ashurst

Guido Belgiorno-Nettis am

Jennie Orchard

Group Chief Risk Officer, CBA

Chairman, ACO

Peter Shorthouse

Nina Walton

Gauri Bhala

Senior Partner, Crestone Wealth Management

ACO Committees SYDNEY DEVELOPMENT COMMITTEE

CEO, Curious Collective

Alden Toevs

John Kench MELBOURNE DEVELOPMENT COMMITTEE

Colin Golvan qc

James Ostroburski

Susan Thacore

Peter McMullin

CEO, Kooyong Group

Peter Yates am

Chairman, McMullin Group

Rachel Peck

Martyn Myer ao

Principal, peckvonhartel architects

Chairman, Cogslate Ltd President, The Myer Foundation

Paul Sumner

Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd

DISABILITY ADVISORY COMMITTEE

Morwenna Collett

Sally Crawford

Dean Watson

Director Major Performing Arts Projects Australia Council for the Arts

Patrons Manager, ACO

Customer Relations & Access Manager, ACO

Alexandra Cameron-Fraser

Education Manager, ACO

Vicki Norton

Chief Operating Officer, ACO

EVENT COMMITTEES

SYDNEY Judy Crawford (Chair) Lillian Armitage Lucinda Cowdroy Sandra Ferman Eleanor Gammell Fay Geddes

Lisa Kench Julianne Maxwell Karissa Mayo Rany Moran John Taberner Lynne Testoni

BRISBANE Philip Bacon Kay Bryan Andrew Clouston Dr Ian Frazer ac Mrs Caroline Frazer Cass George

Wayne Kratzmann Shay O’Hara-Smith Marie-Louise Theile Beverley Trivett

Australian Chamber Orchestra

Chairman’s Council The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra. Mr Guido Belgiorno-Nettis am Chairman, ACO Mr Matthew Allchurch Partner, Johnson Winter & Slattery Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr John Borghetti ao Chief Executive Officer, Virgin Australia Mr Craig Caesar & Mrs Nerida Caesar Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Michael Chaney ao Chairman, Wesfarmers Mr Robin Crawford am & Mrs Judy Crawford Rowena Danziger am & Kenneth G. Coles am Mr Bruce Fink Executive Chairman Executive Channel Holdings Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel

2018 National Concert Season

Ms Ann Gamble Myer Mr Daniel Gauchat Principal, The Adelante Group Mr Robert Gavshon & Mr Mark Rohald Quartet Ventures Mr James Gibson Chief Executive Officer Australia & New Zealand BNP Paribas Mr John Grill ao & Ms Rosie Williams Mrs Janet Holmes à Court ac Mr Simon & Mrs Katrina Holmes à Court Observant Mr Andrew Low Mr David Mathlin Ms Julianne Maxwell Mr Michael Maxwell

Mr Ian Narev Chief Executive Officer Commonwealth Bank Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mrs Carol Schwartz am Ms Margie Seale & Mr David Hardy Mr Glen Sealey Chief Operating Officer Maserati Australasia & South Africa Mr Tony Shepherd ao Mr Peter Shorthouse Senior Partner Crestone Wealth Management Mr Noriyuki (Robert) Tsubonuma Managing Director & CEO Mitsubishi Australia Ltd

Ms Naomi Milgrom ao

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

Ms Jan Minchin Director, Tolarno Galleries

Ms Vanessa Wallace & Mr Alan Liddle

Mr Jim & Mrs Averill Minto Mr Alf Moufarrige ao Chief Executive Officer, Servcorp

Mr Peter Yates am Deputy Chairman Myer Family Investments Ltd & Director AIA Ltd

Mr John P Mullen Chairman, Telstra

Mr Peter Young am & Mrs Susan Young

ACO Partners We thank our Corporate Partners for their generous support

PRINCIPAL PARTNER

PRINCIPAL PARTNER: ACO COLLECTIVE

NATIONAL TOUR PARTNERS

GOVERNMENT PARTNERS

OFFICIAL PARTNERS

EVENT PARTNERS

CONCERT AND SERIES PARTNERS

MEDIA PARTNERS

NATIONAL EDUCATION PARTNERS Janet Holmes à Court AC Marc Besen AC & Eva Besen AO

Holmes à Court Family Foundation The Ross Trust

Australian Chamber Orchestra

Performance at the highest level is critical in business and the concert hall. We are dedicated supporters of both.

ÂŠ Zan Wimberley

POSTALES RESTAURANT

GRAND DINING TO MATCH A GRAND PERFORMANCE Postales Restaurant’s Theatre Dining offers Sydney’s best Spanish tapas and dining - the perfect beginning or ending to a world-class performance.

OPENING HOURS Mon - Fri

12pm - 3pm 6pm - 10pm

Sat

6pm - 10pm

/GPOGrand @GPOGrand

BOOKINGS & ENQUIRIES

02 9229 7700 mail@gpogrand.com www.gpogrand.com

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