Viennese Masters concert program

VIENNESE MASTERS — 2010 N AT I O N A L CONCERT SEASON

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On behalf of BNP Paribas, I’m delighted to welcome you to the 2010 Viennese Masters Tour by the Australian Chamber Orchestra.

At BNP Paribas, we have a long tradition of supporting performing arts around the world and encouraging those, such as the ACO, who embody our core values of ambition, creativity and commitment.

As the ‘Bank for a Changing World’ BNP Paribas is constantly evolving, and this is something we have in common with the ACO. Each year that we continue to support the ACO, we are inspired by their individuality, unique artistic style and creative vision. For this reason we have been a proud National Tour Partner of the ACO since 2006 and this year, we are pleased to sponsor the Viennese Masters Tour.

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TOUR SIX VIENNESE MASTERS SPEED READ The 19th century was a time of unparalleled development in the technology of instrument making, and this program — from Beethoven at the beginning of the century to Brahms at the end — gives us some insight into that evolution.

Schubert’s Rondo Brilliante is hardly known today, although it was one of only three of his chamber works that he saw in print. Paganini had introduced the notion of the travelling virtuoso and Slavík, for whom the Rondo was written, had been hailed “a second Paganini”. It’s probably the closest Schubert got to conceiving a violin concerto, and this arrangement for violin and instruments brings it one step closer.

Beethoven complained that the great popularity of the Septet overshadowed all his other works; ironically, the Septet is now almost entirely eclipsed in fame by his orchestral compositions. It is a vastly different Beethoven from that of the 5th or 9th Symphonies, however. The Septet was one of the last works he wrote before his deafness began to take hold, and it is airy, exuberant and light-hearted.

Brahms famously came out of retirement to compose his Clarinet Quintet, a work consciously modelled on Mozart’s similar work of just over a century earlier. His close friend Clara Schumann hailed it a work of genius: “It is a really marvellous work, the wailing clarinet takes hold of one; it is most moving. And what interesting music, deep and full of meaning!”

SCHUBERT (arr. Ross) Rondo Brilliante in B minor, D895

BEETHOVEN Septet in E flat major, Op.20 Adagio – Allegro con brio Adagio cantabile Tempo di Menuetto Tema con variazione: Andante Scherzo: Allegro molto e vivace Andante con moto alla Marcia – Presto INTERVAL

BRAHMS Clarinet Quintet in B minor, Op.115 Allegro Adagio Andantino – Presto non assai Con moto Approximate durations (minutes): 15 • 40 • INTERVAL • 33

The concert will last approximately two hours.

ADELAIDE

MELBOURNE

SYDNEY

Town Hall Tue 28 Sep 8pm

Town Hall Sun 26 Sep 2.30pm Mon 27 Sep 8pm

Opera House Sun 10 Oct 2.30pm

PERTH

IPAC Thu 7 Oct 7.30pm

BRISBANE QPAC Mon 4 Oct 8pm

WOLLONGONG Concert Hall Wed 29 Sep 8pm

CANBERRA Llewellyn Hall Sat 25 Sep 8pm

SYDNEY Angel Place Tue 5 Oct 8pm Wed 6 Oct 7pm Sat 9 Oct 8pm

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

AUSTRALIAN CHAMBER ORCHESTRA 3

MESSAGE FROM THE GENERAL MANAGER FREE PROGRAMS To save trees and money, we ask that you share one program between two people where possible.

PREPARE IN ADVANCE Read the program before the concert. A PDF version of the program will be available at aco.com.au and on the ACO iPhone app one week before each tour begins, together with music clips and podcasts.

ACO COMMUNITY Become a Facebook fan or visit aco.com.au/blog to read ACO news and chat to other fans, listen to music and see behindthe-scenes videos and photos.

HAVE YOUR SAY We invite your feedback about this concert at aco.com.au/yoursay or by email to aco@aco.com.au.

FREE MONTHLY E-NEWSLETTER For news, special offers and to be sent background information about the concerts, sign up for the ACO’s free monthly e-newsletter at aco.com.au.

ACO ON THE RADIO 2MBS FM Wed 10 Nov, 12pm Interview with an artist from the Kreutzer vs. Kreutzer tour.

NEXT TOUR

The ACO has just returned from our most ambitious international tour ever. Not only did this tour traverse two continents with a Beethoven-sized orchestra of 40 musicians, it also encompassed an extraordinary range of performance venues, from the Le Poisson Rouge nightclub in New York to the recently reconstructed baroque Frauenkirche in the heart of Dresden; from the ancient fort overlooking the Croatian port city of Dubrovnik to the near perfect acoustics of a converted malthouse near Aldeburgh; and from the gently undulating lawns of Tanglewood to the restrained Edwardian elegance of London’s Cadogan Hall. While the architecture and acoustics of the spaces varied enormously, the reactions of the audiences were decidedly consistent – cheering, stomping, standing ovations at the conclusion of every concert.

The reviews have been equally glowing; “The ACO is a crack ensemble” The Guardian, “The finest concert of the summer” The Arts Desk, “Tognetti and his badass classical band don’t play New York nearly often enough” Time Out New York.

Our National Touring Partner BNP Paribas has enabled us to bring much great music to audiences across the whole country for many years and this month we proudly present a program of Viennese classics in which so many individual musicians of the ACO have the chance to shine. While Assistant Leader Satu Vänskä is often seen “holding the fort” while Richard steps into the solo spotlight, in this concert the roles are reversed, Satu taking the limelight in Schubert’s Rondo Brilliante with Richard in the supporting role.

Response to the recently launched ACO 2011 National Concert Season has been wonderfully enthusiastic with thousands of subscribers rushing to secure their seats for another year of great music. If you haven’t received a 2011 season brochure, you can request one online or download it directly from aco.com.au.

TIMOTHY CALNIN GENERAL MANAGER, ACO

KREUTZER VS. KREUTZER 11 — 24 Nov

AUSTRALIAN CHAMBER ORCHESTRA 5

CHAMBER MUSIC

It is a quirk of cultural history, perhaps, but as empires go into decline the arts in their capitals seem to flourish. We might think of Venice in the late 16th century, Paris after its defeat by the Prussians in 1871, or London in the 1960s. All were cities aware of their declining political influence, but which were also enjoying a remarkable outburst of creativity across all the arts. Above all, however, we might think of Vienna, whose own empire seemed to go gently into that good night throughout the long 19th century (before coming to a catastrophic end at the conclusion of the First World War). During this time, notwithstanding the fact that the musical economies of Paris, London, and New York were at least quantitatively more significant, Viennese musical culture became essentially synonymous with Western music itself. The ‘First Viennese School’ of Mozart, Haydn and Beethoven came to define how we expect classical music should sound, and codified the standard genres – symphony, string quartet, piano trio, etc. – through which we should expect to hear it. To be sure, 19th-century Europe was also characterised by musical evolution, experimentation, and occasional revolution, but such change occurred under a most extraordinary anxiety of influence whose wellspring was in Vienna.

Why that should have been the case remains something of a puzzle for historians and musicologists alike, but one aspect of Viennese musical culture that stands out is the cultivation, particularly by the aristocratic class, of an interest in what we might call ‘musical seriousness’. By this we mean music that was valued above all for its perceived intrinsic, purely ‘musical’, qualities, such as an adherence to principles of motivic unity and internal structural coherence. Such music typically rejected virtuosic display 6 AUSTRALIAN CHAMBER ORCHESTRA

for its own sake, or the inclusion of crude extra-musical themes. It instead strove to be elevated, refined, and sublime, conveying aesthetic values that an aristocratic class, in particular, would have seen as particularly ‘aristocratic’. Indeed, a prominent serious musical culture in Vienna seems to have acted as a kind of cultural defensive position for an aristocracy which was, by the early 19th century, under the very real threat of annihilation by the force of Napoleon’s armies.

The exemplary form of serious music of the day was without doubt the genre we now know as ‘chamber music’. The term has its origins in descriptions of music written for performance under domestic circumstances or for performance in a drawing-room or ‘chamber’ before an audience of limited size, or indeed, without the need for listeners at all. Today, however, chamber music is rarely heard (perhaps lamentably) in such circumstances, and even in early 19thcentury Vienna it was becoming increasingly common to hear chamber works such as string quartets and piano trios as part of public subscription concerts. It is more accurate, then, to define chamber music as first and foremost a type of music that is composed using intimate musical resources but with high aesthetic ambition. Above all, chamber music is music that uses the possibility of close dialogue between a small number of solo instruments to foreground the importance of ‘pure’ musical argument.

PETER TREGEAR © ACO 2010

ABOUT THE MUSIC

SCHUBERT (arr. Graham Ross) Rondo Brilliante, D895 (Composed 1827; arranged for solo violin and septet 2010)

Franz Schubert (b. Vienna, 1797 — d. Vienna, 1828)

Schubert transformed our understanding of the art song, but in life he was considered largely a domestic composer; indeed, he was a master of all forms of chamber music.

His fame increased after his premature death, however, and he is now one of the most highly-regarded composers.

It was not just Napoleon’s armies that caused Vienna’s aristocratic patrons of the arts to adopt a defensive aesthetic position in the early 19th century. Another cause of concern for them was the rise of a mass musical culture.

Second to the popularity of Italian opera, especially the works of Rossini, the most prominent sign of this was the emergence of the travelling virtuoso, a figure who would come to dominate public musical life in the 19th century in a manner not dissimilar to a rock star in the latter half of the 20th.

It was for such a virtuoso that Schubert’s Rondo Brilliante was composed, in this case the Czech violinist and child prodigy Josef Slavík. He, and Schubert’s close friend, the pianist Karl Maria von Bocklet, gave the first performance of this work at the residence of the music publishers Artaria & Co. in early 1827 and it was Artaria who gave it the sobriquet “brilliant”. Brilliant, indeed, it is. Slavík was later described by Frédéric Chopin as “a great and inspired violinist – a second Paganini”, and there is no doubt that Schubert composed this piece with the desire to exploit Slavík’s particular abilities in mind.

This Rondo therefore has something of the character of a piece of ‘public’, as opposed to ‘chamber’, music. The composer signals this to us from the very opening bars where the portentous double-dotted rhythm in the piano and the rising flourish in the violin suggest that we’re not so much in a drawing room as a theatre or symphonic hall. It is no surprise, then, that the piano accompaniment lends itself particularly well to the kind of arrangement prepared for today’s performance. We err, however, if we conclude that, because of this, the work itself must per se be of an inferior quality. Reviewing an early performance, the Wiener Zeitschrift für Kunst of 7 June 1829 declared: “Though brilliant on the whole, the work owes its existence not merely to those figures that leer at us from so many compositions in thousand-fold gyrations to tax the spirit. Here, the mind of the inventor has often spread AUSTRALIAN CHAMBER ORCHESTRA 7

its wings with considerable force and carries us along with him.”

Allegro “fast and lively” or “fast and bright”. rondo a form of composition where a main theme or section is returned to throughout, in the manner of a chorus or refrain.

The reviewer was perceptive; the work encompasses a remarkable range of poetic moods, and is also formally quite unusual. The slow introduction is followed by an Allegro which includes several passages that extend in a manner reminiscent not so much of a rondo but a fantasy.

Certainly, Slavík’s rendering of the work so impressed Schubert that he was inspired to compose his Fantasie for Piano and Violin in C major, D934 the following year, and dedicate it to the violinist.

8 AUSTRALIAN CHAMBER ORCHESTRA

BEETHOVEN Septet in E flat major, Op.20 (Composed 1799)

Adagio – Allegro con brio Adagio cantabile Tempo di Menuetto Tema con variazione: Andante Scherzo: Allegro molto e vivace Andante con moto alla marcia – Presto

Ludwig van Beethoven (b. Bonn, 1770 — d. Vienna, 1827) Beethoven is the archetypal troubled genius, a composer whose nine symphonies remain at the pinnacle of what can be achieved in that form. In 1810 the critic E.T.A. Hoffman named him as “one of the three great Romantic composers”. Now, most critics would hail him the greatest.

Many of the works upon which Beethoven built his fame during his lifetime are today considered mere curio pieces, if not entirely forgotten; works like the oratorio Christ on the Mount of Olives, or the ‘battle’ symphony Wellington’s Victory, or his incidental music to The Ruins of Athens.

Without an awareness of just how successful these works were, however, it is easy to develop quite erroneous ideas about the early reception of Beethoven’s music. For instance, ask someone which of his nine symphonies they think was the most performed in the first half of the 19th century, the usual answer will be one of 3, 5, 7, or 9. It was, however, his Symphony No.1, Op.21. As it happens this Symphony was premiered at the same concert, on 20 December 1799, as Beethoven’s Septet. It too was to become one of Beethoven’s most successful and beloved compositions, and it too seems to have lessened in significance today.

In part, this is because the Septet also had origins away from the core of the chamber music tradition. Here it was the genre of music we have come to know, especially from works by Haydn and Mozart, as ‘divertimento’. A local resident recalled in a Viennese almanac of the day that it was common – especially in the Summer – for musicians to play divertimenti as a form of outdoor serenading (today we would probably call it busking!). “On fine summer nights you may come upon serenades in the streets at all hours. They are not, as in Italy, a mere matter of a singer and a guitar. Here serenades are not meant for declarations of love, for which the Viennese have better opportunities. Such night music may be given by a trio or a quartet of wind instruments, and works of some extent may be played… and however late a serenade is given, all windows are soon filled and in a few minutes the musicians are surrounded by an applauding crowd.”

Wind instruments were particularly effective in an outdoor setting, and the Viennese especially enjoyed music AUSTRALIAN CHAMBER ORCHESTRA 9

obbligato literally “obligatory”, used to denote a musical line that is not only indispensable but is also in some way special or unusual.

written, or arranged, for consorts of winds. Beethoven’s comparative indifference to the peculiar scoring of his Septet was apparent from the outset, however, when he suggested to the publisher Hofmeister that “the 3 wind instruments, namely bassoon, clarinet, and horn, might for common use be replaced by an additional violin, an additional viola and an additional cello”. Yet in the same letter he was also at pains to note that “I can write nothing that is not obbligato for I came into the world with an obbligato accompaniment”. By this he meant that the work also had pretensions to high musical value, that is, pretensions to chamber music no less. Indeed, in 1803 Beethoven published an arrangement of the Septet for a more typical ‘chamber’ ensemble of piano, clarinet, and cello.

Certainly, Beethoven took some care to ensure the Septet had structural coherence. Both the first and last movements have slow introductions, which, apart from ‘bookending’ the work, also means that it proceeds as a neat succession of eight slow and fast sections across six movements. The Minuet also borrows its main theme from Beethoven’s Piano Sonata in G major, Op.49/2 (an earlier work despite its higher opus number). But for all this care and attention, it nevertheless says much about the emerging musical culture of the day that the great success of this work actually became the cause of some embarrassment to him late in life. From our (hopefully more nuanced) perspective, we might not so much be troubled as rejoice in the fact that the commonplace and sublime might so easily co-habit as they do here.

ACO Performance History Beethoven’s Septet for strings and winds has been played previously in only one ACO national tour — 11 performances in 2002.

10 AUSTRALIAN CHAMBER ORCHESTRA

BRAHMS Clarinet Quintet in B minor, Op.115 (Composed 1891)

Allegro Adagio Andantino – Presto non assai Con moto We should not be surprised to learn that it was as a chamber music performer and composer that Brahms first introduced himself to his Viennese audiences when he moved there from Germany in 1862. He did not, however, write chamber music specifically for the clarinet until late in life; indeed the circumstances by which he came to do so have become the stuff of musical legend.

Johannes Brahms (b. Hamburg, 1833 — d. Vienna, 1897)

One of the great Romantics, Brahms wrote masterpieces in every form of composition except opera. He was a dedicated student of earlier music, but was a true innovator as well as a nostalgist, and he proved highly influential well into the 20th century.

falling third think of the Beatles’ “Hey Jude”.

Ostensibly retired from composing, in 1891 Brahms happened to be introduced to the playing of Richard Mühlfeld, and was so greatly impressed that he determined to come out of retirement and compose a work worthy of what was obviously a remarkable talent. His model was Mozart’s Clarinet Quintet K.581, itself composed for a particular clarinetist, Anton Stadler. In so consciously composing a work after such an example, Brahms produced what many critics believe to be his greatest piece of chamber music.

No mere quartet-plus-clarinet, Brahms presents an integrated musical texture throughout and the work is unified musically through the recurrence across all movements of an interval of a falling third. As it happens, a scientific study published just this year has demonstrated that we tend to use the interval of a minor third (whether we are musically trained or not), to express sadness, and there is no doubt this work conveys an overarching character of melancholy. In part this is a facet of the clarinet itself as an instrument that can sound both extremely quiet and plaintive, but it also reflects the contemplative, retrospective character of the work as a whole. As noted by the reviewer of its London premiere in 1892, the key, B minor, “is hardly departed from during the whole work”.

Furthermore, the last movement is a theme and variations without the thematic transformation typical of the late 19th century. Instead, Brahms composes variations in the style we might more ordinarily associate with Mozart or Haydn, that is, simple decorations of a stable melody.

We are given no musical expression of triumph over fate, AUSTRALIAN CHAMBER ORCHESTRA 11

rather the work remains resolutely in B minor to the very end. This is, unquestionably, music of resignation.

adagio literally “at ease” (Italian: “ad agio”) and usually used to mean slowly

Towards the end of the second movement adagio, however, there is a section, marked più lento (a little slower) in which Brahms breaks away from the strictly ‘chamber music’ character of the work. For a moment we are presented with a musical texture that sounds more like a work for solo clarinet and strings. It has been suggested that this section is an allusion to Brahms’ firsthand experience of Hungarian gypsy bands, in which the clarinet would often feature prominently as a soloist.

This it may well be, but it might also be an exploitation by Brahms of the peculiar poetic potential a slow movement has, as the elegiac ‘heart’ of a multi-movement work, to express something precisely from the heart, something very personal. Here, it is as if the clarinet has paused the musical journey and is trying, literally, to speak to us, but just cannot find the words.

This, of course, is a particularly powerful expressive gesture made possible precisely because of the elevated character of chamber music, its concern with innate musical problems and solutions. As is true of the best Romantic music, it enables the composer to highlight his own subjectivity in bold relief.

PROGRAM NOTES BY PETER TREGEAR © ACO 2010

12 AUSTRALIAN CHAMBER ORCHESTRA

ABOUT THE WIND INSTRUMENTS In this program, the three guest artists are playing historic versions of the instruments with which the composers of the three pieces would have been familiar. Here each of them gives a brief explanation of what this entails.

Craig Hill writes: The clarinets used in this program represent three distinct phases in the development of the clarinet in the late 18th & 19th centuries, beginning with its simplest and perhaps purest form with just six keys (in the Beethoven), progressing to 12 keys which operate separately (Schubert), and finally to the elaborate system of integrated keys known as the Baermann – Ottensteiner system (Brahms).

Georg Ottensteiner (1815- 1879) was perhaps the most advanced instrument builder of his era, while Carl Baermann (1810-1885), one of the greatest German clarinet teachers and virtuosi of the 19th century, was one of Ottensteiner’s earliest supporters. During the 19th century, it was Ottensteiner’s clarinets that were favoured by leading players in Germany. My clarinet is a copy of the Ottensteiner clarinet played by Brahms’ famous collaborator, Richard Mühlfeld, which is now preserved at the Meiningen Schloss Museum.

Technically, the Ottensteiner clarinet is a study in balancing extreme parameters, existing on the very fringe of what is possible in clarinet design. At a time when other makers were experimenting with denser woods from Africa such as grenadilla (which, stained black, is still used for the best modern clarinets), Ottensteiner retained the traditional European boxwood, which is lighter and softer to turn on the lathe, and which produces a lighter sound with a more evenly distributed harmonic spectrum, but with less power than grenadilla.

At 15mm, the diameter of the bore of Ottensteiner’s clarinet is almost as wide as acoustically possible, and helps produce the breadth and warmth of tone we might imagine is suitable for Brahms. The tone holes on the Ottensteiner clarinet are radically flared as they meet the inside bore (think cartoon nuclear- reactor shaped), smoothing the airflow as the tone hole meets the bore, and creating a melting legato which is unequalled by any modern designs. These attributes, which in themselves might lead to an overly spread and unfocussed sound, are counterbalanced by a small, slender mouthpiece with a narrow opening, which requires great finesse in blowing.

The keywork of the Ottensteiner clarinet is of greater complexity than found on most clarinets today, while still permitting the cross fingerings and subtle finger shadings used on the previous generation of clarinets. The exact adjustment of the keys is critical and has to be recreated by trial and error.

I have been most fortunate to be able to work with Jason Xanthoudakis, a dedicated instrument technician in Melbourne who in addition hand crafted each leather pad in 19th-century style. This kind of engagement with the nuts and bolts aspect of playing the clarinet would have been very much the experience of 19th-century players; indeed the whole century is characterized by relentless experimentation and innovation.

If at first glance it seems like a lot of trouble to master so many different instruments, reeds, mouthpieces and techniques, then I am encouraged and inspired by the words from Carl Baermann’s method which hang over the entrance to my study: Whoever would dedicate themself to playing the clarinet should carefully examine himself to see whether he possesses the mental fortitude and patience to learn this difficult instrument. The physical requirements are these: good health, a strong, solid chest and healthy strong teeth, at least the front teeth must be in perfect condition. The mental requirements are the same as those of every artist, 14 AUSTRALIAN CHAMBER ORCHESTRA

namely, soulfulness, poetic imagination and a true deep sensitivity, enthusiasm for the beautiful in art, perceptiveness, a finely tuned ear, unbiased examination and understanding of one’s own abilities, acknowledgement and appropriate honour of the merits of other artists and the force of will for an endless striving and struggle towards perfection.

Instruments: Beethoven: Clarinet in Bb by Joel Robinson after Heinrich Grenser, Dresden 1800 Boxwood with six brass keys.

Schubert: 12 key Clarinet in A by J. Robinson after H. Grenser, Dresden 1810 Brahms: Clarinet in A by Schwenk & Seggelke after Georg Ottensteiner, Munich 1875. © CRAIG HILL 2010

Darryl Poulsen writes: Although the natural horn is generally thought of as being a simple horn without valves, it is important to note that there are two different natural horns, the Baroque horn and the Classical hand-horn. Whilst both are simple, unsophisticated, coiled lengths of tubing, their sounds and playing techniques are nonetheless distinctly different.

The Baroque horn is played with the bell held high and without the hand being inserted into it.

The resultant sound is bright and penetrating. The Classical horn, by contrast, has the right hand inserted into the bell, and hence its name, the hand-horn. This change in the manner of holding the instrument came about after the renowned Dresden horn player Anton Josef Hampl discovered, circa 1740, that by placing the hand in the bell he was able to change the pitch of the instrument.

Importantly, this meant that he was able to produce non-harmonic notes thus completing the diatonic scale, something that was not possible on the earlier Baroque horn. One of the side effects of this new found chromaticism of the Classical horn was that the sound had now become darker, broader and more mellow– and therefore eminently suited to its new role of blending in the homophonic textures of the nascent Classical period.

The instrument used in this program is a modern replica of a Bohemian Classical horn by J. A. Laussman of Graslitz (c.1790) made by Andreas Jungwirth in Plank am Kamp, Austria. © DARRYL POULSEN 2010

Jane Gower writes: The bassoon I am playing is a copy of one built in 1806 by the Alsatian instrument atelier Bühner & Keller. The six or seven keyed bassoons of the early 19th century possess completely different sound qualities and technical considerations than the intricate machinery that is today’s Heckel system bassoon. The latter has been redesigned and finessed over the centuries for maximum technical facility as well as evenness and homogeneity of tone across its entire range. On the earlier bassoons, each chromatic note, for which there is a specific key on the modern bassoon, has to be fingered by means of complicated cross-fingering patterns, each having its own specific tone-colour and attack.

The composers of the day were well aware of these characteristics and exploited them to full musical effect rather than attempting to cover them up as faults of the instrument. Playing a bassoon of the period may be more risky in a purely technical sense, but also reveals all the variations in colour, dynamic and articulation distinctive to the instrument; and thus to the music itself. © JANE GOWER 2010 AUSTRALIAN CHAMBER ORCHESTRA 15

ENJOY THE ACO AT HOME: Selected CDs and DVDs JS BACH VIOLIN WORKS

MOZART – ELGAR – GRIEG – BACH

ABC CLASSICS - ABC4766168

SONY – SK53356

Tognetti’s 3-time ARIA award-winning Bach. All the sonatas, partitas and concertos for violin in one specially-priced set. 5-CD Box Set.

Orchestral favourites by four great composers.

CELEBRATING 20 YEARS ABC CLASSICS – ABC4763304

2-CD compilation celebrating Richard Tognetti's 20th Anniversary with the ACO.

CARNIVAL OF THE ANIMALS MACMILLAN 0732910706

Music by Saint-Saëns with a book of poems and images by Michael Leunig, with narration by Peter Garrett.

SONG OF THE ANGEL LUMINOUS DVD

CHANDOS - CHAN10163

OVATION - 198896

Works by Astor Piazzolla.

The ACO’s collaboration with Bill Henson and Katie Noonan filmed live.

MUSICAL RENEGADES MUSICA SURFICA DVD AND CD Richard Tognetti and surfing virtuoso Derek Hynd bring together a unique gathering of classical musicians and top surfers.

THE MUSIC FROM CLASSICAL DESTINATIONS II SONY BMG – 88697359472

The soundtrack for acclaimed music/ travel series Classical Destinations II. Also available on DVD.

VIVALDI - FLUTE CONCERTOS EMI - 3472122

Includes Vivaldi’s six Opus 10 Flute Concertos with Emmanuel Pahud.

JS BACH - KEYBOARD CONCERTOS HYPERION – VOL 1 CDA67307 / VOL 2 CDA67308

Gramophone CD of the Month 2005 The complete Bach keyboard concertos with Angela Hewitt.

These and many other recordings featuring the Australian Chamber Orchestra are available to purchase online at aco.com.au/shop or by telephone 02 8274 3800.

ABC CLASSICS ABC476102-6

2-CD set containing live performances of music featured in the documentary. Also available on DVD.

BEETHOVEN & MOZART ABC CLASSICS ABC465425-2

Beethoven’s Violin Concerto and Mozart’s Symphony No.40.

CLASSICAL TROMBONE CONCERTOS BIS-CD-1248

Christian Lindberg plays trombone concertos by Michael Haydn, Wagenseil Albrechtsberger and Leopold Mozart. Also available: Christian Lindberg – A Composer’s Portrait II and Baroque Trombone.

TANGO JAM MULBERRY HILL MHRC001

Quintets by Astor Piazzolla.

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI AO ARTISTIC DIRECTOR

‘You’d have to scour the universe hard to find another band like the ACO.’ THE TIMES, UK

‘The energy and vibe of a rock band with the ability of a crack classical chamber group.’

WASHINGTON POST

Select Discography Bach Violin Concertos ABC 476 5691 Vivaldi Flute Concertos with Emmanuel Pahud EMI 3 47212 2 Bach Keyboard Concertos with Angela Hewitt Hyperion SACDA 67307/08 Tango Jam with James Crabb Mulberry Hill MHR C001 Song of the Angel Music of Astor Piazzolla with James Crabb Chandos CHAN 10163 Sculthorpe: works for string orchestra including Irkanda I, Djilile and Cello Dreaming Chandos CHAN 10063

Australia’s national orchestra is a product of its country’s vibrant, adventurous and enquiring spirit. In performances around Australia, around the world and on many recordings, the ACO moves hearts and stimulates minds with repertoire spanning six centuries and a vitality and energy unmatched by other ensembles.

The ACO was founded in 1975. Every year, this ensemble presents performances of the highest standard to audiences around the world, including 10,000 subscribers across Australia.

The ACO’s unique artistic style encompasses not only the masterworks of the classical repertoire, but innovative crossartform projects and a vigorous commissioning program.

Under Richard Tognetti’s inspiring leadership, the ACO has performed as a flexible and versatile ‘ensemble of soloists’, on modern and period instruments, as a small chamber group, a small symphony orchestra, and as an electro-acoustic collective.

In a nod to past traditions, only the cellists are seated – the resulting sense of energy and individuality is one of the most commented-upon elements of an ACO concert experience.

Several of the ACO’s principal musicians perform with spectacularly fine instruments. Tognetti performs on a priceless 1743 Guarneri del Gesù, on loan to him from an anonymous Australian benefactor. Principal Cello TimoVeikko Valve plays on a 1729 Giuseppe Guarneri filius Andreæ cello, also on loan from an anonymous benefactor, and Assistant Leader Satu Vänskä plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group.

Forty international tours have drawn outstanding reviews at many of the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, New York’s Carnegie Hall and Vienna’s Musikverein.

These and more ACO recordings are available from our online shop: aco.com.au/shop or by calling 1800 444 444.

The ACO has made acclaimed recordings for labels including ABC Classics, Sony, Channel Classics, Hyperion, EMI, Chandos and Orfeo and currently has a recording contract with BIS. A full list of available recordings can be found at aco.com.au/shop. Highlights include the three-time ARIA Award-winning Bach recordings and Vivaldi Concertos with Emmanuel Pahud. The ACO appears in the television series Classical Destinations II and the award-winning film Musica Surfica, both available on DVD and CD.

To be kept up to date with ACO tours and recordings, register for the free e-newsletter at aco.com.au.

In 2005, the ACO inaugurated an ambitious national education program, which includes outreach activities and mentoring of outstanding young musicians, including the formation of AC O2, an elite training orchestra which tours regional centres.

Giuliani Guitar Concerto with John Williams Sony SK 63385

AUSTRALIAN CHAMBER ORCHESTRA 17

RICHARD TOGNETTI AO ARTISTIC DIRECTOR AND LEADER AUSTRALIAN CHAMBER ORCHESTRA

‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’

THE DAILY TELEGRAPH (UK) 2006

Select Discography As soloist: BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surfica (DVD) Best Feature, New York Surf Film Festival As director: VIVALDI Flute Concertos, Op.10 Emmanuel Pahud, Flute EMI Classics 0946 3 47212 2 6 Grammy Nominee PIAZZOLLA Song of the Angel Chandos CHAN 10163 All available from aco.com.au/shop.

Australian violinist and conductor Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten and in his home town of Wollongong with William Primrose, and at the Bern Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the ACO, and was appointed Leader. He was subsequently appointed Artistic Director of the Orchestra.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and have been performed throughout the world.

Highlights of his career as director, soloist or chamber music partner include the Sydney Festival (as conductor of Mozart’s Mitridate); and appearances with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra and the Nordic Chamber Orchestra. He is Artistic Director of the Maribor Festival in Slovenia.

As soloist Richard Tognetti has appeared with the ACO and the major Australian symphonies, including the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

He has collaborated with colleagues from various art forms, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Neil Finn, Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig. In 2003, Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can be heard performing on the award-winning soundtrack.

In 2005, with Michael Yezerski, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, created The Red Tree.

Richard Tognetti co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa.

Alongside numerous recordings with the ACO, Richard Tognetti has recorded Bach’s solo violin repertoire, winning three consecutive ARIA Awards for Best Classical Album (2006–8) and the Dvoˇrák Violin Concerto.

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

18 AUSTRALIAN CHAMBER ORCHESTRA

BEHIND THE SCENES BOARD Guido Belgiorno-Nettis AM (Chairman) Angus James (Deputy Chairman) Ken Allen AM Bill Best Glen Boreham Liz Cacciottolo Chris Froggatt Janet Holmes à Court AC Brendan Hopkins Tony Shepherd John Taberner Peter Yates

MANAGEMENT EXECUTIVE OFFICE

DEVELOPMENT

Timothy Calnin General Manager

Kate Bilson Events Manager

Vicki Stanley Education and Emerging Artists Manager

Jessica Block Deputy General Manager and Development Manager

Tom Carrig Senior Development Executive

Sarah Conolan Education and Operations Assistant

Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO

Vanessa Jenkins Senior Development Executive

Jennifer Collins Librarian

Lillian Armitage Patrons Manager

MARKETING

ARTISTIC

Helen Margolis Grants Program Manager

Richard Tognetti AO Artistic Director Michael Stevens Artistic Administrator

Liz D’Olier Development Coordinator OPERATIONS

FINANCE Steve Davidson Chief Financial Officer Shyleja Paul Assistant Accountant

Damien Low Artistic Operations Manager Gabriel van Aalst Orchestra Manager

INFORMATION SYSTEMS Martin Keen Systems and Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES

Georgia Rivers Marketing Manager

John Harper Archivist

Rosie Rothery Marketing Executive Chris Griffith Box Office Manager Mary Stielow National Publicist Dean Watson Customer Relations Manager

Erin McNamara Deputy Orchestra Manager

AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not for profit company registered in NSW. In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000

By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA 19

ABOUT THE ARTISTS

SATU VÄNSKÄ VIOLIN Satu Vänskä studied with Pertti Sutinen at the Lahti Conservatorium and the Sibelius Academy and was a pupil of Ana Chumachenco at the Hochschule für Musik in Munich.

Satu studied at the Kuhmo Violin School in Finland attending masterclasses with Ilya Grubert, Zinaida Gilels and Pavel Vernikov and performing at the Kuhmo Chamber Music Festival.

In 1998 Sinfonia Lahti named her Young Soloist of the Year, in 2000 she was a prizewinner of the Deutsche Stiftung Musikleben and, from 2001, she played under the auspices of the Live Music Now Foundation founded by Lord Yehudi Menuhin.

Satu has played with the Munich Philharmonic and Bavarian Radio Symphony Orchestras, was a tutor with the Young Bavarian Philharmonic and has performed as soloist in Finland, Germany, Spain and Canada and as a chamber musician in festivals in Australia, Slovenia, Finland and Germany.

Satu performs on a 1759 J.B. Guadagnini violin, kindly made available to her by the Commonwealth Bank Group.

CHRISTOPHER MOORE VIOLA Christopher Moore originally studied the violin with Suzuki teachers, Marjorie Hystek and Harold Brissendon. He completed his Bachelor of Music in Newcastle with violinist and pedagogue Elizabeth Holowell.

After working with the Adelaide and New Zealand Symphony Orchestras as a violinist, Chris decided to take up a less highlystrung string instrument and moved his musical focus and energy to the viola. He played as a rank and file violist with the Melbourne Symphony Orchestra for one and a half years before becoming Associate Principal Viola with the same orchestra.

During his association with MSO, Chris performed regularly as a chamber musician.

In 2006 Chris appeared as Guest Principal Violist with the ACO and then successfully auditioned for the ACO’s Principal Viola position.

20 AUSTRALIAN CHAMBER ORCHESTRA

TIMOVEIKKO VALVE CELLO Timo-Veikko Valve studied at the West-Helsinki Music Institute, the Sibelius Academy and in Edsberg. His main teachers were Heikki Rautasalo, Marko Ylönen, Teemu Kupiainenin, Torleif Thedéen and Mats Zetterqvist.

Timo-Veikko has performed as soloist with the Helsinki Filharmonia, Finnish Radio Symphony Orchestra, Sinfonia Lahti, Tampere Filharmonia and the Ostrobothnian Chamber Orchestra and appeared as soloist and chamber musician in Europe, Asia, Australia and the US including appearances at the Helsinki, Kemiö, Musica Nova Helsinki, Kuhmo Chamber Music, Lahti Sibelius and Järvenpää Sibelius Festivals.

In 2006 he was appointed Principal Cello of the ACO. He appears as a soloist with the ACO frequently and is a founding member of Jousia Ensemble and Jousia Quartet. He performs regularly with pianist Joonas Ahonen and accordionist Veli Kujala.

Timo-Veikko Valve plays on a 1729 Giuseppe Guarneri filius Andreae cello, made available to him by an anonymous benefactor.

MAXIME BIBEAU DOUBLE BASS Maxime studied at the Conservatoire de Musique du Québec à Montréal with René Gosselin and at Rice University 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. Maxime has been Principal Double Bass of the ACO since 1998.

He has performed with the SHIRA International Symphony Orchestra, Jeunesses Musicales World Orchestra, Sydney Symphony Orchestra, Montreal Symphony Orchestra and WDR Symphony Orchestra. He has also appeared in the Spoleto, Australian Chamber Music, Huntington and Sydney Festivals and has featured as soloist with the ACO on numerous occasions.

Maxime has been involved with the AYO National Music Camp, Sydney Youth Orchestra, University of NSW and Australian National Academy of Music and is a lecturer at the Sydney Conservatorium of Music.

AUSTRALIAN CHAMBER ORCHESTRA 21

ABOUT THE ARTISTS

CRAIG HILL CLARINET Craig Hill studied with Phillip Miechel at the Victorian College of the Arts and with Dieter Kloecker at the Freiburg Musikhochschule. Following his solo debut in 1997, Craig has come to national recognition for his performances on period clarinets in repertoire spanning from Telemann to Mozart, Weber and Brahms. His recording of Mozart’s Clarinet Concerto with the Australian Brandenburg Orchestra and Paul Dyer has been released by ABC Classics.

Performance highlights include collaborations with Geoffrey Lancaster, Bart van Ort, the Australian Bach Ensemble, Elizabeth Wallfisch and Lucinda Moon and appearances at festivals throughout Australia and the United States. Since 2004 Craig has been guest principal clarinet of the period instrument orchestra Concerto Copenhagen (under Lars Ulrik Mortensen). In April 2009 he was the artistic director of Concertino Copenhagen, a mini festival of period instrument chamber music resident at the newly opened Melbourne Recital Centre, which brought together musicians from Australia and Europe. Craig has been a member of the Melbourne Symphony Orchestra since 1992.

DARRYL POULSEN HORN Darryl Poulsen graduated with distinction from the Conservatoria of Luxembourg and Liège in the horn classes of Professor Francis Orval. Formerly Professor and Head of Music at the University of Western Australia he is now Professor and Associate Dean (Academic) at the Sydney Conservatorium.

For many years Principal Horn with the ACO, Darryl is currently Principal Horn with the Australian Brandenburg Orchestra, and he has performed and recorded with the Joshua Rifkin New York Bach Ensemble, Concertino Copenhagen, Anthony Halstead, Geoffrey Lancaster, Bart Van Oort, Cantus Cölln, and the Sirius Ensemble.

His research into classical hand-horn playing has resulted in the publication of the first English translation of the Méthode de premier et de second cor by Heinrich Domnich, the most important source on the history of classical horn playing.

22 AUSTRALIAN CHAMBER ORCHESTRA

JANE GOWER BASSOON Jane Gower studied at the Canberra School of Music and the Royal Conservatory in The Hague. She has appeared as principal bassoonist with many of the world’s finest period instrument orchestras. In 2005 she was appointed principal bassoon of Sir John Eliot Gardiner’s English Baroque Soloists and l’Orchestre Révolutionnaire et Romantique, and since 2007 has lectured at the Royal College of Music, London.

Photo © Steven Godbee

Jane founded the quartet for classical bassoon and strings, Island, which has just recorded its fourth CD. In collaboration with Torbreck Vintners she launched the Barossa Klassik chamber music series in 2010. Jane is in demand as soloist on the historical bassoon and has performed with Concerto Copenhagen, Les Agrémens, Sirius Ensemble and the Australian Brandenburg Orchestra. In 2002 she recorded Mozart’s Bassoon Concerto with Anima Eterna with her cadenzas and performance practice notes published by Bärenreiter. Her latest solo recording is of bassoon concertos by Franz Danzi.

Providing a complete service in hospitality One call One contact One manager to organise the complete event Corporate launches, office drinks, Christmas occasions, weddings and birthdays.

Katering Pty Ltd has built a reputation that it has maintained for the past 10 years, in providing a complete service with an eye for detail.

Ph: 02 9319 2700 Email: info@katering.com.au www.katering.com.au AUSTRALIAN CHAMBER ORCHESTRA 23

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

VENUE SUPPORT

SYDNEY OPERA HOUSE TRUST The Australian Chamber Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

The Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.

VENUE SUPPORT We are also indebted to the following organisations for their support:

Mr Kim Williams AM (Chair) Ms Catherine Brenner Rev Dr Arthur Bridge AM Mr Wesley Enoch Ms Renata Kaldor AO Mr Robert Leece AM RFD Ms Sue Nattrass AO Dr Thomas Parry AM Mr Leo Schofield AM Mr Evan Williams AM EXECUTIVE MANAGEMENT Chief Executive Richard Evans Director, Building Development & Maintenance Greg McTaggart Director, Commercial & Operations Maria Sykes Director, Finance & Innovation David Antaw

AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briffa

Director, Marketing & Development Victoria Doidge Director, Performing Arts Rachel Healy SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Office: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.

AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

24 AUSTRALIAN CHAMBER ORCHESTRA

LLEWELLYN HALL School of Music, Faculty of Arts The Australian National University William Herbert Place (off Childers Street), Acton, Canberra ACO CONCERT BOOKINGS Ticketek: Phone: 132 849; Online: premier.ticketek.com.au VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: arts.venues@anu.edu.au

ACKNOWLEDGEMENTS VENUE SUPPORT

A CITY OF SYDNEY VENUE Lord Mayor Clover Moore PO Box 3567 South Bank, Queensland 4101 Telephone: 07 3840 7444

Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD

Chairman Henry Smerdon AM Deputy Chairman Rachel Hunter

Founder Christopher Rix

Trustees Simon Gallaher Helene George Bill Grant Sophie Mitchell Paul Piticco Mick Power AM Susan Street Rhonda White

MANAGEMENT AND STAFF

EXECUTIVE STAFF Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Patron Services: Helen Jacobs Director – Marketing & Ticketing: Anne-Maree Moon Director – Corporate Services: Kieron Roost Executive Manager – Human Resources: Alicia Dodds Executive Manager – Production Services: Bill Jessop ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government The Honourable Anna Bligh MP Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: Ken Smith Deputy Director-General, Arts Queensland: Leigh Tabrett Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

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Executive Chairman Brian Nebenzahl OAM B6RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie Clarke Manager—Production Classical Music Events Alan Ziegler

General Manager Bronwyn Edinger Marketing Manager Gina Anker Technical Manager Cally Bartley Functions & Bar Manager Paul Berkeley Technician Donald Brierley Marketing Assistant Kim Bussell Event Coordinator Katie Christou Venue Services Manager James Cox Accounts Coordinator Thatsany Geyer Box Office Assistant Adam Griffiths FOH Manager Barbara Keffel Publicist Cassie Lawton Operations Manager Graham Parsons Executive Assistant Rosemary Penman Operations Assistant Vico Thai Box Office Manager Craig Thurmer Technician Jeff Todd CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Office 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 www.cityrecitalhall.com

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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO—106 — 16143 — 1/260910

AUSTRALIAN CHAMBER ORCHESTRA 25

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 MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti AO

Helena Rathbone

Satu Vänskä

Lead Violin

Principal 2nd Violin

Assistant Leader

Michael Ball AM & Daria Ball Joan Clemenger Wendy Edwards Prudence MacLeod

Robert & Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

Tony Shepherd

Peter Weiss AM

John Taberner & Grant Lang

Ilya Isakovich Violin Melbourne Community Foundation – Connie & Craig Kimberley Fund

Nicole Divall Viola Ian & Nina Lansdown

CORE CHAIRS Aiko Goto Violin Andrew & Hiroko Gwinnett Mark Ingwersen Violin

Alice Evans Violin Jan Bowen, Jo McKenzie & Scott Davies, The Sandgropers

Madeleine Boud Violin Terry Campbell AO & Christine Campbell

Melissa Barnard Cello The Bruce & Joy Reid Foundation Julian Thompson Cello The Clayton Family

Stephen King Viola Philip Bacon AM

GUEST CHAIRS

FRIENDS OF MEDICI

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

Mr & Mrs R Bruce Corlett

26 AUSTRALIAN CHAMBER ORCHESTRA

2010 TRANSATLANTIC TOUR PATRONS The ACO has returned from its adventurous and highly successful Trans-Atlantic Tour, which spanned the USA and Europe and culminated in two performances at the Maribor Festival, directed by Richard Tognetti for the third successive year.

The ACO would like to pay tribute to the following donors who have supported this exciting adventure and helped make Richard’s dream a reality: MRS AMINA BELGIORNONETTIS, PATRON TOUR PATRONS Mr Barry Humphries AO CBE Sir Michael Parkinson CBE LEAD PATRONS $50,000+ The Belgiorno-Nettis Family The Bruce & Joy Reid Foundation Mrs Janet L Holmes à Court AC Connie & Craig Kimberley Jan Minchin Dame Elisabeth Murdoch AC DBE MAJOR PATRONS $20,000 – $49,999 Mr Robert Albert AO & Mrs Libby Albert Philip Bacon AM Liz Cacciottolo & Walter Lewin Rowena Danziger & Ken Coles Mr Peter Hall Anthony & Sharon Lee Louise & Martyn Myer Foundation Harry Triguboff AO & Rhonda Triguboff Ian Wallace & Kay Freedman Anonymous (1) ENSEMBLE PATRONS $10,000 – $19,999 Mr Bill & Mrs Marissa Best Jenny & Stephen Charles Mr & Mrs Robin Crawford Martin Dickson AM & Susie Dickson Chris & Tony Froggatt Ann Gamble Myer Leslie & Ginny Green Brendan & Bee Hopkins PJ Jopling QC Prudence MacLeod

Macquarie Group Foundation Donald McGauchie Mr Andrew Messenger Gretel Packer peckvonhartel architects Julien & Michelle Playoust John Taberner & Grant Lang Michael & Eleonora Triguboff Peter Weiss AM

SOLO PATRONS $5,000 – $9,999 Antoinette Albert Tony & Carol Berg Robert & Kay Bryan Ross & Rona Clarke Wendy Edwards Chris & Judy Fullerton Phillip Isaacs OAM Wayne N Kratzmann Ian & Nina Lansdown Irene Lee Justice Jane Mathews AO Carole & Peter Muller Craig Ng Graham J Rich Dr Gillian Ritchie Vivienne Sharpe Tony Shepherd Beverley Trivett Anonymous (2)

PATRONS $500 – $4,999 Joy Anderson & Neil Thomas Lord Jeffrey & Lady Archer Jon & Deb Balderstone Isla Baring Mr Marc Besen AO & Mrs Eva Besen AO Jan Bowen The Hon. Mr Laurie Brereton & The Hon. Justice Trisha Kavanagh Morena Buffon & Santo Cilauro Elizabeth & Nicholas Callinan Edmund Capon David & Jane Clarke Joan Clemenger Mr & Mrs R L Clifford Jillian Cobcroft Paul Cochrane Ann & Bruce Corlett Terry & Lynn Fern Bill & Lea Ferris Brooke Fitzsimons Ms Kerry Gardner Alan & Joanna Gemes Tom Griffith & Adrienne Cahalan Peeyush & Shubura Gupta Hugo & Julia Heath Michael & Anna Joel Ian Learmonth & Julia Pincus Sue & Peter Lynch Susan & Garry Rothwell Carol Schwartz AM & Alan Schwartz AM Andrew Sisson Mary Stephen The Earl & Countess of Stradbroke Catherina Toh & Anthony Tobin David Walsh John & Cathy Walter Peter & Susan Yates Anonymous (3)

AUSTRALIAN CHAMBER ORCHESTRA 27

NATIONAL EDUCATION PROGRAM TRUSTS AND FOUNDATIONS

THE ROSS TRUST

THE THYNE REID FOUNDATION

LIMB FAMILY FOUNDATION THE SUNJOTO FOUNDATION ‘The Spirit of Giving’

EMERGING ARTISTS PATRONS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Mr Michael Ball AM & Mrs Daria Ball Steven Bardy John & Patti David

Pamela Duncan John Grill Mrs Janet Holmes à Court AC Miss Nancy Kimpton Prudence MacLeod Drs Alex & Pam Reisner

Christine Rothauser Ian Wallace & Kay Freedman Peter Weiss AM Robert Whyte Anonymous (1)

ACO DONATION PROGRAM The ACO pays tribute to all of our generous donors who support our many activities, including our National and International touring, recordings, and our National Emerging Artists and Education Programs.

This year, our donors have generously contributed to our Emerging Artists and Education Programs, which focus on the development of young Australian musicians. These initiatives are 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.

DIRETTORE $5,000  $9,999 The Belalberi Foundation Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Liz Cacciottolo & Walter Lewin Elizabeth & Nicholas Callinan John & Lynnly Chalk Rowena Danziger & Ken Coles Ian & Caroline Frazer Dr & Mrs E C Gray Maurice Green AM & Christina Green

Melbourne Community Foundation – Ballandry (Peter Griffin Family) Fund Susan Harte Brendan & Bee Hopkins Roger Massy-Greene & Belinda Hutchinson Keith Kerridge Wayne N Kratzmann Lorraine Logan Marianna & Tony O’Sullivan John Rickard

28 AUSTRALIAN CHAMBER ORCHESTRA

Allan Rogers Anonymous (3) MAESTRO $2,500  $4,999 Michael Ahrens Mr L H & Mrs M C Ainsworth Jane Allen Will & Dorothy Bailey Bequest Virginia Berger Michael Cameron Caroline & Robert Clemente & Gloria Darroch Kate Dixon

ACO DONATION PROGRAM Suellen & Ron Enestrom Bridget Faye AM Tony & Chris Froggatt Andrew & Hiroko Gwinnett Nereda Hanlon & Michael Hanlon AM Don Hart Lindi & John Hopkins Stephen & Michele Johns Eleni & Bob Longwell Hon Dr Kemeri Murray AO Sandra & Michael Paul Endowment Stephen & Robbie Roberts Greg Shalit & Miriam Faine Mrs Carol Sisson Ms Petrina Slaytor Dr R & Mrs R Tinning Alastair Walton Ralph Ward-Ambler AM & Barbara Ward-Ambler Karen & Geoff Wilson Sir Robert Woods Anonymous (7) VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Andrew Andersons Sibilla Baer Doug & Alison Battersby The Beeren Foundation Ruth Bell Bruce Beresford Victoria Beresin Patricia Blau Sally Bufé Neil Burley & Jane Munro Mark Burrows & Juliet Ashworth Gerard Byrne & Donna O’Sullivan Bruce Caldwell Drs James & Margaret Cameron Sandra Cassell Ann Cebon-Glass Alex & Elizabeth Chernov John Colvin Leith & Darrel Conybeare P Cornwell & C Rice K Croft

Judith Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel Michael & Wendy Davis Design by Sergio Pty Ltd Christopher & Kathryn Dibden Jennifer Dowling Ari & Lisa Droga G & L Dunn Professor Dexter Dunphy Professor Peter Ebeling & Mr Gary Plover Leigh Emmett Anne-Maree Englund Peter Evans H E Fairfax Elizabeth Finnegan Nancy & Graham Fox Anne & Justin Gardener Colin Golvan SC Aiko Goto Warren Green Elizabeth & Peter Harbison Carrie & Stanley Howard Pam & Bill Hughes Phillip Isaacs OAM David Iverach Andrew Johnston Angela James & Phil McMaster Warren & Joan Johns D & I Kallinikos John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Alison & Malcolm Mackinnon Clive Magowan Mr & Mrs Greg & Jan Marsh Deidre & Kevin McCann Brian & Helen McFadyen Judith McKernan Fran & Tony Meagher P J Miller Donald Morley Nola Nettheim The Hon Mr. Justice Barry O’Keefe AM & Mrs Janette O’Keefe Jennie & Ivor Orchard Anne & Christopher Page Patagonian Enterprises Pty Ltd James & Diane Patrick

peckvonhartel architects The Purcell Family Ralph & Ruth Renard Mark Renehan Warwick & Jeanette Richmond In Memory of Andrew Richmond Em Prof A W Roberts Julia Champtaloup & Andrew Rothery Harry & Leigh Rundle D N Sanders Tony Shepherd Edward Simpson Diana & Brian Snape AM Maria Sola & Malcolm Douglas Dr Charles Su & Dr Emily Lo Leslie C Thiess Alden Toevs & Judi Wolf Colin & Joanne Trumble Ngaire Turner Kay Vernon Mrs M W Wells Audrey & Michael Wilson Nick & Jo Wormald William Yuille Dr Lawrie Zion Anonymous (17) CONCERTINO $500  $999 Antoinette Ackermann Ross Adamson A Annand Bruce & Diane Bargon Greg Baxter Andrew & Margaret Birchall Brian Bothwell Denise Braggett D J Brown Arnaldo Buch Colleen & Michael Chesterman Stephen Chivers Dr B Clubb John & Christine Collingwood Angela & John Compton Michael Cook Alan Fraser Cooper Mrs Julie Ann & Mr Laurie Cox Money Warehouse Lindee Dalziell Anouk Darling

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATION PROGRAM Mari Davis Lucio Di Bartolomeo Jane Diamond Martin Dolan In Memory of Raymond Dudley M T & R L Elford Michael Elsley & Susan Richardson Farago Hill Wines Mr & Mrs R J Gehrig Mirek Generowicz Brian Goddard Steve Gray Anthony Grigg & Paul Williamson Richard W Gulley William & Robin Hall Matthew Handbury Dr I J Hardingham QC Lesley Harland Annie Hawker Tim Hemingway John Hibbard Dr & Mrs Michael Hunter Stephanie & Michael Hutchinson Philip & Sheila Jacobson Davina Johnson Mrs Angela Karpin Bruce & Natalie Kellett David & Angela Kent Margaret Kyburz Len La Flamme Alf Lester Drew Lindsay & Karl Zebel Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall Penelope Little Sydney & Airdrie Lloyd Ashley Marshall Peter Mason AM Donald C Maxwell Adrian McDonald

John Mitchell Marie Morton Helen & Gerald Moylan Sharyn Munro Ian Murray Ken Nielson J Norman Graham North Robin Offler Graham & Glynn O’Neill Josephine Paech Leslie Parsonage Deborah Pearson Professor David Penington AC Mr Kevin Phillips Andrew & Deirdre Plummer Jan Power Keith & Joan Presswell John & Virginia Richardson Michael Ryan Manfred & Linda Salamon Garry E Scarf & Morgie Blaxill Jeff Schwartz Alison Scott Mr Ted Springett In memory of Dr Aubrey Sweet IT Phillip & Brenda Venton Pat & John Webb G C & R Weir Nick & Helen Withers Dr Gwen Woodroofe Woodyatt Family Michael & Susan Yabsley Don & Mary Ann Yeats Anonymous (24)

30 AUSTRALIAN CHAMBER ORCHESTRA

CONTINUO CIRCLE  BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Sandra Cassell Mrs Sandra Dent The late Colin Enderby Suzanne Gleeson Lachie Hill The late Mr Geoff Lee AM OAM Mrs Judy Lee Richard & Dawn Searle Mr Peter Weiss AM Margaret & Ron Wright Mark Young Anonymous (10) LIFE PATRONS IBM Mr Robert Albert AO & Mrs Libby Albert Mr Guido Belgiorno-Nettis AM Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable AM Mr Martin Dickson AM & Mrs Susie Dickson Mr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss AM CONTRIBUTIONS If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Lillian Armitage on 02 8274 3835 or at Lillian.Armitage@aco.com.au.

ACO CAPITAL CHALLENGE INSPIRE THE FUTURE… The ACO Capital Challenge is a secure fund, which will permanently strengthen the ACO’s future.

Revenue generated by the corpus will provide funds to commission new works, expose international audiences to the ACO’s unique programming, support the development of young Australian artists and establish and strengthen a second ensemble.

We would like to thank all donors who have contributed towards reaching our goal and in particular pay tribute to the following donors:

CONCERTO $250,000 – $499,000

QUARTET $50,000 – $99,000

Mr Guido Belgiorno-Nettis AM & Mrs Michelle Belgiorno-Nettis Mrs Barbara Blackman

The Clayton Family Mr Peter Hall Mr & Mrs Philip & Fiona Latham Mr John Taberner & Mr Grant Lang Mr & Mrs Peter & Susan Yates

OCTET $100,000 – $249,000 Mr Robert Albert AO & Mrs Libby Albert Mrs Amina Belgiorno-Nettis Thomas Foundation

SONATA $30,000 – $49,999 Mr Martin Dickson AM & Mrs Susie Dickson Brendan & Bee Hopkins Mr John Leece OAM & Mrs Anne Leece Ilma Peters Mrs Patricia Reid Mr Timothy Samway Steve Wilson

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Chair – Bill Best Ken Allen AM Senior Advisor UBS Investment Bank Guido BelgiornoNettis AM Chairman ACO & Joint Managing Director Transfield Holdings

Liz Cacciottolo Senior Advisor UBS Australia

Brendan Hopkins CEO APN News & Media

Tony Shepherd Chairman Transfield Services

Ian Davis Managing Director Telstra Television

Tony O’Sullivan Managing Partner O’Sullivan Partners

John Taberner Consultant Freehills

Chris Froggatt

MELBOURNE DEVELOPMENT COUNCIL Chair – Peter Yates Chairman Royal Institution of Australia and Peony Capital Libby Callinan Stephen Charles

Paul Cochrane Investment Advisor Bell Potter Securities Tom Griffith Director/Co-Founder Emma & Toms

Jan Minchin Craig Ng Director Partner Tolarno Galleries Maddocks Lawyers Susan Negrau Development & Corporate Relations Manager Melbourne International Arts Festival

EVENT COMMITTEES Bowral Elsa Atkin Michael Ball AM (Chairman) Daria Ball Linda Hopkins Karen Mewes Keith Mewes The Hon Michael Yabsley

Brisbane Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

Sydney Deb Balderstone Mar Beltran Creina Chapman Guillaume Chesneau Suzanne Cohen Patricia Connolly Judy Anne Edwards

Marella Gibson Elizabeth Harbison Bee Hopkins Sarah Jenkins Penny McDonald Jo McKenzie Katherine Revelas Mary Stollery

AUSTRALIAN CHAMBER ORCHESTRA 31

ACO PARTNERS CHAIRMAN’S COUNCIL The Chairman’s Council is a limited membership association of high level executives who support the ACO’s international touring program and enjoy private events in the company of Richard Tognetti and the Orchestra.

Mr Guido BelgiornoNettis AM Chairman Australian Chamber Orchestra & Joint Managing Director Transfield Holdings

Mr & Mrs Robin Crawford

Mr Michael Andrew Australian Chairman KPMG

Mr Craig Drummond Chief Executive Officer and Country Head Bank of America Merrill Lynch Australia

Mr Philip Bacon AM Director Philip Bacon Galleries Mr Brad Banducci Chief Executive Officer Cellarmasters Group Mr Jeff Bond General Manager Peter Lehmann Wines Mr Glen Boreham Managing Director IBM Australia and New Zealand Mr Robin Bowerman Head of Retail Vanguard Investments Australia Ms Barbara Chapman Group Executive, HR & Group Services Commonwealth Bank of Australia

Ms Anouk Darling Managing Director Moon Communications Group

Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel Mr John Grill Chief Executive Officer WorleyParsons Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Mr Brendan Hopkins Chief Executive APN News & Media

The Hon. Stephen Charles QC & Mrs Jenny Charles

Mr Robert Johanson, Mr John Sharkey & Mr Robert Symons Directors Mr David Constable AM Robert Salzer Constable Estate Foundation Vineyards Supervised Investments Mr Mark Johnson Australia Limited Senior Partner & CEO PricewaterhouseCoopers 32 AUSTRALIAN CHAMBER ORCHESTRA

Mr Warwick Johnson Managing Director Optimal Fund Management

Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand

Ms Catherine Livingstone AO Chairman Telstra

Mr Oliver Roydhouse Managing Director Inlink

Mr Steven Lowy AM Group Managing Director Westfield Group

Mr Tim Samway Institutional Business Director Hyperion Asset Management

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Mr Peter Schiavello Managing Director Schiavello Group

Mr Michael Maxwell & Mrs Julianne Maxwell

Mr Glen Sealey General Manager Maserati Australia & New Zealand

Mr Geoff McClellan Chairman Freehills Mr John Meacock Managing Partner NSW Deloitte

Mr Michio (Henry) Taki Managing Director & CEO Mitsubishi Australia Ltd

Ms Naomi Milgrom AO Mr Michael Triguboff Managing Director Ms Jan Minchin MIR Investment Director Management Ltd Tolarno Galleries Ms Vanessa Wallace Mr Clark Morgan Director Chief Executive Booz & Company UBS Wealth Management Australia Mr Kim Williams AM Chief Executive Officer Mr Alf Moufarrige OAM Foxtel Chief Executive Officer Servcorp Mr Peter Yates Chairman Royal Institution of Mr & Mrs James & Australia & Peony Diane Patrick Capital Managing Directors Wiltrans International Pty Ltd

ACO PARTNERS The ACO receives around 50% of its income from the box oямГce, 35% from the business community and private donors and less than 15% from government sources. The private sector plays a key role in the continued growth and artistic development of the Orchestra.

We are proud of the relationships we have developed with each of our partners and would like to acknowledge their generous support.

ACO2 PRINCIPAL PARTNER

FOUNDING PARTNER

OFFICIAL AIRLINE

NATIONAL TOUR PARTNERS

PRINCIPAL INNOVATION PARTNER

OFFICIAL PARTNERS

PERTH SERIES AND WA REGIONAL TOUR PARTNER

QLD/NSW REGIONAL TOUR PARTNER

CONCERT AND SERIES PARTNERS

PREFERRED TRAVEL PARTNER

GOVERNMENT SUPPORT

ACCOMMODATION AND EVENT SUPPORT

ACO is supported by the NSW Government through Arts NSW

BAR CUPOLA

SWEENEY RESEARCH

AUSTRALIAN CHAMBER ORCHESTRA 33

STACCATO: ACO NEWS DONOR PROFILE: EDWARD GRAY Queenslander Ted Gray comes from a musical family and was a violinist himself, until the end of his secondary school years. A strong supporter of live orchestral performances, his first exposure to the ACO was on the radio. It was the ACO’s consistent excellence and the lightness, joyousness and the disciplined enthusiasm of the ACO’s music which inspired Ted and his wife to become ACO subscribers around seven years ago.

Ted has generously supported the ACO’s Capital Challenge Campaign and has been a consistent and generous supporter of the ACO’s Emerging Artists and Education Programs. For Ted, supporting these programs follows on naturally from his own experiences during three years of

struggle with five children in tow at the University of California, Berkeley Campus from 1968 to 1971.

Ted has lived in Papua New Guinea, the USA, Canada and Fiji and has travelled extensively in Great Britain, Europe, India and Sri Lanka. His travels have taken him to numerous concert halls outside Australia and have afforded him the opportunity to hear many orchestras including the London Philharmonic, Toronto Symphony, Hamilton Philharmonic, and the San Francisco Symphony Orchestras, but as Ted says, “None better than the ACO!” It has been a privilege for the ACO to have Ted’s support and we are extremely grateful to him.

For more information about donating to the ACO, please phone Lillian Armitage on (02) 8274 3835 or email Lillian.Armitage@aco.com.au.

ACO EVENTS ANNUAL DINNERS  SYDNEY AND MELBOURNE The ACO’s Annual Dinners, held in late July in Melbourne and Sydney, thanked the ACO’s Chairman’s Council members, Medici Patrons, lead International Patrons and Major Patrons for their invaluable contribution to, and support of, the Orchestra.

In Melbourne, this event was generously hosted

by Andrew and Shadda Abercrombie, who opened their glorious home to seventy of the ACO’s major patrons. Richard Tognetti and the Orchestra performed a beautiful program, crafted especially for the occasion.

Mark Ingwersen, Penny Buckland and David Buckland

In Sydney, this event was hosted by Park Hyatt Sydney. Eighty loyal supporters of the Orchestra enjoyed a delectable three course dinner, and a stirring performance by the ACO. At both dinners, guests enjoyed Peter Lehmann’s exquisite wines, which were accompanied by Taittinger Champagne, generously supplied by Cellarmasters.

34 AUSTRALIAN CHAMBER ORCHESTRA

Melissa Barnard and Carol Sroczynski

Julianne Maxwell, Alice Evans and Brendan Hopkins

STACCATO: ACO NEWS ACO LONDON CONCERT  PARKY LEADS THE OVATION A glittering crowd gathered at Cadogan Hall on 31 August for the Australian Chamber Orchestra’s London concert, sponsored by Macquarie Group and Global Switch. The audience included Sir Michael and Lady Parkinson, Barry Humphries and his eternally elegant mother-in-law, Lady Natasha Spender, actors Simon Callow and Miriam Margolyes, conductor Sir Mark Elder, cellist Steven Isserlis and soprano Dawn Upshaw.

At the end of a heart-racing performance of Beethoven’s 5th Symphony, Parky brought the 800 strong audience to its feet for five curtain calls. The Orchestra performed the final movement of Mozart’s Jupiter Symphony as an encore.

Guests then adjourned for a post-concert party hosted by His Excellency Mr John Dauth LVO, High Commissioner for Australia. Guests including Transfield’s Tony Shepherd and APN’s Brendan Hopkins were treated to a hilarious oration by Barry Humphries, after which Richard Tognetti told Humphries that his time had come – Sir Les for Prime Minister!

Sir Michael Parkinson, Satu Vänskä, Barry Humphries

Brendan, Tor and Bee Hopkins

The ACO gratefully acknowledges the generous support of all of our 2010 Trans-Atlantic Tour Patrons, Macquarie Group, Global Switch and the Australain High Commission, without whom the tour would not have been possible.

Lady Mary and SIr Michael Parkinson

For more information about supporting the ACO’s future international touring, please phone Lillian Armitage on (02) 8274 3835 or email Lillian.Armitage@aco.com.au.

APN ACO2 NSW/QLD TOUR Bangalow - A&I Hall Tue 5 Oct, 7.30pm Coffs Harbour - Jetty Memorial Theatre Sat 2 Oct, 8pm Logan Central - Logan Entertainment Centre Fri 8 Oct, 8pm Noosaville - Good Shepherd Lutheran College Sun 10 Oct, 7.30pm Tamworth - Capitol Theatre Fri 1 Oct, 8pm Toowoomba - Empire Theatre Wed 6 Oct, 8pm Parramatta - Riverside Theatres Tue 28 Sep, 7.30pm Sydney - Verbrugghen Hall Wed 29 Sep, 7pm

APN News & Media has had a long association with regional Queensland and New South Wales, so it is a great honour to partner with the Australian Chamber Orchestra in this significant tour.

As Australia’s leading publisher of regional newspapers and websites, APN has long championed the growth and development of the country’s provincial centres. This tour by ACO2 recognises the vibrant and creative nature of our communities and will showcase world-leading talent to an appreciative and knowledgeable audience.

It is indeed a privilege to bring the orchestra to our local towns and schools, where so many people can benefit from the skills of this ensemble. For many students, they will experience a master class unlike any other, from some of Australia’s brightest musical talents.

As APN News & Media continues to grow in its local markets, it is through partnerships such as this one with the Australian Chamber Orchestra, that we can expand on the important cultural and social cornerstone that we hold in our communities.

We are proud to be part of this very special tour of ACO2, showcasing some of Australia’s finest musical talent.

BRENDAN HOPKINS Chief Executive APN News & Media

36 AUSTRALIAN CHAMBER ORCHESTRA

COX & KINGS OVER 250 YEARS OF DISCOVERY

Cox & Kings, the worldâ&#x20AC;&#x2122;s longest established travel company, is offering ACO subscribers 10% of all Escorted Small Group Journeys of 10 days duration or longer, for travel any time from now until 31 December 2011. *Valid for bookings made any time from now until 31 December 2010.

To be eligible for the discount, subscribers must provide their ACO membership number at the time of reservations enquiry. Reservations must be made by contacting Cox & Kings on:

sales@coxandkings.com.au or 1300 836 764

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