Alex Ross concert program by Australian Chamber Orchestra

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BNP Paribas

A proud National Tour Partner of the Australian Chamber Orchestra since 2006

BNP Paribas is a leading global financial services group celebrating 130 years of commitment to Australia in 2011

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NATIONAL TOUR PARTNER

On behalf of BNP Paribas, I’m delighted to welcome you to the Listen to This — The Rest is Noise Tour by the Australian Chamber Orchestra (ACO). 2011 marks an important year for BNP Paribas as we celebrate our 130th anniversary in Australia. We are very proud of our long history in this country, dating back to 1881 as the first major foreign bank in Australia when we commenced operations to finance the wool trade between Australia and Europe. Today, BNP Paribas is a leader in global banking and financial services providing Australian corporates, Financial Institutions and multinational companies with customised solutions in Corporate and Investment Banking, Asset Management and Securities Services. This year also marks our 5th year of partnership with the ACO, as a National Tour Partner since 2006. While our client relationships help to grow the Australian economy, we are equally committed to supporting the performing arts locally and around the world. With this tour, the ACO will take you on a journey of a different kind as Alex Ross, music critic to The New Yorker, presents two programs inspired by his best-selling books Listen to This and The Rest is Noise. We are delighted to bring you this ACO tour and we trust that you will enjoy it immensely.

NATIONAL TOUR PARTNER

DIDIER MAHOUT CEO, BNP PARIBAS AUSTRALIA & NEW ZEALAND

TOUR TWO THE REST IS NOISE RICHARD TOGNETTI Artistic Director and Lead Violin ALEX ROSS Curator and Presenter

TAKEMITSU

STRAVINSKY

Nostalghia (Richard Tognetti violin)

“Apotheosis”, from Apollo

BRITTEN

INTERVAL

Variations on a Theme of Frank Bridge

WEBERN

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

The Rest Is Noise: Listening to the Twentieth Century, by Alex Ross, music critic at The New Yorker since 1996, was published in 2007. The Rest Is Noise is his first book, and is a captivating history of composition in the 20th century. During the writing of the book Ross started blogging regularly at therestisnoise.com, a site which remains one of the most widely-read and influential music blogs. More about the book can be found at therestisnoise.com/noise, including a 15-page catalogue of audio samples and an iTunes playlist. This concert, also entitled The Rest Is Noise, takes its lead from the book, charting significant moments in 20th-century music. 2 AUSTRALIAN CHAMBER ORCHESTRA

Introduction and Theme Variation I. Adagio Variation II. March Variation III. Romance Variation IV. Aria Italiana Variation V. Bourrée classique Variation VI. Wiener Walzer Variation VII. Moto Perpetuo Variation VIII. Funeral March Variation IX. Chant Variation X. Fugue and Finale

Five Movements, Op.5 1. 2. 3. 4. 5.

Heftig bewegt Sehr langsam Sehr lebhaft Sehr langsam In zarter Bewegung

XENAKIS Voile

STRAUSS Metamorphosen

Approximate durations (minutes): 13 – 25 – 4 – INTERVAL – 11 – 5 – 26 This concert will last approximately two hours including interval.

CANBERRA

PERTH

SYDNEY

Llewellyn Hall Sat 5 Mar 8pm

Concert Hall Wed 9 Mar 7.30pm

City Recital Hall Angel Place Tue 15 Mar 8pm

MELBOURNE

SYDNEY

Town Hall Mon 7 Mar 8pm

Opera House Sun 13 Mar 2pm

WOLLONGONG IPAC Thu 17 Mar 7.30pm

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

TOUR TWO LISTEN TO THIS RICHARD TOGNETTI Artistic Director and Lead Violin ALEX ROSS Curator and Presenter FIONA CAMPBELL Mezzo Soprano

ARAÑÉS (arr. Graham Ross)

PURCELL

Chacona: a la vida bona

Dido’s Lament (“When I am laid in earth”), from Dido and Aeneas

BACH

INTERVAL

Chaconne, from Partita for solo violin No.2 in D minor, BWV1004

DOWLAND (arr. David Bruce) Two Laments: “Go crystal tears” and “Flow my tears”

ADAMS Shaker Loops 1. 2. 3. 4.

Shaking and Trembling Hymning Slews Loops and Verses A Final Shaking

CLYNE Within Her Arms

BARBER Listen To This is Alex Ross’s second book. Published last year, it collects a number of pieces published in his role as music critic for The New Yorker as well as new essays – in no way conﬁned only to classical music. One of the entirely new chapters is entitled “Chacona, Lamento, Walking Blues” — as he puts it, “a history of music told through bass lines”. That’s the leapingoff point for this concert which follows various incarnations of the chaconne and lamentation across several centuries. You can read about the book at therestisnoise.com/listentothis — there’s an iTunes playlist and 19 pages of audio samples to accompany reading. Since 2009 Alex Ross has also been blogging at a site headed Unquiet Thoughts — more of a companion to or extension of his writing for The New Yorker — which can be found at newyorker.com/online/ blogs/alexross.

PURCELL

Adagio for strings

Chacony in G minor

RAMEAU (arr. Graham Ross) Chaconne, from Dardanus Approximate durations (minutes): 2 – 13 – 9 – 7 – 4 – INTERVAL – 25 – 12 – 7 – 5 This concert will last approximately two hours including interval. MELBOURNE

BRISBANE

Town Hall Sun 6 Mar 2.30pm

QPAC Mon 14 Mar 8pm

ADELAIDE Town Hall Tue 8 Mar 8pm

SYDNEY City Recital Hall Angel Place Wed 16 Mar 7pm Sat 19 Mar 7pm

The Australian Chamber Orchestra reserves the right to alter scheduled programs or artists as necessary. AUSTRALIAN CHAMBER ORCHESTRA 3

APN Outdoor proudly supports the Australian Chamber Orchestra www.apnoutdoor.com.au

Think Outside...

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

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ACO ON THE RADIO ABC Classic FM 11 March 8pm Girl with the Golden Flute (Sharon Bezaly, Richard Tognetti and the ACO). 16 March 1.05pm Intense (Steven Isserlis, Richard Tognetti and the ACO perform Bartók). 19 March 1pm The Rest is Noise (Alex Ross’ pre-concert talk and music by Richard Tognetti and the ACO). 19 March 1pm Listen to This (Alex Ross’ preconcert talk and music by Richard Tognetti, Fiona Campbell and the ACO).

NEXT TOUR THE GLIDE 4 — 8 April

Through his regular articles in The New Yorker and more recently with the publication of his books The Rest Is Noise and Listen To This, Alex Ross has won admirers around the world who have been captivated by his unique ability to write with insight, sensitivity and depth about music, this most abstract of arts. Thanks to the support of BNP Paribas, the ACO has been able to bring Alex Ross to Australia for this extensive national tour, and offer audiences around the country the chance to hear him speak about the music which he has selected in these fascinating programs. In the week of 14 March, one hundred musicians from around the world and mentors from some of the world’s top orchestras are gathering at the Sydney Opera House to form the YouTube Symphony Orchestra. Richard Tognetti will be soloist in the finale concert, conducted by Michael Tilson Thomas, on Sunday 20 March, and will also direct a string orchestra concert on Friday 18 March. Details and bookings at sydneyoperahouse.com. Richard is always the first with the latest new technology so he was instantly drawn to this remarkable project in which thousands of hopeful musicians from around the world submitted their audition videos on YouTube to be assessed by a global panel before being selected to come to Sydney to form this truly international ensemble. You’ll be able to watch the whole project on YouTube including auditions, masterclasses, interviews and the final concerts.

TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

SUBSCRIBER OFFER Alex Ross is presenting both The Rest is Noise and Listen to This in Sydney and Melbourne. If you would like to see the other program too, quote promotion code ROSS when you book at aco.com.au or by phone on 1800 444 444 and receive a 10% discount.

AUSTRALIAN CHAMBER ORCHESTRA 5

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THE REST IS NOISE

ACO Performance History

Alex Ross writes:

There is only one item in this program that has not been played previously in an ACO subscription concert — Xenakis’ Voile. Takemitsu’s Nostalghia was ﬁrst performed by the ACO in 1999, then again in 2002. Britten’s Variations on a Theme of Frank Bridge has frequented ACO concerts, being played in national tours in 1987, 1990, 1993, 1996 and 2005. Strauss’ Metamorphosen was included in the ACO’s ﬁrst self-promoted subscription season in 1985. Subsequently it was played in 1990, 1998, and 2009. Webern’s Five Movements were included in a 1999 tour and Stravinsky’s Apollo was included in its complete form in 1998. This performance also included four members of The Australian Ballet on stage.

In Germany, the year 1945 is sometimes called Stunde Null, or Zero Hour – the moment at which history reverted to a primordial state. This concert, a brief survey of twentieth-century musical achievement, pivots around that cataclysmic year. In the early months of 1945, all the composers represented here were alive and acutely aware of their surroundings, although they resided in very different worlds. Tōru Takemitsu was a teen-aged soldier barricaded in an underground fortress in the mountains west of Tokyo. Benjamin Britten was a conscientious objector preparing to launch his chilling opera Peter Grimes, a study in violence begetting violence. Igor Stravinsky, the long-reigning chieftain of modern music, was living in exile in Hollywood, California, his pure aesthetic not untouched by war. The young Greek composer Iannis Xenakis was recovering from a ghastly facial wound that he had suffered while fighting in the Communist resistance. Anton Webern, a loyal follower of the pioneering Viennese modernist Arnold Schoenberg, had only a few months to live; an occupying American soldier would kill him at summer’s end. And the ageing German master Richard Strauss, who had once struck a heroic pose in Ein Heldenleben and Also sprach Zarathustra, was living in fearful seclusion, his reputation tainted by his associations with the Nazis, his spirit shattered by the destruction of German cultural treasures. The twentieth century was the darkest and bloodiest in human history – “the century of death”, Leonard Bernstein once called it. Correspondingly, its music flirted with sonic chaos, the noise of revolution and destruction. Many listeners still struggle to accept the language that Schoenberg, Stravinsky, and other innovators devised, although it has become familiar in other contexts, notably in Hollywood movies: try to imagine Hitchcock’s films without Bernard Herrmann’s nowhere harmonies, or Stanley Kubrick’s 2001: A Space Odyssey without the otherworldly soundscapes of György Ligeti. As museumgoers have come to terms with the most radical works of modern painting, perhaps concertgoers are ready to accept this outwardly “difficult” music, which bears essential witness to the AUSTRALIAN CHAMBER ORCHESTRA 7

century’s agonies. And it should be remembered that twentieth-century composers were not merely instigators of mayhem; they also immersed themselves in past traditions, drew inspiration from folk and popular genres, and discovered new kinds of beauty, as in the ecstatic chorales of Olivier Messiaen and the austere meditations of Arvo Pärt. In assessing the twentieth century, we must never lose sight of the dizzying diversity of the period: it was a time, as John Cage once said, of “many streams,” intersecting in a vast delta of musical possibility.

– TAKEMITSU Toru (b. Tokyo, 1930 — d. Tokyo, 1996)

Nostalghia

Benjamin BRITTEN (b. Lowestoft, 1913 — d. Aldeburgh, 1976)

Variations on a Theme of Frank Bridge

We begin with a trio of works that look backward more than they look forward. Takemitsu belonged to a generation of Japanese composers who joined the international avant-garde in the 1950s and 60s; in later years, he often fell into a retrospective mood, savouring bittersweet chords that evoked the years before the age of world war. He had a particular love for Debussy, whose revolutionary musical ideas – he, rather than Schoenberg, might be considered the originator of atonality – unfolded in an atmosphere of dreamlike refinement. Nostalghia was written in 1987, in memory of the great Russian filmmaker Andrei Tarkovsky, whose film of the same title ends with one of the most breathtaking shots in the history of cinema: the camera pans backward from a farmhouse to reveal a ruined, ghostly abbey enclosing the scene. The image suggests the haunting of the present by the past, and Takemitsu’s score has the same tenor. Its richly ambiguous harmonies, which are interspersed with breathy pauses, often consist of triads superimposed – warm tonal chords layered upon each other. The yearning, halting melodic phrases may remind some listeners of Tristan und Isolde, and, indeed, the “Tristan chord” smoulders softly in the violas and cellos near the beginning, as the solo violin launches into the first of many slow-moving, upwardtending cadenzas. The beginning is marked “calm and mournful”, and that tone persists to the end.

Britten, the dominant ﬁgure in twentieth-century British music, had an even more ambivalent attitude toward the march of innovation. Although he eagerly studied the latest scores of Schoenberg, Berg, and Stravinsky in his youth, he also showed deep nostalgia for the musical past, taking particular inspiration from the airs and chaconnes of Purcell. Variously disdainful and fearful of the big urban centres, Britten spent most of his life in Aldeburgh, an old

8 AUSTRALIAN CHAMBER ORCHESTRA

fishing village on the east coast of England, and tailored his music to halls and churches in the area. Variations on a Theme of Frank Bridge (1937), a tribute to his principal teacher, is the work of a twenty-three-old prodigy exulting in his capacity to mimic many styles: they touch on Debussyish impressionism, Rossini-esque comic opera, the Viennese waltz, strenuous Germanic counterpoint (a final fugue in eleven parts), and, at the heart of the piece, a funeral march that hints at a more ambitious, heartfelt kind of writing. Perhaps the most original passage in the score is the short “Chant”, with violas playing halting, muted chords amid an ominous whine of high-register harmonics and scattered pizzicatos. It anticipates those moments in Peter Grimes when the anguished hero stands against the indifferent vastness of the ocean.

Stravinsky’s ballet Apollo, composed in 1927 and 1928,

Igor STRAVINSKY (b. Oranienbaum, near St Petersburg, 1882 — d. New York, 1971)

“Apotheosis”, from Apollo

is magnificently at odds with the modern world. The Russian master had, of course, acquired celebrity with a very different kind of music: on a legendary night in 1913, the assaultive dissonances and pounding rhythms of The Rite of Spring caused a good portion of Paris high society to lose its mind. In the 1920s, though, Stravinsky performed a volte-face, abjuring sonic violence and cultivating a socalled “neoclassical” style that resurrected pre-Romantic forms. Although Stravinsky remained unmistakably himself, rearranging old materials in cubistic collages, the transformation was startling, and it had something to do with the composer’s sense of unease in the face of social upheaval and technological change. Apollo, which was the occasion for Stravinsky’s first collaboration with George Balanchine, is among the purest, most serenely tonal of Stravinsky’s neoclassical pieces: its steadily pulsing rhythms recall dances at the court of Louis XIV, in particular the ballets of Lully. The story tells of the maturation of the young god Apollo, who receives instruction from the muses Calliope, Polyhymnia, and Terpsichore. In the final movement, “Apothéose” (“Apotheosis”), which depicts Apollo’s ascent to Parnassus, hypnotically circling patterns suggest a sublime stasis. As rhythmic values progressively lengthen, from quarter notes (crotchets) to half notes (minims) and finally to whole notes (semibreves), the mythic figures seem to dissolve into a motionless frieze, their flesh turning to marble. One thinks of William Butler Yeats’s “Sailing to Byzantium”: “. . . to sing / To lords and ladies of Byzantium / Of what is past, or passing, or to come.” AUSTRALIAN CHAMBER ORCHESTRA 9

Anton WEBERN (b. Vienna, 1883 — d. Mittersill, 1945)

Five Movements, Op.5

Iannis XENAKIS (b. Braila, Romania, 1922 — d. Paris, 2001)

Voile

After interval, we plunge into the modernist maelstrom. In a series of works produced between the end of 1907 and the beginning of 1909, Arnold Schoenberg, erstwhile epigone of Wagner and Richard Strauss, set aside the familiar harmonies of Western music and unleashed startling new combinations of tones. Webern, who began studying with Schoenberg in 1904, was only a step or two behind his teacher in this quest into the unknown, and felt immediately at home upon arrival. The Five Movements for String Quartet, from which the Five Movements for String Orchestra derive, were written in the first part of 1909, and are characteristic of his emergent style: the language is hyper-compressed, super-refined, yet explosive in impact. The first movement opens with a flurry of expressionistic effects: jagged intervals, snapping pizzicato notes, ghostly tones produced by placing the bow next to the bridge or drawing the wood across the strings. Then, in a microscopically brief second theme, an otherworldly lyric voice emerges – brief yearning phrases that might have been cut adrift from some Wagner opera or Mahler symphony sunk beneath the waves. That lyric vein takes over entirely in the second movement, which is music on the edge of silence, the final phrase marked “scarcely audible”. The two succeeding movements replicate the contrasts of the opening. The final movement, an eerie scene of cries and whispers, begins and ends with the rising interval F-sharp to B – a shard of tonality that in this context sounds strange and alien.

In the years following the Second World War, music underwent a second upheaval, one that made Schoenberg and his pupils seem like reactionaries by comparison. A young generation scarred by war, genocide, and totalitarian kitsch sought to liberate itself from a compromised tradition. Conventional forms dissolved into splintered sequences of gestures, discernible harmonies gave way to ambient clouds of sound, electronic noise invaded the instrumental sphere. Some composers attempted to organize music along mathematical lines; others, in the spirit of John Cage, let chance take over. Xenakis, who studied engineering and architecture alongside music, seemed to belong to the “mathematical” camp, yet his ﬁrst characteristic works of the 1950s stand out for their visceral impact, their raw shocks and sensations. Voile (1995), whose title might be read in French as either “sail” or “veil”, begins with a “cluster” chord, a ferociously buzzing pile-up

10 AUSTRALIAN CHAMBER ORCHESTRA

of tones across a huge range. As in Webern, but to an even more extreme degree, violent sounds – upper-register shrieks, sirenlike glissandos from one note to another, stamping rhythms, a brutal form of collective chant – give way to moments of trembling repose. From time to time, a simple interval of a ﬁfth emerges from the seething texture, as if a shaft of sunlight were falling on a battleﬁeld.

Richard STRAUSS (b. Munich, 1864 — d. Garmisch-Partenkirchen, 1949)

Metamorphosen

In the first years of the twentieth century, Strauss stood at the head of the musical avant-garde; one paper named him the “leader of the moderns”. History rocketed forward, and amid the jazzy swirl of the 1920s Strauss increasingly had the look of a Romantic relic. He accepted a position in the Nazi cultural machine in part because he hoped to regain his former eminence. He was forced to resign after the Gestapo intercepted a letter in which he spoke contemptuously of Nazi ideology. He nonetheless continued to humiliate himself by seeking favour with one functionary or another. By 1945 he seemed a broken man. Yet his genius had mysteriously reawakened: his late works, from the opera Daphne onward, suggest a man “lost to the world”, to take a phrase from one of Mahler’s greatest songs. Metamorphosen was finished in the last weeks of the Nazi nightmare: its title comes from Ovid’s Metamorphoses, which furnished the tale of Daphne. Lush on the surface, the music is peculiarly dense, almost claustrophobic in feeling. At the opening we hear four chords in sequence, pinned on a descending chromatic line. Collectively they spell out eleven of the twelve notes of the chromatic scale; Strauss brushes against the twelvetone system of the exiled Schoenberg. At the end comes a brooding quotation from the funeral march of Beethoven’s Eroica. It is like a funeral for the entire German musical tradition. Blackest night descends. The Australian Chamber Orchestra will play these works of Webern, Xenakis, and Strauss in unbroken sequence. Together, they tell a story emblematic of the twentieth century in all its terrible intensity – a narrative of foreboding, catastrophe, and lamentation. Strauss should not, however, have the final word. Music has been reborn many times since 1945, and somewhere a young composer is about to fashion the next great metamorphosis of a thousand-year tradition.

LISTEN TO THIS

ACO Performance History

Alex Ross writes:

Dido’s Lament was performed in national tours by the ACO in 1995 and again in 2008. Both the Barber and the Rameau have been included in ACO programs only once in previous years — 2001 and 2005 respectively. All the other items in this program appear for the ﬁrst time in an ACO series.

“Music … is in the highest degree a universal language,” wrote Arthur Schopenhauer in The World as Will and Representation. It is, in fact, nothing of the sort. Arguments rage endlessly over the question of what music is and how it should behave. One man’s favourite tune is another woman’s noise. The grandmother who loves Mozart can’t stand her grandson’s hip-hop, and vice versa. In some ways, this is as it should be. Just as we would not want to live in a world that adhered to one language, one political system, or one mode of religious belief, we would not want to live in a world that imposed a single, fixed concept of musical sound. Totalitarian regimes have in common an urge to foist such concepts on the population. All the same, musical history displays profound continuities, suggesting deeper likenesses beneath a variegated surface. We hear patterns recurring across vast stretches of time: you can find essentially the same descending four-note bass line in Monteverdi’s Lamento della ninfa and Ray Charles’s “Hit the Road Jack”, and in each case the insistently repeating ostinato – Italian for “obstinate” – indicates trouble in matters of love. It is possible that certain figures carry intrinsic, quasi-universal significance. Certainly, a motif that proceeds slowly downward, step by step, has been linked to feelings of sadness since at least the Renaissance period. This program, which spans more than four hundred years, follows a few such threads of sonic DNA – although music is too slippery a medium for anyone to claim definitively that it “means” one thing or another.

Dancing a chacona

Juan ARAÑÉS (b. Catalonia, c. late-1500s — d. Seo de Urgel, c. 1649)

Chacona: a la vida bona Arranged by Graham Ross

We begin with the Spanish dance known as the chacona – a seemingly disposable form that has drawn the attention of composers in every period of modern musical history. The dance was ﬁrst noticed in Peru, at the end of the sixteenth century; it quickly spread to Spain and then to other European countries. It was a naughty little number, its lyrics depicting all manner of sexual shenanigans and concomitant social transgressions. One of the liveliest

12 AUSTRALIAN CHAMBER ORCHESTRA

written-down chaconas is “Un sarao de la chacona”, also known as “A la vida bona”, published in 1624 by the Spanish musician Juan Arañés: “To the good life, la vida bona, / Let’s all go now to Chacona.” Like most examples of the genre, this chacona is in quick triple time, with a bouncy emphasis on the second beat. We will hear it in an arrangement by the composer Graham Ross.

J.S. Bach’s Ciaccona (commonly called by the French

Johann Sebastian BACH (b. Eisenach, 1685 — d. Leipzig, 1750)

Chaconne, from Partita for solo violin No.2 in D minor, BWV1004

John DOWLAND (b. London, 1563 — d. London, 1626)

Two Laments: “Go crystal tears” and “Flow my tears”

“Chaconne”) in D minor, the ﬁnal movement of his Second Partita for solo violin (1720), is, on the surface, so far removed from the Spanish chacona that the title seems almost ironic. This is evidently the sound of a soul in crisis, with signature ﬁgures of lament appearing throughout. Following the example of Girolamo Frescobaldi and other early Baroque masters, Bach has transformed the merry repetitions of the chacona into a forbidding tour-deforce of thematic development. Sixty-four times we hear variations of the stark four-bar theme that is stated at the outset. A contrasting episode in D major promises an escape from the prevailing gloom, yet over a descending four-note motif the original D-minor mood returns. All the same, traces of the dance remain. The Ciaccona is still in triple metre, with periodic stresses on the second beat. There is improvisatory wildness in this music, more than a trace of free-spirited fantasy. Bodily pleasure has its place even in the darkest corners of Bach’s world.

A similar paradox characterises the work of John Dowland, the master lutenist-composer of Elizabethan and Jacobean England. A man of innately melancholy temperament, the Hamlet of the musical scene, he named one of his pavans Semper Dowland semper Dolens (“Always Dowland, always dolorous”). Yet there is something oddly seductive in his rituals of sorrow: “Go Crystal Tears” and “Flow My Tears”, from Dowland’s First and Second Books of Songs (1597 and 1600), are luxuriously beautiful spaces in which the daily world recedes and time stops for a while. “Flow My Tears” pivots on the same four-note falling motif that occurs in so many laments across history. David Bruce has arranged the Dowland songs for voice and string orchestra, interposing brief cadenzas for solo violin and solo cello to vary the texture.

Arranged by David Bruce AUSTRALIAN CHAMBER ORCHESTRA 13

Henry PURCELL (b. London, 1659 — d. London, 1695)

Photo: Margretta Mitchell

Chacony in G minor Dido’s Lament (“When I am laid in earth”), from Dido and Aeneas

John ADAMS (b. Worcester, Massachusetts, 1947)

Shaker Loops

The ﬁrst half ends with two pieces by Henry Purcell, Dowland’s successor in the realm of sensuous melancholy: the Chacony in G Minor, a stately dance that echoes the style of the court of Louis XIV (circa 1680); and the monumental lament “When I am laid in earth”, which ends the short opera Dido and Aeneas (circa 1689). In the latter aria, the Queen of Carthage, abandoned by Aeneas, bids farewell over nine grave iterations of a descending chromatic bass line, the chromatic scale long having been associated with emotional distress. (Think of consecutive notes on the piano keyboard, both white and black keys.) This is a chaconne in all but name, and in the gentle pulsing of the accompaniment you may sense a swaying dance of grief. At the same time, the voice audibly tugs against the relentless repetition of the bass, pushing toward the top of its range. Once the climactic statement is made – “Remember me, but ah! forget my fate” – Dido is ready to surrender to the ostinato of fate.

In the twentieth century, venerable forms that had faded from view during the Classical and Romantic periods abruptly resurfaced, the chaconne and the lament aria among them. In an age of machines, composers as diverse as Ravel, Stravinsky, Bartók, and Shostakovich found new fascination in mechanisms of musical repetition – ostinatos, ground basses, drones, loops. That interest only intensified in the century’s last decades. Steve Reich’s pioneering minimalist pieces of the 1960s were derived from experiments with looping patterns on tape recorders; John Adams, perhaps the most widely beloved of living American composers, followed Reich in assembling large structures from minute repeating patterns. Shaker Loops, his breakthrough string-ensemble work of 1978 (revised 1983), grows from microscopic musical cells, which are in constant flux and periodically disappear into a haze of trembling, trilling sonorities. The title alludes to the American religious sect known as the Shakers, whose worship ceremonies flirted with wild states of consciousness; in the composer’s words, Shaker Loops evokes an “ecstatic frenzy of a dance that culminated in an epiphany of physical and spiritual transcendence.”

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Anna Clyne, a London-born composer who presently

Anna CLYNE (b. London, 1980)

Within Her Arms

lives in Chicago, has imaginatively combined centuries of musical tradition with minimalist methods and electronic elements.Within Her Arms (2009), which Clyne wrote in memory of her mother, is steeped in the ancient language of lament, in particular the ardent melancholy of Dowland; you repeatedly hear a quick falling ﬁgure that recalls the opening of “Flow My Tears”. The atmosphere of grief is increased by weeping glissandos, or slides from one note to another, and by lingering silences. From time to time, the composer asks the players to breathe in and out, in audible gasps. The title comes from the Zen Buddhist monk Thich Nhat Hanh: “Earth will keep you within her arms dear one / So that tomorrow you will be transformed into ﬂowers…”

Samuel Barber’s Adagio for strings – a string-orchestra

Samuel BARBER (b. West Chester, Pennsylvania, 1910 — d. New York, 1981)

Adagio for strings

version of the slow movement of his String Quartet in B Minor (1936–38) – is almost an oﬃcial piece of mourning music in the United States: it was heard on the radio with the announcement of Franklin Delano Roosevelt’s death, and was later played in memory of John F. Kennedy and of the victims of the September 11th attacks. It has also appeared in various movies, most famously in Oliver Stone’s Vietnam-war drama Platoon. Part of its expressive power derives from its archaic touches: the slowly unfurling strings of quarter notes (crotchets) that make up so much of its texture are redolent of Renaissance polyphony. Unlike so many laments, the Adagio has a principal line that keeps pressing upward. The score is repeatedly marked with the word “cantando” (“singing”). It’s an open question whether Barber intended the piece to have an explicitly mournful implication; he reportedly disliked the fact that it ﬁgured so often in funerals, and it was not played at his own.

AUSTRALIAN CHAMBER ORCHESTRA 15

Jean-Philippe RAMEAU (b. Dijon, 1683 — d. Paris, 1764)

Chaconne, from Dardanus Arranged by Graham Ross

At the end, we return to the chaconne in its dancing guise – although it is a dance of royal splendour and heft. Jean-Baptiste Lully, Louis XIV’s chief court composer, was in the habit of ending his courtly entertainments with a chaconne or passacaille (a related dance); the swinging, circling triplet rhythm represented the reconciliation of warring forces and, metaphorically, the healing effect of the Sun King’s majesty. Jean-Philippe Rameau, who departed from Lully’s style in various ways, nonetheless preserved many of Lully’s signature devices, and his tragédie lyrique Dardanus (1739) ends with one of the grandest of all chaconnes – a dance celebrating the marriage of a mythical Grecian couple and the end of internecine conflict. Adding depth to the scene is a G-minor middle section which, in a reversal of the structure of Bach’s Ciaccona, casts a shadow of remembered sorrow over a mainly joyous finale.

16 AUSTRALIAN CHAMBER ORCHESTRA

ALEX ROSS CURATOR AND PRESENTER Alex Ross was born in Washington, DC, in 1968. The son of two research mineralogists, he studied piano and composition from an early age and majored in English literature at Harvard University. Shortly after graduating from college, in 1990, he began writing on music for various publications, including The New Republic and Fanfare. In 1992, he joined the staff of the New York Times, and in 1996 he became the music critic of The New Yorker, where he is still happily employed. Ross began working on his first book, The Rest Is Noise: Listening to the Twentieth Century, in 1999, and finished it only in 2007, after an arduous writing process that involved cutting the manuscript in half. The book became an international bestseller and has been translated into sixteen languages. It was selected as one of the New York Times’s ten best books of the year; won a National Book Critics Circle Award, the Guardian First Book Award, and the Premio Napoli; and was a finalist for the Pulitzer Prize. His second book, Listen to This, appeared in late 2010; it combines essays on classical composers and musicians with profiles of several pop artists, including Björk and Bob Dylan. He is now working on a book entitled Wagnerism, an account of Richard Wagner’s cultural impact. Ross has taught writing at Princeton University and has received honorary doctorates from the New England Conservatory and the Manhattan School of Music. In 2008, he was named a MacArthur Fellow. He is delighted to be collaborating with the Australian Chamber Orchestra and joining them on this tour. therestisnoise.com

18 AUSTRALIAN CHAMBER ORCHESTRA

FIONA CAMPBELL MEZZO SOPRANO Australian born mezzo soprano Fiona Campbell is an accomplished international performer, recitalist and recording artist. Vocal winner of the ABC Young Performer of the Year Award, and the Opera Awards in the prestigious Australian Singing Competition, Fiona has consistently received wide critical acclaim for her powerful performances and exquisite musicianship. Fiona has appeared as a principal artist with the major ensembles in Australia as well as the Brodsky Quartet, Tokyo Philharmonic, Soloists of Royal Opera House Orchestra, Manchester Camerata, Prague Chamber Orchestra, Glyndebourne Festival Opera, Opera North and Pinchgut Opera. Career highlights include singing several concerts with the legendary tenor José Carreras in Japan and Korea, and as his special guest artist in Australia. Fiona recently made her debut at Suntory Hall in Tokyo and Cadogan Hall in London with renowned soprano Barbara Bonney. In 2011 her busy concert schedule includes Schoenberg’s Pierrot Lunaire with the Australia Ensemble and appearing as the guest artist with the Australian Brandenburg Orchestra in their May concert series. Fiona also has an exciting new collaboration with the Australian String Quartet and her latest album, Baroque Duets, features a world premiere recording of Handel on the innovative new label, Vexations840. ﬁonacampbell.com.au

AUSTRALIAN CHAMBER ORCHESTRA 19

RICHARD TOGNETTI AO ARTISTIC DIRECTOR AND LEAD VIOLIN AUSTRALIAN CHAMBER ORCHESTRA

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.

‘Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.’ THE DAILY TELEGRAPH (UK)

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.

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, Orchestre Philharmonique du Luxembourg 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 he cocomposed 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.

20 AUSTRALIAN CHAMBER ORCHESTRA

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 Giuliani Guitar Concerto with John Williams Sony SK 63385

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 Timo-Veikko 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. This year, the ACO tours to the USA, Japan and Europe.

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 ACO2, an elite training orchestra which tours regional centres. AUSTRALIAN CHAMBER ORCHESTRA 21

MUSICIANS

RICHARD TOGNETTI AO SATU VÄNSKÄ*

MADELEINE BOUD

ALICE EVANS

Artistic Director and Lead Violin Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

Violin Chair sponsored by Terry Campbell AO & Christine Campbell

Violin Chair sponsored by Jan Bowen, The Davies and The Sandgropers

Assistant Leader Violin Chair sponsored by Robert & Kay Bryan

AIKO GOTO

MARK INGWERSEN

ILYA ISAKOVICH

REBECCA CHAN

Violin Chair sponsored by Andrew & Hiroko Gwinnett

Violin Chair sponsored by Runge

Violin Chair sponsored by Melbourne Community Foundation – Connie & Craig Kimberley Fund

Violin

KATALIN HERCEGH

ALISSA SMITH

AXEL RUGE

NEAL PERES DA COSTA†

Guest Principal 2nd Violin

Viola

Bass

Harpsichord

LERIDA DELBRIDGE**

SHARON DRAPER**

Violin

Cello

MUHAMED MEHMEDBASIC

MOLLY KADARAUCH

Bass

** Courtesy of Melbourne Symphony Orchestra † Courtesy of Sydney Conservatorium

Cello

* Satu Vänskä plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group.

BEHIND THE SCENES BOARD

EXECUTIVE OFFICE

FINANCE

Guido Belgiorno-Nettis AM (Chairman)

Timothy Calnin General Manager

Steve Davidson Chief Financial Oﬃcer

Angus James (Deputy Chairman)

Jessica Block Deputy General Manager and Development Manager

Shyleja Paul Assistant Accountant

Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO

DEVELOPMENT

Ken Allen AM Bill Best Glen Boreham Liz Cacciottolo Chris Froggatt Janet Holmes à Court AC Brendan Hopkins Tony Shepherd John Taberner Peter Yates

Kate Bilson Events Manager

ARTISTIC

Tom Carrig Senior Development Executive

Richard Tognetti AO Artistic Director

Vanessa Jenkins Senior Development Executive

Michael Stevens Artistic Administrator

Lillian Armitage Patrons Manager Liz D’Olier Development Coordinator

22 AUSTRALIAN CHAMBER ORCHESTRA

Photos: Tanja Ahola, Helen White

CHRISTOPHER MOORE

NICOLE DIVALL

STEPHEN KING

Principal Viola Chair sponsored by Tony Shepherd

Viola Chair sponsored by Ian & Nina Lansdown

Viola Viola Chair sponsored by Philip Bacon AM

CAROLINE HENBEST

TIMOVEIKKO VALVE

MELISSA BARNARD

JULIAN THOMPSON

MAXIME BIBEAU

Principal Cello Chair Ssonsored by Mr Peter Weiss AM

Cello Chair sponsored by The Bruce & Joy Reid Foundation

Cello Chair sponsored by the Clayton Family

Principal Bass Chair sponsored by John Taberner & Grant Lang

Players dressed by AKIRA ISOGAWA

OPERATIONS Damien Low Artistic Operations Manager Gabriel van Aalst Orchestra Manager Erin McNamara Deputy Orchestra Manager Vicki Stanley Education and Emerging Artists Manager

Chris Griﬃth Box Oﬃce Manager

AUSTRALIAN CHAMBER ORCHESTRA

Mary Stielow National Publicist

ABN 45 001 335 182

Dean Watson Customer Relations Manager Lachlan Wright Oﬃce Administrator & Marketing Assistant

Australian Chamber Orchestra Pty Ltd is a not for proﬁt company registered in NSW.

Sarah Conolan Education and Operations Assistant

INFORMATION SYSTEMS

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000

Jennifer Collins Librarian

Emmanuel Espinas Network Infrastructure Engineer

By Mail: PO Box R21, Royal Exchange NSW 1225

MARKETING

ARCHIVES

Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801

Georgia Rivers Marketing Manager

John Harper Archivist

Rosie Rothery Marketing Executive

Box Oﬃce: 1800 444 444 Email: aco@aco.com.au Website: aco.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.

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

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

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

Chief Executive Officer Mr Richard Evans Chief Operating Officer Mr David Antaw Executive Producer, SOH Presents Mr Jonathan Bielski Director, Marketing, Communications & Customer Services Ms Victoria Doidge Director, Building Development & Maintenance Mr Greg McTaggart Director, Venue Partners & Safety Ms Julia Pucci Chief Financial Officer Ms Claire Spencer 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

Event Coordinator Penelope Briﬀa 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

LLEWELLYN HALL School of Music, Faculty of Arts The Australian National University William Herbert Place (oﬀ Childers Street), Acton, Canberra

THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine

ACO CONCERT BOOKINGS Ticketek: Phone: 132 849; Online: premier.ticketek.com.au

St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: arts.venues@anu.edu.au

24 AUSTRALIAN CHAMBER ORCHESTRA

ACKNOWLEDGEMENTS VENUE SUPPORT

A CITY OF SYDNEY VENUE Clover Moore Lord Mayor PO Box 3567 South Bank, Queensland 4101 Telephone: 07 3840 7444 Chair Henry Smerdon AM Deputy Chair Rachel Hunter

Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder

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

MANAGEMENT AND STAFF

ACKNOWLEDGMENT

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 Box Office Assistant Adam Griffiths Accounts Coordinator Kerry Johnston 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 Box Office Assistant Rachel Walton

The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government

CITY RECITAL HALL ANGEL PLACE

EXECUTIVE STAFF Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Corporate Services: Kieron Roost Acting Director – Patron Services: Deborah Murphy Executive Manager – Human Resources: Alicia Dodds Executive Manager – Production Services: Bill Jessop Acting Executive Manager – Marketing: Stefan Treyvaud

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.

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 Website www.cityrecitalhall.com

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN

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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—112 — 16313 — 1/050311

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 The 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 would like to pay tribute to the following donors who supported our highly successful 2010 Trans-Atlantic Tour. 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 Isla Baring The Hon. Mr Laurie Brereton & The Hon. Justice Trisha Kavanagh Edmund Capon David & Jane Clarke Jillian Cobcroft Ann & Bruce Corlett Terry & Lynn Fern Bill & Lea Ferris Alan & Joanna Gemes Peeyush & Shubura Gupta Michael & Anna Joel Nicky McWilliam Susan & Garry Rothwell Peter & Susan Yates

ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works which will be performed by the ACO and will go on to be performed by other ensembles in the future. The ACO is particularly grateful to the members of the Creative Music Fund who have commissioned a new work in 2011 for ACO2. CREATIVE MUSIC FUND Steven Alward & Mark Wakely Ian Andrews & Jane Hall Austin Bell & Andrew Carter T Cavanagh & J Gardner Chin Moody Family Anne Coombs & Susan Varga Greg Dickson

Cathy Gray Brian Kelleher

Barbara Schmidt & Peter Cudlipp

Penny Le Couteur Andrew Leece Scott Marinchek & David Wynne Janne Ryan

Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)

AUSTRALIAN CHAMBER ORCHESTRA 27

NATIONAL EDUCATION PROGRAM PATRONS Janet Holmes à Court AC

Marc Besen AO & Eva Besen AO

TRUSTS AND FOUNDATIONS

HOLMES À COURT FAMILY FOUNDATION

THE ROSS TRUST

THE THYNE REID FOUNDATION THE NEILSON FOUNDATION LIMB FAMILY FOUNDATION

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. EMERGING ARTISTS PATRONS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin John & Patti David Pamela Duncan Brendan & Bee Hopkins Roger Massy-Greene & Belinda Hutchinson AM Miss Nancy Kimpton Julianne Maxwell Andrew P Messenger Christine Rothauser John Taberner & Grant Lang

Ian Wallace & Kay Freedman Peter Weiss AM Anonymous (1) DIRETTORE $5,000  $9,999 The Abercrombie Family Foundation The Belalberi Foundation Elizabeth & Nicholas Callinan John & Lynnly Chalk Ross & Rona Clarke Rowena Danziger & Ken Coles Bridget Faye AM Ian & Caroline Frazer Dr & Mrs E C Gray Melbourne Community Foundation – Ballandry (Peter Griﬃn Family) Fund Keith Kerridge Wayne N Kratzmann

28 AUSTRALIAN CHAMBER ORCHESTRA

Fiona & Mark Lochtenberg Lorraine Logan Marianna & Tony O’Sullivan John Rickard A J Rogers Alden Toevs & Judi Wolf Ian Wilcox & Mary Kostakidis Anonymous (5) MAESTRO $2.500  $4,999 Michael Ahrens Mr L H & Mrs M C Ainsworth Jane Allen Will & Dorothy Bailey Bequest Virginia Berger Michael Cameron Cam & Helen Carter Caroline & Robert Clemente John & Gloria Darroch Kate Dixon

ACO DONATION PROGRAM Suellen Enestrom John & Jenny Green Kelvin & Rosemary Griﬃth Nereda Hanlon & Michael Hanlon AM Don Hart Lindi & John Hopkins Penelope Hughes Philip Maxwell & Jane Tham John Marshall & Andrew Michael, Apparel Group Pty Ltd Donald Morley Hon Dr Kemeri Murray AO J G Osborn Sandra & Michael Paul Endowment S & B Penfold Ralph & Ruth Renard Stephen & Robbie Roberts Greg Shalit & Miriam Faine Mrs Carol Sisson Ms Petrina Slaytor Dr Charles Su & Dr Emily Lo Dr R & Mrs R Tinning Alastair Walton Ralph Ward-Ambler AM & Barbara Ward-Ambler Karen & Geoﬀ Wilson Sir Robert Woods Anonymous (9) VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Rae & David Allen Andrew Andersons Peter & Lillian Armitage Sibilla Baer Doug & Alison Battersby The Beeren Foundation Ruth Bell Bruce Beresford Victoria Beresin Bill & Marissa Best Jessica Block Sally Bufé Neil Burley & Jane Munro Mark Burrows & Juliet Ashworth Gerard Byrne & Donna O’Sullivan

Drs James & Margaret Cameron Sandra Cassell Ann Cebon-Glass Paul Cochrane John & Christine Collingwood Leith & Darrel Conybeare Judy Croll Betty Crouchley Diana & Ian Curtis Marie Dalziel June Danks Michael & Wendy Davis Christopher & Kathryn Dibden Jennifer Dowling G & L Dunn Professor Dexter Dunphy Professor Peter Ebeling & Mr Gary Plover Wendy Edwards Anne-Maree Englund Peter Evans H E Fairfax Elizabeth Finnegan Nancy & Graham Fox Anne & Justin Gardener Colin Golvan SC Warren Green Elizabeth & Peter Harbison Lesley Harland Pete Hollings Carrie & Stanley Howard Wendy Hughes Pam & Bill Hughes Phillip Isaacs OAM David Iverach Angela James & Phil McMaster Andrew Johnston D & I Kallinikos John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Clive Magowan Mr & Mrs Greg & Jan Marsh Deidre & Kevin McCann Brian & Helen McFadyen Judith McKernan P J Miller Marie Morton Nola Nettheim The Hon Mr. Justice Barry O’Keefe AM & Mrs Janette O’Keefe Anne & Christopher Page

Patagonian Enterprises Pty Ltd James & Diane Patrick peckvonhartel architects Nick & Claire Poll Warwick & Jeanette Richmond In Memory of Andrew Richmond Em Prof A W Roberts Joan Rogers Pamela Rogers Julia Champtaloup & Andrew Rothery D N Sanders Tony Shepherd Edward Simpson Diana & Brian Snape AM Maria Sola & Malcolm Douglas Leslie C Thiess Colin & Joanne Trumble Ngaire Turner Kay Vernon Pat & John Webb Mrs M W Wells Audrey & Michael Wilson Nick & Jo Wormald Don & Mary Ann Yeats Peter Young William Yuille Dr Lawrie Zion Anonymous (14) CONCERTINO $500  $999 Antoinette Ackermann Ross & Lenore Adamson A Annand Bruce & Diane Bargon Tamara Best Andrew & Margaret Birchall Brian Bothwell Denise Braggett D J Brown Arnaldo Buch Colleen & Michael Chesterman Stephen Chivers Angela & John Compton Michael Cook Alan Fraser Cooper P Cornwell & C Rice Mrs Julie Ann & Mr Laurie Cox Money Warehouse Sharlene Dadd Lindee Dalziell

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATION PROGRAM Anouk Darling Mari Davis Lucio Di Bartolomeo Jane Diamond Martin Dolan In Memory of Raymond Dudley Rodney Beech & Mariee Durkin-Beech M T & R L Elford Michael Elsley & Susan Richardson Julie Ewington Mr & Mrs R J Gehrig Mirek Generowicz Brian Goddard Steve Gray Tom Griﬃth & Adrienne Cahalan Richard W Gulley William & Robin Hall Matthew Handbury Annie Hawker Tim Hemingway John Hibbard Michael Horsburgh AM & Beverley Horsburgh Dr & Mrs Michael Hunter John & Pamela Hutchinson Stephanie & Michael Hutchinson Philip & Sheila Jacobson Davina Johnson Angela Karpin Dominic & Sophia Kazlauskas Bruce & Natalie Kellett David & Angela Kent Len La Flamme Drew Lindsay & Karl Zebel Greg Lindsay AO & Jenny Lindsay Joanne Frederiksen & Paul Lindwall

Penelope Little Sydney & Airdrie Lloyd James MacKean Jennifer Marshall Peter Mason AM Donald C Maxwell John Mitchell Marie Morton Helen & Gerald Moylan Sharyn Munro Susan Negrau Ken Nielsen J Norman Graham North Robin Oﬄer Allegra & Giselle Overton Josephine Paech Leslie Parsonage Deborah Pearson Professor David Penington AC Mr Kevin Phillips Jan Power Michael Power Keith & Joan Presswell John & Virginia Richardson Michael Ryan Garry E Scarf & Morgie Blaxill Jeﬀ Schwartz Alison Scott Vivienne Sharpe Mr Ted Springett In memory of Dr Aubrey Sweet IT Elizabeth Thomas Matthew Toohey Phillip & Brenda Venton G C & R Weir Dr Gwen Woodroofe Woodyatt Family Michael & Susan Yabsley Anonymous (31)

CONTINUO CIRCLE  BEQUEST PROGRAM The late Kerstin Lillemor Andersen Dave Beswick Sandra Cassell Mrs Sandra Dent The late Colin Enderby Suzanne Gleeson Lachie Hill Penelope Hughes The late Mr Geoﬀ Lee AM OAM Mrs Judy Lee The late Richard Ponder Dawn Searle & the late Richard Searle Mr Peter Weiss AM Margaret & Ron Wright Mark Young Anonymous (9) 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.

30 AUSTRALIAN CHAMBER ORCHESTRA

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 The 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 Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill

Rhyll Gardner General Manager Group Strategy St George Bank Brendan Hopkins Tony O’Sullivan Managing Partner O’Sullivan Partners

Tony Shepherd Chairman Transﬁeld Services John Taberner Consultant Freehills

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

Jan Minchin Director Tolarno Galleries

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 Mar Beltran Creina Chapman Suzanne Cohen Patricia Connolly Judy Anne Edwards Elizabeth Harbison Bee Hopkins

Sarah Jenkins David Stewart 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 Michael Andrew Australian Chairman KPMG Mr Philip Bacon AM Director Philip Bacon Galleries

Mr Craig Drummond Chief Executive Oﬃcer and Country Head Bank of America Merrill Lynch Australia Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance

Mr Brad Banducci Chief Executive Oﬃcer Cellarmasters Group

Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel

Mr Jeﬀ Bond General Manager Peter Lehmann Wines

Mr John Grill Chief Executive Oﬃcer WorleyParsons

Mr Glen Boreham Managing Director IBM Australia & New Zealand

Mrs Janet Holmes à Court AC

Ms Barbara Chapman Group Executive, HR & Group Services Commonwealth Bank of Australia The Hon. Stephen Charles QC & Mrs Jenny Charles

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Mr John James Managing Director Vanguard Investments Australia

Mr & Mrs Robin Crawford

Mr Warwick Johnson Managing Director Optimal Fund Management

Ms Anouk Darling Managing Director Moon Communications Group

Ms Catherine Livingstone AO Chairman Telstra

32 AUSTRALIAN CHAMBER ORCHESTRA

Mr Steven Lowy AM Group Managing Director Westﬁeld Group

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

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Mr Oliver Roydhouse Managing Director Inlink

Mr John Marshall & Mr Andrew Michael Apparel Group Pty Ltd

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 & Mrs Clive Smith

Mr John Meacock Managing Partner NSW Deloitte

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

Ms Naomi Milgrom AO Ms Jan Minchin Director Tolarno Galleries Mr Clark Morgan Chief Executive UBS Wealth Management Australia Mr Alf Moufarrige OAM Chief Executive Oﬃcer Servcorp Mr & Mrs James & Diane Patrick Managing Directors Wiltrans International Pty Ltd

Mr Michael Triguboﬀ Managing Director MIR Investment Management Ltd Ms Vanessa Wallace Director Booz & Company Mr Kim Williams AM Chief Executive Oﬃcer FOXTEL Mr Peter Yates Chairman Royal Institution of Australia and Peony Capital

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

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES 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 EDUCATION NEWS On 21 and 23 January, the Parramatta String Players made their Sydney Festival debut alongside the ACO, performing their work, Thinking about Forever… (written with Matthew Hindson) at Parramatta Park and the Sydney International Regatta Centre in Penrith. In February, members of the ACO facilitated the ﬁrst workshop of the year ABOVE: Parramatta String Players perform Thinking about Forever… for the Picton Strings. This is the ﬁrst of three visits in 2011 to this South Western Sydney community. ACO2 travel to regional South Australia and Victoria in April performing concerts in Mt Gambier, Noarlunga, Renmark, Castlemaine, Horsham, Melbourne, Mildura and Warrnambool. ACO2 also present schools concerts in South Australia and combined schools workshops in Victoria.

ABOVE: ACO2 musicians work with regional string students

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STACCATO: ACO NEWS THE ACO’S VIVALDI DINNER Presented by Tiffany & Co. On 25 November, the ACO hosted its annual Melbourne Event, an Italian-themed evening held in the stunning ballroom of ‘Cranlana’, the Myer family’s historic home. Celebrity chef and Italian aﬁcionado Guy Grossi designed a rich Italian feast that was accompanied by Peter Lehmann’s ﬁnest wines, and Taittinger champagne, supplied by Cellarmasters.

ACO’s Victorian Education Program. We would like to especially thank our Vivaldi Dinner Presenting Partner Tiﬀany & Co., the ACO’s Melbourne Development Council, event sponsors Peter Lehmann Wines, Cellarmasters, Cox & Kings and Maserati, our prize donors and the Myer family, for their dedication, generosity and support.

An intimate performance by an ACO quartet, led by Richard Tognetti, featured Vivaldi’s Winter, and the musicians joined guests for dinner and a short live auction. We are pleased to announce that the Vivaldi Dinner raised over $80,000 in support of the ABOVE: Maserati’s Cathy and Bobbie Zagame

LEFT: Daria Ball, Tanya Searly, Shadda Abercrombie and Michael Ball AM

ACO BABY NEWS Violinist Ilya Isakovich and his wife Tatiana are proud to present the newest member of the ACO family; their ﬁrst child, Daniela.

RIGHT: Father and daughter, Ilya and Daniela Isakovich.

AUSTRALIAN CHAMBER ORCHESTRA 35

STACCATO: ACO NEWS NEW CD RELEASE BEETHOVEN Piano Concerto No.4, with Dejan Lazic´ This recording was made live during the ACO’s tour with pianist Dejan Lazić in 2009. It also features Lazić’s recording of Beethoven Piano Sonata No.14 (Moonlight) and Piano Sonata No.31. “In Dejan Lazić, Tognetti has met his match. Born in Zagreb in 1977, this young Croatian composer-pianist has already been highlighted among tomorrow’s superstars. Lazić and Tognetti share a view of Beethoven that is provocative, unorthodox, at times capricious but ultimately persuasive.” The Australian review of the 2009 performance.

Available at aco.com.au/shop or by phoning 02 8274 3800.

GIFT CERTIFICATES Why not give the music-lover in your life their choice of ACO concerts or recordings? Gift certiﬁcates can be purchased and redeemed at aco.com.au/gift-certiﬁcates or by calling 1800 444 444.

PARTNER OFFER Pre-Concert Dinner Offer from Bar Cupola, Sydney Bar Cupola invites ACO concert patrons to enjoy your choice of main and dessert, plus a glass of house red or white wine for $38 (GST inclusive). Browse the menu at barcupola.com.au. Bar Cupola is open for dinner 2 hours prior to concerts and advises patrons to book early to guarantee a table. BOOKINGS ESSENTIAL T F E W

02 9221 3377 02 9221 1112 barcupola@ozemail.com.au barcupola.com.au

36 AUSTRALIAN CHAMBER ORCHESTRA

We just couldn’t keep this private. Commonwealth Private has been named the Most Outstanding Private Banking Institution in 2009 and 2010, the only bank to receive such an honour two years in a row. In addition Gary McMahon, one of our Senior Private Bankers, has also won the Most Outstanding Relationship Manager. We’ve been consistently voted No.1 because we have the banking and financial advisory expertise and commitment to help our clients achieve their financial goals. Whatever your requirements, Commonwealth Private brings you the full resources of the Bank. To find out what we can do for you, contact us today. Visit commonwealthprivate.com.au Call 1300 362 081

Important information: This information has been prepared by the Commonwealth Bank of Australia ABN 48 123 123 124 AFSL 234945. Commonwealth Private Ltd ABN 30 125 238 039 AFSL 314018 is a wholly owned and non-guaranteed subsidiary of the Commonwealth Bank of Australia. The services described are provided by a team consisting of Private Bankers who are representatives of the Commonwealth Bank of Australia and Financial, Investment and Insurance Advisers who are representatives of Commonwealth Private Ltd. Most Outstanding Private Banking Institution for 2009 and 2010 ($1 million-$10 million category) and Most Outstanding Relationship Manager 2010 as awarded by Australian Private Banking Council. CBABM1023

Celebrating 30 years as founding partner of the Australian Chamber Orchestra. IBM® is proud to join Australia’s national orchestra in celebrating our pearl anniversary together.

© Copyright IBM Australia Limited 2011 ABN 79 000 024 733 © Copyright IBM Corporation 2011 All Rights Reserved. TRADEMARKS: IBM, the IBM logos, ibm.com and the planet icon are trademarks of IBM Corp registered in many jurisdictions worldwide. Other company, product and services marks may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml IBMNCA0569