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Eine Kleine Weinmusik
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NATIONAL TOUR PARTNER
Vanguard’s partnership with the ACO reflects our commitment to supporting artistic excellence. Both Vanguard and the ACO have enjoyed global success and histories spanning over 30 years. The ACO led by Richard Tognetti has been delighting audiences for over three decades with exceptionally talented musicians and brilliant performances. Since 1976, Vanguard has maintained an unwavering commitment to providing high-quality, low-cost investments that offer the benefits of diversification. On behalf of Vanguard Investments, I am delighted to welcome you to Glittering Fröst, a showcase of wonderful pieces by the ACO featuring one of the world’s most exciting clarinettists, Martin Fröst.
NATIONAL TOUR PARTNER
JOHN JAMES MANAGING DIRECTOR VANGUARD INVESTMENTS
TOUR THREE GLITTERING FRÖST RICHARD TOGNETTI Artistic Director and Lead Violin MARTIN FRÖST Clarinet
SPEED READ
MOZART
Is Mozart’s Eine kleine Nachtmusik the most instantly recognisable piece of classical music? If not, it’s high on the list. One wonders what Mozart would make of its fame, given that he left no record of why or for whom it was written. Still, since its re-discovery in the 1820s it has given near-ceaseless pleasure to generations of listeners.
Eine kleine Nachtmusik
Hillborg’s clarinet concerto, Peacock Tales, was written with the charismatic and dynamic figure of Martin Fröst in mind, and the piece has become so closely associated with Fröst it’s difficult to imagine it being played by anyone else. Involving dance, mime, masks and lighting, it’s the very model of a modern clarinet concerto. Brahms wrote his Hungarian Dances for the piano, but they’ve proved infinitely versatile, being arranged and rearranged through the years for many combinations of instruments. Indeed these lively dance tunes have been credited with directly influencing the development of ragtime. Copland wrote his clarinet concerto for the virtuoso (and Swing-era bandleader) Benny Goodman, so it’s no surprise that it’s rife with jazz-influenced riffs and rhythms. It’s not just showy, though, being imbued with a sanguine lyricism equally perfect for the clarinet’s distinct characteristics. Ravel’s String Quartet is one of the first major chamber compositions of the 20th century, although initially it baffled listeners (and its dedicatee, Fauré, who described the last movement ‘a failure’). Time has redeemed it, though, and it is now regarded as an essential chamber work, and key to an understanding of Ravel’s innovative personal idiom.
HILLBORG Peacock Tales (Australian premiere)
BRAHMS (arr. Fröst) Hungarian Dances INTERVAL
COPLAND Clarinet Concerto
RAVEL (arr. Tognetti) String Quartet Approximate duration (minutes): 16 – 21 – 8 – INTERVAL – 17 – 28 The concert will last approximately 2 hours including interval.
NEWCASTLE
ADELAIDE
SYDNEY
Town Hall Thu 12 May 7.30pm
Town Hall Tue 17 May 8pm
City Recital Hall Angel Place Tue 24 May 8pm Wed 25 May 7pm Sat 28 May 7pm
CANBERRA
PERTH
Llewellyn Hall Sat 14 May 8pm
Concert Hall Wed 18 May 7.30pm
MELBOURNE
SYDNEY
Town Hall Sun 15 May 2.30pm Mon 16 May 8pm
Opera House Sun 22 May 2pm
WOLLONGONG IPAC Thu 26 May 7.30pm
The Australian Chamber Orchestra reserves the right to alter scheduled programs or artists as necessary. Cover photo: Aiko Goto © Gary Heery
AUSTRALIAN CHAMBER ORCHESTRA 3
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PREPARE IN ADVANCE A free 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: Sat 7 May 1.05pm Richard Tognetti & the ACO: Schubert’s Unfinished Symphony, Brahms’ Symphony No.1 & Jonny Greenwood’s Popcorn Superhet Receiver. Thu 2 Jun 1.05pm Richard Tognetti, Martin Fröst and the ACO: Mozart, Brahms, Ravel, Copland & Hillborg.
We are thrilled to present the superb Swedish clarinettist Martin Fröst in a program of music which reveals so many characteristics of this fascinating musician. As well as his performances all over the country, Martin is also making a CD with the ACO while he’s here in Australia, on the BIS label. Apart from welcoming a very special guest soloist to the ACO, this tour sees the very welcome return of Principal Second Violin Helena Rathbone after the birth of her son Jack. It’s wonderful to have Helena back with us and I know that audiences around the country will be delighted to see her rejoin her colleagues in the Orchestra. This national tour has been made possible thanks to the generous support of our National Tour Partner Vanguard Investments. Vanguard first supported the ACO in 2008 for our tour of Japan and have since become annual sponsors of our national tours. We are very grateful to have such wonderful partners to work with, enabling the ACO to reach the whole country through our extensive national touring network. As soon as the last chord of Ravel’s String Quartet recedes into the distance at the end of this national tour, Richard Tognetti and the ACO will embark on a short but highly prestigious tour to California. Our great friend and musical collaborator Dawn Upshaw, Music Director of the famous Ojai Festival, has invited the ACO to be this year’s orchestra in residence at Ojai and our concerts there will take place in the newly inaugurated Libbey Bowl – the specially-constructed outdoor music bowl in the idyllic garden setting of Ventura County – over the weekend of 10–12 June. This will be the ACO’s first international tour for 2011, with further concerts later in the year in Seoul, Tokyo, London, Vienna and Amsterdam. For our European Tour in November-December, our friends at Alumni Travel are putting together an accompanying tour for ACO supporters, so why not join us? Further details on page 35.
NEXT TOUR BAROQUE VIRTUOSI 3 — 14 July
TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA 5
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MOZART Serenade No.13 in G major, K.525, “Eine kleine Nachtmusik” (Composed 1787)
I Allegro II Romanze: Andante III Menuetto: Allegretto IV Rondo: Allegro
Wolfgang Amadeus MOZART (born Salzburg, 1756 — died Vienna, 1791) Mozart was the single greatest composer of the Classical period and remains one of music’s foremost geniuses. A master both of the highbrow and the common touch, he has delighted audiences and inspired performers from his time until now.
ACO Performance History Mozart’s Eine kleine Nachtmusik has been played in ACO subscription concerts in only one year — 1991 — and for only 3 performances.
Mozart’s “little serenade” hardly requires introduction or special pleading. It is simply one of the most famous and best-loved works by the most famous and bestloved of composers. Mozart himself apparently didn’t consider it worth publishing: it was sold as a mixed bag of papers by his widow Constanze in 1799 and only published in 1827. We can thank Constanze Mozart’s tireless efforts in promoting her husband’s music for Wolfgang’s “canonisation”; it also got her out of hock after he died. Mozart had, however, bothered to enter the piece (dated August 10, 1787) in a catalogue he’d prepared for his own reference where he gave it the Germanised title we know and love. The lilt of the phrase “Eine kleine Nachtmusik” definitely adds something to the appeal of the work, and a touch of nocturnal mystery, but it would have been quite ordinary to Mozart: a short serenade, in contrast to some of his other serenades like the famous one for winds (the Gran Partita in B flat, K.361) which lasts about an hour. For the 18th-century listener, the serenade had connotations of evening time (in Italian, sera) frivolity. Mozart probably would be surprised to learn that we were sitting down politely and seriously listening to his serenades in the formal environment of a concert hall. We should be in the salon, drink in hand, enjoying it as background music at an aristocratic party. Like Mozart’s other serenades, Eine kleine Nachtmusik is “occasional” music, composed on commission for a particular event, the nature of which is lost to history. Most of Mozart’s serenades are intimate and call for a relatively modest number of instruments but Eine kleine Nachtmusik is especially minimal and, unusually, scored for strings only, just two violins, viola and cello with optional double bass, so it can be played by a string quartet, quintet or orchestra. The other serenades are for winds, better suited to outdoor playing. To thicken what might be an otherwise wiry sonority, Mozart uses AUSTRALIAN CHAMBER ORCHESTRA 7
techniques like double and triple stopping, busy textures, and the whole group in unison in the rising arpeggio fanfares that open the piece, which also uses an attentiongrabbing virtuoso gesture known as the premier coup d’archet. double stopping means playing two notes on one violin at the same time. Modern violins can play chords of up to three notes. Chords of four notes tend to be artfully “faked”. arpeggio, from the Italian for “harp” (arpa), is a chord which is “broken” with one note played after the other in a harp-like fashion. The premier coup d’archet was one of the techniques of the virtuoso orchestra at Mannheim and the school of composers that wrote for it. Powerful rhetorical gestures like the “rocket”, the “steam roller” and the “grand pause” add great excitement when executed perfectly. The premier coup d’archet — the first strike of the bow — is a resounding unison attack at the opening of a piece which demonstrates the orchestra’s ensemble skills.
The first movement unfolds in a textbook sonata form: an exposition of two contrasting themes, a tension-building move to a related key in the development (where one of the themes undergoes transformation and variation) and finally the recapitulation where both themes return and find a rapprochement. As academic as it sounds on paper, this movement is anything but in performance where its bustle and energy carry us effortlessly through the argument. The slower Romanze features one of Mozart’s most beguiling tunes, and one of the few true intimations of night comes in its central C-minor passage, where a scrap of an ornamental figure is developed with a slightly obsessive quality. The courtly Frenchified Menuet uses a trick called a hemiola for a rhythmic twist, undermining the prevailing three-pulses-in-a-bar (like a waltz) with accents that make it feel like there are sometimes two pulses. In the Rondo finale, a recurring figure is interspersed with episodes of contrasting material. Mozart ties a bow around the entire serenade by using a theme derived from those arpeggios we heard right at the beginning of the first movement. Mozart’s catalogue entry specifies five movements for Eine kleine Nachtmusik, but the second menuet is lost now. This, however, is a happy accident, for what remains is a perfect Classical symphony in miniature. Though designed to be listened to with only half our attention, it doesn’t succeed very well as wallpaper music: it’s far too captivating.
Further listening It’s difficult to mention Mozart without noting that the second volume of Mozart Violin Concertos, recorded by Richard Tognetti and the ACO, is now available from aco.com.au/shop (BIS SACD 1755). This CD includes Violin Concertos Nos 1, 2 and 4 as well as the Rondo in C, K.371, and the Adagio in E, K.261. The first disc, including Violin Concerto 3 and 5 and the Sinfonia Concertante, is also available. 8 AUSTRALIAN CHAMBER ORCHESTRA
HILLBORG Clarinet Concerto Peacock Tales (Composed 1998; version with strings and piano composed 2003)
Anders HILLBORG (b. 1954, Stockholm, Sweden)
One of the most important of living Swedish composers, Hillborg is a master of instrumental and orchestral colour, creating evocative soundworlds. In his flamboyant concerto writing in particular Hillborg is famed for requiring the utmost virtuosity from performers.
The unabashedly maximalist music of Anders Hillborg is a celebration of the sheer power of sound. Flamboyant orchestral colours, vivid sonic “imagery” and theatrical deployment of instruments and their players are just some of the techniques in Hillborg’s arsenal. It is music that floats like a butterfly but stings like a bee. His friend and colleague Esa-Pekka Salonen says: “the static and the hyperactive, the mechanical and the human, the nobly beautiful and the banally brutal, the comic and the moving. Almost never sentimental, but surreal in a way – like Dalí’s melting watches. And when something familiar does return, it is in a ritardando and distorted so far from its original guise that it becomes something quite different…” In one of his orchestral works, Eleven Gates, listeners are ushered through sound-worlds with tantalising names like “Toy Pianos on the Surface of the Sea”, and the music lives up to this promise of sonic magic. Hillborg gained his first musical experience singing in choirs and he was also involved in various forms of improvised music. From 1976 to 1982 he studied counterpoint, composition and electronic music at the Royal College of Music in Stockholm. Brian Ferneyhough, who was a guest lecturer at the College of Music on several occasions, was also an important source of inspiration. While Hillborg’s music rarely aspires towards the fearsome complexity of Ferneyhough’s music, they do share a preoccupation with gesture, sonority and theatre. For example, the very act of performing one of Ferneyhough’s scores (for the curious, the archetypal piece is a solo flute work called Unity Capsule; search for it on YouTube) creates a kind of miniature drama as the instrumentalist tries (and probably to some extent fails) to perfectly realise the impossibly dense thickets of notation. The struggle between a musician, his instrument and the composer can be surprisingly gripping, though obviously much is lost without the visual element. This music attunes us to the idea that in fact all public performance is a species of theatre, even if it is “just” a pianist and her instrument on a bare stage playing Chopin. The rituals of entering the room, adjusting seats and stands, tuning, and flicking through musical scores are potentially all grist for the mill in contemporary music. AUSTRALIAN CHAMBER ORCHESTRA 9
Peacock Tales, as performed by Martin Fröst, is overtly and boldly theatrical. Using masks, mime and sometimes lighting, Fröst matches the drama inherent in the bold gestures of Hillborg’s music with his own in a flamboyant narrative: a peacock-like display of virtuosity. The concerto begins with a prelude in the form of a clarinet solo that demonstrates the instrument’s huge range and flexibility and hinting at some of the motives that will appear in other guises later in the work. The first two notes, a large upward leap, are a kind of motto, or a signal which reappears at transitional moments. Hillborg calls for the soloist to improvise over a huge string cluster chord before the tension eases and the clarinet launches into a semi-minimalist three-note riff. By alternating rapidly between the dark low register and the piercing upper register, Hillborg sometimes creates the illusion that there are two clarinets playing. Other mysterious sounds will come from the strings. More troubled and angular rhythmic elements intrude – imagine Stravinsky crossed with funk – until a final crisis, wind-down and ethereal fade out. This is music that audiences can readily absorb on the first hearing, but it’s not naïve or simple. With its blend of old and new, theatre and concert it’s good evidence that, as Hillborg says, “...experimentation and tradition are not separate, but are constantly intertwined in the process of composing.”
Further listening and reading To explore Hillborg’s music further, try the CD Clang and Fury (PSCD52) which features works including Lamento and Celestial Mechanics, or the more recent album on Ondine Records (ODE 10062) which collects the Violin Concerto, the orchestral piece Liquid Marble, and the original fullorchestra version of Peacock Tales. (The string orchestra version will be recorded by Martin Fröst and the ACO after this tour, and released on BIS in 2012.) Hillborg maintains an informative personal website at hillborg.com. 10 AUSTRALIAN CHAMBER ORCHESTRA
BRAHMS Hungarian Dances, WoO Nos. 1, 12, 13 & 21 (Published 1869–1880) Arranged for clarinet and strings by Göran Fröst
No.1 in G minor: Allegro molto No.12 in D minor: Presto No.13 in D major: Andantino grazioso – Vivace No.21 in E minor: Vivace
Johannes BRAHMS (born Hamburg, 1833 — died 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.
Brahms is not a composer generally known for his lightness of spirit, yet the two books of Hungarian Dances are a rare outburst of good humour. Consequently, these are some of Brahms’s most popular and frequently performed pieces in their various iterations for piano fourhands, solo piano, piano and violin and finally orchestra. He didn’t bestow them with an opus (work) number (hence their designation WoO – Werke ohne Opuszahl) so to some extent they stand outside the main corpus of Brahms’s prodigious output for the piano, but they bear all the hallmarks of his intimate understanding of the instrument and his compositional prowess. These books of dances are not an exercise in ethnomusicology – that would come later with composers like Béla Bartók and Zoltán Kodály who conducted rigorous fieldwork, recording songs all over Eastern Europe. Instead, this is inspired by the music of the Roma – or Gypsies – whose music had been popular throughout the Austro-Hungarian Empire since the 18th century. Bartók and his colleagues would argue that this cigányzene (Gypsy music) is quite distinct from the Magyar folk songs they studied. “Authentically” Hungarian or not (and what else would music played in Hungary be except Hungarian?), the Roma folk forms that crept into classical music (including works by Mozart, Beethoven, Berlioz, Bizet and especially Liszt) became instrumental in the resurgence of national pride that eventually led to Hungary’s independence. In any case, Roma music is gloriously eclectic and polyglot – just like Europe: in addition to its Hungarian base, it contains elements of Slavic and even Italian music. For his “Hungarian” dances, Brahms uses the archetypal Roma dance, the csárdás, which has a two-part structure that supposedly symbolises the contrasting moods of the Hungarian soul – the melancholy or stately lassú and fast, wildly joyous friss. Roma music was brought to Brahms’s ears when he was a young man in Hamburg and AUSTRALIAN CHAMBER ORCHESTRA 11
Further listening For the most full-blown orchestration of the Dances, try the Wiener Philharmoniker under Claudio Abbado (Deutsche Grammophon 4106152). They are rarely heard in their original version (for piano four-hands), but an excellent recording is that by Katia and Marielle Labeque on the box-set Piano Fantasy (Philips 122102).
a flood of Hungarian refugees passed through the city en route to America to escape a crackdown by the Austrian and Russian authorities in the late 1840s. Brahms would amuse friends with stormy gypsy-style piano pieces and eventually got around to writing them down for piano duet, premiering 10 pieces with Clara Schumann in 1868. They were well-received and Brahms expanded the set over the next 12 years. There’s some dispute over how many of the 21 dances are originally by Brahms and how many he “borrowed” from the virtuoso Gypsy violinist Ede Reményi. Whatever the case may be, Brahms expanded the musical and emotional scope of these vivid sketches of the Hungarian spirit far beyond their origins. And this arrangement? It is in fact quite authentic – to use that dangerous word again – to play these works with clarinet and strings: the Roma bands that Brahms would have known were string ensembles and the clarinet’s timbre contains a distant echo of the peasant pipes of Hungary that started it all.
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12 AUSTRALIAN CHAMBER ORCHESTRA
COPLAND Clarinet Concerto (Composed 1947–1948, premiered 1950)
Aaron COPLAND (born Brooklyn, New York, 1900 — died Tarrytown, New York, 1990)
Copland almost singlehandedly created the school of American composition, his influential, populist works from the 1930s and 1940s (such as Appalachian Spring and Fanfare for the Common Man) instantly providing a country with its eloquent and beautiful musical vocabulary.
It’s one of music’s enduring ironies that a left-leaning, gay, Jewish, modernist from Brooklyn invented the bigsky prairie sound that has become indelibly associated with America. Those resonant open fifths and octaves, the transparent orchestration, noble brass chorales and the heartfelt simplicity were a response to Franklin Roosevelt’s New Deal, a series of social and economic reforms designed to pull the US out of the Great Depression in the mid-1930s. This was a good time for artists, especially those willing to bend their skills towards the celebration of labour and the common man, and Copland pragmatically decided that he needed to stop writing music that was “difficult to perform and difficult for an audience to comprehend”. That he managed to do this and compose works that resonate powerfully today is a testament to his daring and skill. It took courage to abandon the intellectual trappings of contemporary music, but Copland’s boldly simple style typified by Appalachian Spring are every bit as great as more complex, modernist pieces of the time. Perhaps none of this would have been possible without his teacher, Nadia Boulanger (1887-1979). The brilliant “Mademoiselle’s” pupils included almost every American composer of note including several who are still active (such as Philip Glass and Elliott Carter), who flocked to Paris to study with her. Boulanger’s classes stressed craft, technique and analysis of works from the middle ages to the present. More importantly, she drew out of her pupils their fundamental musical “voice” and encouraged them to listen to it, no matter what. Needless to say, that profound grounding in counterpoint and harmony is present in Copland’s simplest pieces: when everything is so pared back all the musical gears must mesh perfectly. Boulanger’s particular concern at the time she taught Copland was the development of la grande ligne – the long line – melody with a vocal quality. This principle was surely present when he composed his Clarinet Concerto in 1948 for the great jazz/classical clarinettist Benny Goodman, the “King of Swing”. It is one of Copland’s most urbane and “French” works. The Clarinet Concerto opens with a Boulangerian long line in the clarinet over a gently waltzing accompaniment that recalls the gymnopedies of the Dadaist composer Erik AUSTRALIAN CHAMBER ORCHESTRA 13
Satie (one commentator has described this moment as “Satie arrives in Brooklyn”, but it’s actually more like an American arriving in Paris). The orchestration also has the monochromatic purity of some neoclassical works from the 20s and 30s: just strings, with harp and piano as a kind of baroque “continuo”. The absence of winds and percussion also allows the clarinet to project more vividly. In his usual plainspoken manner, Copland described his Clarinet Concerto like this: “The Clarinet Concerto is cast in a two-movement form, played without pause, and connected by a cadenza for the solo instrument. The first movement is simple in structure, based upon the usual A-B-A song form. The general character of this movement is lyric and expressive. The cadenza that follows provides the soloist with considerable opportunity to demonstrate technical prowess, at the same time introducing fragments of the melodic material to be heard in the second movement. Some of this material represents an unconscious fusion of elements obviously related to North and South American popular music. (For example, a phrase from a currently popular Brazilian tune, which I heard in Rio, became embedded in the secondary material in F major.) The overall form of the final movement is that of a free rondo, with several side issues developed at some length. The work ends with a fairly elaborate coda in C major.”
Further listening and reading Immediately after this tour, Martin Fröst and the ACO will be recording the Copland Concerto for BIS Records, for release in 2012. You can hear Benny Goodman’s recording of the concerto on The Copland Collection (1936–1948) box-set (Sony SM3K 46559). Of the many excellent collections of Copland’s enlightening essays about music, his What to Listen for in Music has just been reissued with an introduction by Leonard Slatkin (Penguin, 2011).
This is an accurate, if prosaic, description of one the most appealing concertos in the repertoire, and one which is a kind of summa of Copland’s musical influences from France to Brazil and, of course, jazz. In addition to the Brazilian tune, there are pizzicato walking bass lines, syncopations and complex metre changes and, to finish, a jazzy clarinet smear straight out of Gershwin. We seem to cover a lot of musical and geographic territory in a very short space and, Tardis-like, the piece seems bigger than its exterior dimensions.
14 AUSTRALIAN CHAMBER ORCHESTRA
RAVEL String Quartet in F major (Composed 1902-1903) Arranged for string orchestra by Richard Tognetti
I II III IV
Maurice RAVEL (born Ciboure, France, 1875 — died Paris, 1937)
One of the leading proponents of musical Impressionism, Ravel is especially famed for his works for piano and his chamber music. Most often compared to Debussy, the pair are the best-known French composers of the 20th century, although Ravel’s sheer technical ability was perhaps superior to Debussy’s.
ACO Performance History Ravel’s String Quartet in this arrangement by Richard Tognetti was included in the 2003 Subscription season for 8 performances.
Allegro moderato: très doux Assez vif: très rythmé Très lent Vif et agité
Ravel was never an especially good student, at least, not by the exacting and hidebound standards of the Paris Conservatoire, and the institution did nothing to disguise its displeasure. In 1899, the Société Nationale presented the premiere of Ravel’s Shéhérazade “fairytale overture”, a mildly oriental orchestral work with touches of RimskyKorsakov and Debussy. One critic delivered the cruel assessment that the “mediocrely gifted Ravel will perhaps become something if not someone in about 10 years, if he works hard”. The Conservatoire never recovered from the shock of the affront of Ravel’s apparent attitude, and although from 1900 Ravel tried numerous times to win the coveted Prix de Rome, he was always denied the prize by the conservative “gentlemen of the Institute”. After a while, he didn’t even try very hard at the academic counterpoint exercises and banal cantata setting that contestants had to submit – committing atrocities like parallel octaves or rushing his orchestration. In 1900 he was also expelled from Gabriel Fauré’s composition class, but was permitted to audit it (Fauré was fond of Ravel, whom he described as hardworking and sincere). Expulsion hardly seemed to stunt Ravel’s development as a composer or pianist: in 1901, he spoiled his academic chances once again when his post-Lisztian piano solo, Jeux d’eaux (Fountains) was published and denounced as “total cacophony” by Camille Saint-Saëns. Ravel again flunked the Prix. Ravel’s string quartet of 1902-03 was the last straw however. In January 1903, Ravel submitted the first movement for the composition prize. It was judged laborious and lacking in “simplicity”. Ravel was expelled completely from the Conservatoire in accordance with the rules of the school. And while the music of the winners of the Prix de Rome is generally unplayed these days, Ravel’s String Quartet has established itself in the repertoire. It is dedicated to Gabriel Fauré. AUSTRALIAN CHAMBER ORCHESTRA 15
It’s traditional to point out that Debussy’s String Quartet in G minor (1893) was very much the model for Ravel’s (true), but its ancestors also include Cesar Franck’s Quartet in D Major (1889). Franck’s, Debussy’s and Ravel’s quartets are cast in four movements, Fast – Faster – Slow – Fast, and all use Franck’s technique of sharing thematic material between movements. What Franck, Debussy and Ravel did was to write quartets that seem to ignore the complications and profundities of Beethoven’s late quartets, but instead look back to the Classical balance and restraint of Haydn, Mozart and even Brahms. Although it was no use in winning over judges, Ravel’s rigorous training in counterpoint is profoundly evident in the Quartet, which might be surprising in music by a so-called “impressionist”. Claude Debussy too had “been through the mill” of Conservatoire counterpoint classes, and if he chose not to write in a fugal style it was because he knew it and could be free of it. In the first movement, marked “very gently”, Ravel lays out a radiant theme in the first violin which arcs up and up supported by a rising scale in the other instruments. The whole movement is pervaded with ascending and descending scale motifs, sometimes they sound serene and relaxed, at other times they scurry up and down in agitation. The movement unfolds in classic sonata form (see Eine kleine Nachtmusik), with subtle manipulation of thematic material – transformations that will also occur on the larger scale of the whole quartet because the main theme will return in the third and final movements with very different characters.
Further reading The recent first volume of Intimate Voices: the TwentiethCentury String Quartet (edited by Evan Jones) includes an important comparative essay on the string quartets of Debussy and Ravel by Marianne Wheeldon (U of Rochester Press, 2009). The Cambridge Companion to Ravel, edited by Deborah Mawer, is an excellent source of further investigation into the life and work of this great composer (Cambridge UP, 2000).
The scherzo, “rather fast – very rhythmic”, is, like Debussy’s, a dazzling exercise in pizzicato writing with a distinctly antique quality. Ravel uses an archaic kind of scale called a mode, in this case “Aeolian”: built on the white notes of the piano starting on A, it’s a near neighbour of A minor. The dry sonority of the pizzicati could be in imitation of a harpsichord. Ravel had a lifelong interest in Baroque music and wrote several works which explicitly evoke this period without ever resorting to pastiche. The brisk modal plucked material and ecstatic first violin song are interrupted by a mournful episode full of delicate impressionistic textures and recollections of the pizzicato material before accelerating into the home straight. The third movement, “very slow”, offers the most intimate and authentically Ravellian moments of the whole work, a dreamlike collage of themes from the first movement
16 AUSTRALIAN CHAMBER ORCHESTRA
in a nocturnal atmosphere. Where the other movements’ forms are strongly defined, this movement is rhapsodic, glued together by memory, its mood changeable but predominantly mournful. The “fast and agitated” finale is set mostly in an irregular 5-beats-in-a-bar metre, the powerful moto perpetuo scrubbing of the initial theme returns throughout the movement to punctuate contrasting material derived, again, from the first movement, bringing the work full circle. Often, Ravel’s quartet writing verges on the orchestral with its brilliant handling of timbre and texture. Transcribing it for string orchestra allows us to enjoy Ravel’s masterpiece on a broader canvas. While it’s true that Debussy said to Ravel, “In the name of the gods of music, and in mine, do not touch a single note of what you have written in your quartet”, perhaps a little tinkering is not completely out of the question? PROGRAM NOTES © 2011 ROBERT WESLEY MURRAY
AUSTRALIAN CHAMBER ORCHESTRA 17
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MARTIN FRÖST
Photo © Mats Backer
CLARINET
Martin Fröst is internationally recognized as one of the most exciting wind players performing today. Concert highlights in the 2010/2011 season include debuts with the Minnesota Orchestra and Los Angeles Philharmonic with Osmo Vänskä (performing Kalevi Aho’s Concerto, which was commissioned for him by the Borletti-Buitoni Trust), Cincinnati Symphony Orchestra with Paavo Järvi, NHK Symphony Orchestra with Sir Neville Marriner, and both the Netherlands Radio Philharmonic Orchestra and Radio Chamber Orchestra at the Amsterdam Concertgebouw. He returns to the Göteborg Symfoniker with Gustavo Dudamel, Oslo Philharmonic Orchestra with Gianandrea Noseda, Wiener Symphoniker with Kirill Petrenko at the 2011 Bregenzer Festspiele, and the Academy of Saint Martin in the Fields. He directs projects with the Oslo Philharmonic and Swedish Chamber orchestras, Zürcher Kammerorchester and Die Deutsche Kammerphilharmonie Bremen. Martin Fröst gave five concerts as part of a residency at the Kölner Philharmonie during the 2010/11 season. The residency included a performance of Double Points with violinist Janine Jansen, choreographed by Emio Greco and Pieter C. Scholten, which premiered the Amsterdam Concertgebouw. He has also been artist in residence with the Hamburger Symphoniker, Göteborg Symfoniker, Iceland Symphony Orchestra and the Konzerthaus Dortmund. Highlights during the 2009/10 season included performances with the Rotterdam Philharmonic Orchestra and Frans Brüggen and the Wiener Symphoniker at the Vienna Konzerthaus, as well as a return to the Salzburg and Verbier Festivals. He performed the world premiere of Victoria Borisova-Ollas’ Golden Dances of Pharaohs with the Royal Stockholm Philharmonic Orchestra and Sakari Oramo, and was the only classical instrumentalist in a televised gala concert from Stockholm Concert Hall celebrating the marriage of Crown Princess Victoria of Sweden and Prince Daniel Westling. Martin Fröst is the Artistic Director of the Vinterfest in Mora, Sweden and Artistic Director of the International Chamber Music Festival in Stavanger, Norway. He records exclusively for BIS. www.martinfrost.se
AUSTRALIAN CHAMBER ORCHESTRA 19
RICHARD TOGNETTI AO
Photo © Paul Henderson-Kelly
ARTISTIC DIRECTOR AND LEADER AUSTRALIAN CHAMBER ORCHESTRA
Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Maribor Festival in Slovenia.
‘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.
Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn,Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig. In 2003, Tognetti 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 also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, co-created The Red Tree, inspired by illustrator Shaun Tan’s book. He 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. As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005. Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.
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
Photos: Tanja Ahola, Helen White
RICHARD TOGNETTI AO HELENA RATHBONE*
SATU VÄNSKÄ
MADELEINE BOUD
Artistic Director and Lead Violin Principal 2nd Violin Chair sponsored by Michael Ball AM Chair sponsored by Hunter Hall & Daria Ball, Joan Clemenger, Wendy Investment Management Limited Edwards, and Prudence MacLeod
Assistant Leader Violin Chair sponsored by Robert & Kay Bryan
Violin Chair sponsored by Terry Campbell AO & Christine Campbell
REBECCA CHAN
ALICE EVANS
AIKO GOTO
MARK INGWERSEN
Violin
Violin Chair sponsored by Jan Bowen, The Davies and The Sandgropers
Violin Chair sponsored by Andrew & Hiroko Gwinnett
Violin Chair sponsored by Runge
ILYA ISAKOVICH
VERONIQUE SERRET
CHRISTOPHER MOORE
NICOLE DIVALL
Violin Chair sponsored by Melbourne Community Foundation – Connie & Craig Kimberley Fund
Violin
Principal Viola Chair sponsored by Tony Shepherd
Viola Chair sponsored by Ian & Nina Lansdown
STEPHEN KING
TIMOVEIKKO VALVE
MELISSA BARNARD
JULIAN THOMPSON
Viola Chair sponsored by Philip Bacon AM
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
* Helena Rathbone plays a 1759 J.B. Guadagnini violin on loan from the Commonwealth Bank Group. 22 AUSTRALIAN CHAMBER ORCHESTRA
LUCY REEVES
Players dressed by
Harp
AKIRA ISOGAWA
BENJAMIN MARTIN Piano
MAXIME BIBEAU Principal Bass Chair sponsored by John Taberner & Grant Lang
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
Bill Best Liz Cacciottolo Chris Froggatt Janet Holmes à Court AC Brendan Hopkins Tony Shepherd Andrew Stevens John Taberner Peter Yates
ARTISTIC & OPERATIONS Richard Tognetti AO Artistic Director Michael Stevens Head of Artistic Planning & Operations Gabriel van Aalst Orchestra Manager Erin McNamara Tour Manager Jennifer Collins Librarian EDUCATION Vicki Stanley Education and Emerging Artists Manager Sarah Conolan Education Assistant
Kate Bilson Events Manager Tom Carrig Senior Development Executive
INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist
Lillian Armitage Philanthropy Manager Kylie Anania Patrons Manager Liz D’Olier Development Coordinator
AUSTRALIAN CHAMBER ORCHESTRA ABN 45 001 335 182
MARKETING Georgia Rivers Marketing Manager Rosie Rothery Marketing Executive Chris Griffith Box Office Manager Mary Stielow National Publicist 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. 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 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 (Tom) Parry AM Mr Leo Schofield AM Mr Evan Williams AM EXECUTIVE MANAGEMENT Chief Executive Officer Richard Evans Chief Operating Officer David Antaw Chief Financial Officer Claire Spencer Director, Building Development & Maintenance Greg McTaggart Director, Marketing, Communications & Customer Services Victoria Doidge Director, Venue Partners & Safety Julia Pucci Executive Producer, SOH Presents Jonathan Bielski
AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins
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 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 Australian National University William Herbert Place (off Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: music.venues@anu.edu.au
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 Trustees Simon Gallaher Helene George Bill Grant Sophie Mitchell Paul Piticco Mick Power AM Susan Street Rhonda White
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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 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 Website 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—113 — 16398 — 1/120511
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 TRANSATLANTIC TOUR PATRONS The ACO would like to pay tribute to the following donors who supported our highly successful 2010 Trans-Atlantic Tour. MRS AMINA BELGIORNONETTIS, 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 Jan Bowen 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 in 2011 which will be performed by the ACO and will go on to be performed by other ensembles in the future. CREATIVE MUSIC FUND COMMISSION John Gaden AM Cathy Gray Brian Kelleher Penny Le Couteur Andrew Leece Scott Marinchek & David Wynne Kate Mills Janne Ryan
Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin Austin Bell & Andrew Carter T Cavanagh & J Gardner Chin Moody Family Anne Coombs & Susan Varga Greg Dickson
Barbara Schmidt & Peter Cudlipp Jane Smith Richard Steele Peter Weiss AM Cameron Williams Anonymous (1)
OTHER COMMISSIONS Robert & Nancy Pallin 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 SUNJOTO FOUNDATION — ‘The Spirit of Giving’
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 Drs Alex & Pam Reisner 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 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
Philip A Levy Fiona & Mark Lochtenberg Lorraine Logan Louise & Martyn Myer Foundation 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
ACO DONATION PROGRAM Caroline & Robert Clemente John & Gloria Darroch Kate Dixon Suellen Enestrom John & Jenny Green Kelvin & Rosemary Griffith Nereda Hanlon & Michael Hanlon AM Don Hart Lindi & John Hopkins Penelope Hughes Angela James & Phil McMaster 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 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 Brains 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 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 Andrew Johnston D & I Kallinikos John Landers & Linda Sweeny Greg Lindsay AO & Jenny Lindsay 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 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 (13) CONCERTINO $500 $999 Antoinette Ackermann Mr Ross Adamson & Mrs 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
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO DONATION PROGRAM Alan Fraser Cooper P Cornwell & C Rice Money Warehouse Sharlene Dadd Lindee Dalziell 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 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 Joanne Frederiksen & Paul Lindwall
Penelope Little Sydney & Airdrie Lloyd James MacKean Jennifer Marshall Peter Mason AM Donald C Maxwell Harold & Bertha Milner 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 Michael Power Keith & Joan Presswell Alison Renwick 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 The late Mrs Moya Crane 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 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 Elaine Davoren Judy Anne Edwards Elizabeth Harbison Bee Hopkins
Sarah Jenkins Vanessa Jenkins Andrew Laughlin David Stewart Mary Stollery
AUSTRALIAN CHAMBER ORCHESTRA 31
ACO PARTNERS 2011 CHAIRMAN’S COUNCIL MEMBERS 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 Belgiorno-Nettis 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 Brad Banducci Chief Executive Officer Cellarmasters Group Mr Jeff Bond General Manager Peter Lehmann Wines Mr Michael Carapiet Executive Chairman Macquarie Capital and Macquarie Securities The Hon. Stephen Charles QC & Mrs Jenny Charles Mr & Mrs Robin Crawford Ms Anouk Darling Managing Director Moon Communications Group
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 Didier Mahout CEO Australia & NZ BNP Paribas Mr John Marshall & Mr Andrew Michael Apparel Group Limited Mr Peter Mason AM Chairman AMP Limited & Mrs Kate Mason
Mr Angelos Mr David Mathlin Frangopoulos Senior Principal Chief Executive Officer Sinclair Knight Merz Australian News Channel Mr Michael Maxwell Mr John Grill & Mrs Julianne Maxwell Chief Executive Officer WorleyParsons Mr Geoff McClellan Chairman Mrs Janet Holmes à Freehills Court AC Mr John Meacock Mr & Mrs Simon & Managing Partner NSW Katrina Holmes à Court Deloitte Observant Pty Limited Ms Naomi Milgrom AO Mr John James Managing Director Ms Jan Minchin Vanguard Investments Director Australia Tolarno Galleries Mr Warwick Johnson Managing Director Optimal Fund Management
Ms Catherine Livingstone AO Rowena Danziger AM Chairman & Kenneth G. Coles AM Telstra Mr Steven Lowy AM Group Managing Director Westfield Group
32 AUSTRALIAN CHAMBER ORCHESTRA
Mr Jim Minto Managing Director Tower Australia Group Limited Mr Clark Morgan Chief Executive UBS Wealth Management Australia Mr Alf Moufarrige OAM Chief Executive Officer Servcorp
Mr Scott Perkins Head of Global Banking Deutsche Bank Australia/New Zealand Mr Peter Schiavello Managing Director Schiavello Group Mr Glen Sealey General Manager Maserati Australia & New Zealand Mr & Mrs Clive Smith Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Michio (Henry) Taki Managing Director & CEO Mitsubishi Australia 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 45% of its income from the box oямГce, 35% from the business community and private donors and less than 20% 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 ACO2 report C
A O2 has just returned from their first 2011 tour, which travelled through 7 regional centres in Victoria and South Australia. The Orchestra toured to Warrnambool (VIC), Mt. Gambier (SA), Horsham (VIC), Castlemaine (VIC), Mildura (VIC), Renmark (SA), Noarlunga (SA) and finished at the Australian National Academy of Music in Melbourne. This last performance was recorded by ABC Classic FM. The Orchestra received a standing ovation at the sell-out performance in Castlemaine and received glowing audience feedback: “A program full of diverse sounds, flavours and emotions – excellent discipline & ensemble playing – what sumptuous string tone” – R. Strickland (Mt. Gambier). “Words cannot explain how wonderful it was… I’m looking forward to AC O2 coming back” – C. Linke (Horsham).
Parramatta String Players Following their triumph at the Sydney Festival, the Parramatta String Players were back in rehearsal last month, in a workshop with ACO musicians. This group is expanding to become the new Parramatta Youth Orchestra and wind, brass and percussion will be added in 2012 and 2013.
Schools Events During May, Combined Schools Workshops will be held in Melbourne, Perth and Sydney; members of the Orchestra will again visit Matraville Soldiers Settlement School; and the Picton Strings will have their second workshop accompanied by a performance by ACO musicians.
The education events held during the tour provided local students with an opportunity to play alongside AC O2 musicians in string workshops in Horsham and Mildura, ask questions and hear the whole Orchestra at a schools concert in Mt Gambier. BELOW: Lara St. John leads ACO2 at the Castlemaine State Festival.
34 AUSTRALIAN CHAMBER ORCHESTRA
ABOVE: Emerging Artist Paul Zabrowarny works with students in Mildura.
STACCATO: ACO NEWS 2011 OPENING NIGHT PARTIES During the ACO’s first National Tour of 2011, Richard Tognetti and the ACO hosted Opening Night Parties at concert venues across Australia. Special guests, ACO sponsors and patrons, media personalities and Orchestra members came together to launch the ACO’s 2011 National Concert Season, and celebrate a stellar start to the year. ABOVE: Jeff Simpson, Beau Neilson, Todd Buncombe and Paris Neilson
LEFT: Satu Vänskä and Judy Anne Edwards
BELOW: Jim Burke, Lynne Kilgour, Teddy Tahu Rhodes, Sharon Wybrow and partner
JOIN THE ACO ON THEIR EUROPEAN TOUR From 27 November to 8 December this year the ACO tour Europe, performing in prestigious venues such as Symphony Hall Birmingham, London’s Queen Elizabeth Hall, Vienna’s Musikverein and Amsterdam’s Concertgebouw. Len Amadio AO hosts a fully escorted two week tour of Europe including these ACO performances. A brochure with full tour details is now available from Alumni Travel. P: 1300 799 887 E: robl@alumnitravel.com.au AUSTRALIAN CHAMBER ORCHESTRA 35
STACCATO: ACO NEWS PARTNER PROFILE
Every new performance of music or glass of wine brings an experience that can be mellow, enlightening, challenging, sublime and, above all, passionate. At Cellarmasters we appreciate sumptuous pieces that are expertly crafted, finely tuned and harmonious. Browse our range of wines for delivery to your door with every bottle covered by our Home Tasting Guarantee at cellarmasters.com.au. cellarmasters.com.au Passionate About Wine
PARTNER OFFER Katering Special Offer Katering, Sydney’s leading provider of innovative, stylish and divine culinary experiences, and loyal supporter of the ACO, would like to offer ACO subscribers a 10% discount on catering for events hosted between June 1, 2011 and August 31, 2011. Book now! Call Katering on 02 9319 2700 or visit Katering at http://www.katering.com.au/
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. 36 AUSTRALIAN CHAMBER ORCHESTRA
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Handcrafted in 1759. Rockin’ out in 2011. The rare and beautiful Guadagnini violin has been on tour with the ACO since 1996. It’s on loan from our art collection so that thousands can enjoy its remarkable sound. To find out more about our proud sponsorship of the arts, visit commbank.com.au/arts
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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.
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