Brandenburg Concertos by Australian Chamber Orchestra

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The romance is back

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©T&CO. 2013

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ABOUT THE PROGRAM One of the regular questions I am asked about the works on this program is, “Why are they called the Brandenburg Concertos?” A simple answer would include the fact that Bach presented these works as a gift to Christian Ludwig, a Margrave of Brandenburg. But technically, it was German musicologist and historian Phillip Spitta, who ﬁrst nicknamed them the ‘Brandenburg’ Concertos in his Bach biography published in the late-19th century. This set of concertos is a compilation of works dedicated to Christian Ludwig, who was a member of the Prussian royal family and Berlin’s most prominent patron of music during the reign of King Fredrick William I. It is not clear whether Christian Ludwig ever took the next step and organised a performance of the concertos, nor is it clear if the Brandenburg Concertos were originally composed for this particular dedicated set. In fact, research suggests that these concertos were re-workings of earlier works, the manuscripts of which are of course, now lost. Nonetheless, Bach must have wanted to make quite an impression, as we hear in this collection of concertos an astonishingly inventive variety of instrumentation. In these concerts by the ACO you will hear four of the Brandenburg Concertos. ACO Artistic Director Richard Tognetti has encouraged the wind players to perform on historical instruments, some of which you can read about in this program book. Since their rediscovery in the mid-1800s, the Brandenburg Concertos have withstood the test of time. They remain among the greatest examples of Baroque (and J.S. Bach’s) compositional rigour and craft, yet reveal the composer’s jovial, joyous spirit. They also occupy a cherished place in the repertoire in that they have not only retained their capacity to speak to and move audiences over centuries, but they have also remained wildly popular. In fact, the ﬁnal work on the program, the Brandenburg Concerto No.3, has been performed by the ACO no less than 136 times!

ALAN J. BENSON ARTISTIC ADMINISTRATOR AUSTRALIAN CHAMBER ORCHESTRA

TOUR ELEVEN BRANDENBURG CONCERTOS RICHARD TOGNETTI Director & Violin GENEVIEVE LACEY Recorder BENOÎT LAURENT Oboe NEIL BROUGH Trumpet Brisbane

Melbourne & Sydney

J.S. BACH

Brandenburg Concerto No.1 in F major, BWV1046

Brandenburg Concerto No.2 in F major, BWV1047

Brandenburg Concerto No.6 in B ﬂat major, BWV1051

INTERVAL

Brandenburg Concerto No.4 in G major, BWV1049

Brandenburg Concerto No.2 in F major, BWV1047

Brandenburg Concerto No.3 in G major, BWV1048

Approximate durations (minutes):

20 – 13 – INTERVAL – 17 – 12

20 – 18 – INTERVAL –13 – 12

The concerts will last approximately one hour and forty minutes including a 20-minute interval.

BRISBANE

MELBOURNE

SYDNEY

QPAC Tue 3 Dec 8pm

Recital Centre Wed 4 Dec 8pm

Opera House Sun 8 Dec 2pm

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

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ACO ON THE RADIO ABC CLASSIC FM: Brandenburg Concertos Wed 4 December, 8pm Christmas Oratorio Thu 19 December, 6.30pm

MESSAGE FROM THE GENERAL MANAGER Bach’s Brandenburg Concertos require an array of Baroque instruments and specialist musicians, and the Australian Chamber Orchestra is very proud to have assembled some of the finest Baroque musicians from Australia and around the world for these performances. This series of Brandenburg Concerto performances is a prelude to the last program of the year – Bach’s Christmas Oratorio, with the Choir of London, which audiences in Canberra, Sydney and Melbourne will have the opportunity to hear in the week before Christmas. This festive collection of celebratory cantatas is a refreshing alternative to Handel’s Messiah and will offer the chance to hear an ensemble of some of the finest British consort singers, with impressive soloists all stepping forward from the Choir’s ranks. While Richard Tognetti and most ACO core players were rehearsing the Brandenburg Concertos, Dale Barltrop, the superb Australian violinist who is also Concertmaster of the Vancouver Symphony Orchestra, was directing AcO2 in the Vasse Felix Music Festival in Western Australia’s Margaret River region. Their host was the unfailingly generous Janet Holmes à Court and the ensemble (comprising the top young string players in the country) thrilled audiences with the vitality and commitment of their music-making.

UPCOMING TOUR Christmas Oratorio 15 — 19 December

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PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue.

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TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

The Brandenburg Concertos A week before his 36th birthday, Bach completed a handwritten copy of six of his concertos. To its 168 densely-notated pages of music, he ﬁnally added a dedication addressed, in courtly French, to the intended recipient: Six Concertos With several Instruments Dedicated to His Royal Highness, Christian Ludwig, Margrave of Brandenburg…

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

J.S. Bach is one of the greatest, if not the single greatest, of all composers. A working musician his entire life, his composition ranges from the deeply spiritual to the ﬂamboyantly virtuosic, radiating an irresistible energy and joy which continues to touch listeners profoundly.

Sire, Since I had the happiness, a couple of years ago, to play by command before Your Royal Highness, and observed at that time that you derived some pleasure from the small musical talent that Heaven has given me; and since, when taking leave of Your Royal Highness, you did the honour to request that I send you some of my compositions; I have therefore...taken the liberty of now tendering my most humble respects...with these concertos, arranged for several instruments…I am with matchless zeal, Sire, Your Royal Highness’s most humble and obedient servant. Johann Sebastian Bach Köthen, 24 March 1721 The composer and the Margrave had met in Berlin early in 1719. Bach was there to take possession of a large new harpsichord that his employer, Prince Leopold of Köthen, had ordered. Christian Ludwig, a member of the Prussian royal family, had been Berlin’s most important royal patron of music ever since the accession of his nephew, Friedrich Wilhelm I to the Prussian throne in 1713. The military-minded king, unenthused by the arts, had disbanded the court orchestra that his father, Friedrich I, employed, and the former royal musicians sought work elsewhere in the region. Seven soon found new posts at Köthen (125 km SW) where then 19-year-old Prince Leopold was gradually building up his own court ensemble into a full-sized chamber orchestra. Leopold himself was a keen amateur musician; contemporaries report that he had a pleasant bass voice, played the violin capably, and the harpsichord competently, and during his ‘grand tour’ to Italy in his late teens he had taken lessons there with the composer Johann David Heinichen. So when Bach arrived at Christmas 1717 as new director of Leopold’s band, he not only had a musically educated employer, but a team of 17 highly experienced professional court musicians at his beck and call. The six years Bach spent at Köthen were the only extended period in his life when he was not expected to compose or perform any AUSTRALIAN CHAMBER ORCHESTRA 3

ACO performance history Bach’s Brandenburg Concertos have only been performed by the ACO as a complete set in 1980 & 1987, both times under the auspices of Musica Viva. However, the Orchestra did present three of the six concerti in two successive concerts during their Bach in Churches series. The number of times ACO has performed each Brandenburg Concerto varies signiﬁcantly. This variation is largely due to the instrumentation required for each Concerto. The most frequently performed has been the Concerto No.3 (requiring only 10 strings). The ACO has performed this concerto a total of 136 times.

Further reading and listening The best and fullest account of the many theories surrounding the genesis of these concertos is found in Malcolm Boyd’s Bach: The Brandenburg Concertos (Cambridge University Press, 1993), which you can preview at Google Books. Digital downloads of Bach’s original manuscripts, the ﬁrst printed editions, and some rather quirky performances of all six concertos will cost you nothing (apart from internet fees) at the Petrucci Music Library (imslp.org). While you’re there you might also like to listen to some Vivaldi that sparked Bach’s interest: try Vivaldi’s Concerto for two violins in A minor, RV 522.

elaborate sacred cantatas. Instead, he redirected his creative energy to secular music, composing there some of his most characteristic solo instrumental music, the first book of The Well-Tempered Clavier, the French and English Suites, and the Suites for Unaccompanied Cello. Leopold was an almost ideal employer, as Bach admitted: ‘a gracious Prince…who knew music well, and loved it’. Yet, once the Prince married in 1721, Bach wryly observed Leopold’s musical interests became ‘somewhat lukewarm’. Bach may well have hoped that the gift of the concertos might prompt the Margrave to consider him for a new post in Berlin. But, while the Margrave added Bach’s score to his music library, no individual instrumental parts, necessary for a performance, were ever copied. Probably, the Brandenburg manuscript is the earliest copy of any of Bach’s concertos that survives. Although Bach dated the score ‘24 March 1721’, the neatness of the manuscript is evidence that Bach was not actually composing the music as he wrote. Rather, for the most part, he probably simply copied each work from an original manuscript, now lost. As a result, it is impossible to say with absolute certainty when or why any of the concertos was first composed. Nevertheless, a variety of other evidence has allowed Bach researchers to trace each concerto to a likely original context. Bach was also a committed recycler, and several movements from the Brandenburg set turn up again later, radically reworked with added voice parts as cantata movements. Despite the loss of the original manuscripts, most of the concertos were probably composed either at Weimar, where Bach was employed for most of his twenties, or after 1717 at Köthen. Stylistic features attest to the importance of outside influences on the still young composer, notably of recent Italian music, which enjoyed a huge vogue in northern Europe during the 1710s. We can even identify precisely some of the music that fascinated Bach, thanks to arrangements he made of several dozen individual concertos, mainly by Vivaldi, but also Albinoni, and Telemann. Whereas Bach’s later manuscripts include his eight surviving complete orchestral concertos for single soloists (two for solo violin, and six for solo harpsichord), those in his 1721 manuscript are all, as his title indicates, ‘concertos with several instruments’ – concertos that feature multiple instruments in leading roles.

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Concerto No.1 in F major, BWV1046 for 2 hunting horns, 3 oboes, bassoon, violino piccolo solo, strings, and harpsichord Violino piccolo Richard Tognetti Hunting horns Bostjan Lipovsek Borut Pahicˇ Oboes Benoît Laurent Lidewei De Sterck Julia Fankhauser Bassoon Jane Gower Harpsichord Anthony Romaniuk

ACO performance history The ACO has performed Brandenburg Concerto No.1 19 times.

Further listening: Recycled Bach Bach later reused the music of the ﬁrst movement as the opening sinfonia of his Cantata BWV52. Meanwhile, you can still hear how different the music of the third movement’s violino piccolo solo sounded originally as sung by a choir, by listening to the opening chorus of Cantata BWV207. Bach later reused the ﬁrst movement as the sinfonia to Cantata 174, where on second thoughts he ‘improved’ on the original by adding two horns and three oboes.

I. II. III. IV.

[Allegro] Adagio Allegro Menuetto – Trio I – Menuetto – Polacca – Menuetto – Trio II – Menuetto

Bach quite often employed an orchestra of hunting horns, oboes, bassoons, and strings in the sinfonias (‘symphonies’, or orchestral preludes) of his sacred and secular cantatas, and to accompany their rousing opening choruses. Circumstantial evidence suggests that Bach constructed this concerto by combining movements from two lost cantatas. In each case, later copies of the presumed originals still exist, all of them lacking only the concerto’s solo violino piccolo part. Bach’s most remarkable musical transformation was the opening chorus of a cantata into the concerto’s third movement. Bach reused the original orchestral accompaniment largely unaltered, but telescoped the music sung by the chorus into a single new part for the violino piccolo. He then also added a violino piccolo part to the other three movements, and, with a few other minor changes, the first concerto was complete. Each orchestral colour (horns, oboes, and strings) shares equally in the texture of the first movement. However, the horns create a particularly exciting, almost jarring, effect in the orchestral introduction and its regular returns (ritornelli) playing genuine hunting calls in triplets (beat divided into three) against the duplets (beat divided into two) of the rest of the band. According to the conventions of the era, the horns are silent in the slow, minor-key second movement. This leaves the strings and reeds as colours that variously combine or alternate, the first oboe and violino piccolo not only leading their respective sections, and also as duetting soloists that add a more elaborate commentary. Toward the end, the hitherto mellifluous texture fragments into isolated chords from oboes, violins and basses, leading to a pregnant halfclose cadence. The third movement comes close to being a solo concerto movement for violino piccolo. Bach could probably have written the whole concerto with an ordinary solo violin, had he not required it in this movement only to play so many two-, three- and four-part chords. These are difficult if not impossible to play on the regular violin, but can be easily AUSTRALIAN CHAMBER ORCHESTRA 5

managed on the slightly smaller instrument, the violino piccolo, whose open strings are conveniently tuned a minorthird higher. Most other Bach concertos end with a third movement. But, again attesting to its hybrid origin, this one continues on into a fourth movement. A self-contained set of dance pieces, it consists of a minuet that is then repeated between three contrasting companion dances, the ﬁrst trio for two oboes and bassoon, the Polacca (Polish dance) for orchestral strings, and the second trio for 2 horns and all the oboes.

The instrument on the right is a violino piccolo; an ordinary violin is on the left.

Concerto No.2 in F major, BWV1047 for trumpet, recorder, oboe, and violin solo, strings, and harpsichord Violin Richard Tognetti Trumpet Neil Brough Recorder Genevieve Lacey Oboe Benoît Laurent Harpsichord Anthony Romaniuk

I. Allegro II. Andante III. Allegro assai Concertos with four soloists are relatively rare, but Bach had a previous example to hand when he composed this, his only completely original example in the genre. That was Vivaldi’s Concerto in B minor for 4 violins, published in 1711, and which Bach himself later faithfully rearranged as a Concerto for 4 harpsichords (BWV1065). Bach often quite audibly emulated ideas from Vivaldi’s works, but he seldom borrowed without altering, instead enhancing, and personalising the result. Here he recasts the format of the concerto for four identical violins, by allocating each solo role to an instrument of markedly contrasting technique and colour. In performances with modern instruments, juxtaposing trumpet and recorder can sound ridiculous. But when period instruments are used, their contrasting personalities balance remarkably effectively, the brilliant tone of the natural trumpet still light enough not to overpower the rich hum of the baroque recorder. The impression of equality is further enhanced in the first movement by sharing the palette of short themes, woven together in effortless counterpoint. Though each of them is slight, together they make up the music of this entire movement, crowned by the frisson of the trumpet’s stratospheric top notes. The slow minor-key second movement is scored without trumpet and most of the string band. Though the texture is reduced, it is by no means thin; and, as it continues, there is an almost hypnotic interweaving of the small melodic cells that make it up.

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ACO performance history The ACO has performed Brandenburg Concerto No.2 9 times.

The third movement is one of the most effervescent and easiest-to-follow fugues in all music. The theme is first announced by the trumpet, high in its range, over what is called a ‘walking’ bass. The oboe then takes it, followed by the violin, and finally the recorder, each instrument continuing on to a counter-melody once it has dispensed the theme. The four soloists play in various duo, trio and quartet combinations, the comparatively unobtrusive string band adding sheen rather than density to the always transparent texture.

Concerto No.3 in G major, BWV1048 for 3 violins, 3 violas, 3 cellos, double bass, and harpsichord Violins Richard Tognetti Helena Rathbone Satu Vänskä Violas Christopher Moore Alexandru-Mihai Bota Christopher Cartlidge Cellos Timo-Veikko Valve Melissa Barnard Julian Thompson Double Bass Maxime Bibeau Harpsichord Anthony Romaniuk

ACO performance history The ACO has performed Brandenburg Concerto No.3 136 times.

I. II.

[Allegro] – Adagio – Allegro

Bach here makes no strict distinction between solo and orchestral groups. Instead he deploys nine independent string parts (three each of violins, violas, and cellos) in a dizzying succession of combinations, from solos for a single instrument, to dialogues between pairs to the interplay of trio groups, to all nine joining in tutti. All six of the violins and violas appear as featured soloists for short passages during the first movement, culminating in a climactic episode in which a bar-long figure passes down the texture through each of the violins and violas, finally being taken over by the three cellos playing together. Instead of writing out a central slow movement, Bach inserted just two chords, marked Adagio, at the end of the first movement. This was probably a signal for the leader to improvise a short cadenza ending in the two sustained chords played by the rest of the band. The final movement is a sophisticated rendering of the rustic dance form, the gigue (or ‘jig’). Played too slowly (as it often is by symphony orchestras), the jig rhythm is ironed out into a smooth but colourless succession of semiquavers. But performed suitably fast and lightly, the pulse rises to the surface again. Bach’s gigues are always in two sections, each played twice, giving the movement the basic layout AABB, each beginning as a fugue, the shorter A sections with the theme starting with the violins and working down to the cellos, the longer B sections with the theme first in the cellos and working up. The audible climax of each section – almost a case of musical overload – occurs when rapid pattern-making overtakes the texture, before the jig pulse reasserts itself, and the music swirls to a vigorous, but elegant close. AUSTRALIAN CHAMBER ORCHESTRA 7

PERFORMED IN BRISBANE ONLY

Concerto No.4 in G major, BWV1049 for solo violin, 2 echo ﬂutes, strings, and harpsichord I. [Allegro] II. Andante III. Presto

Violin Richard Tognetti Recorders Genevieve Lacey Hannah Coleman Harpsichord Anthony Romaniuk

This is essentially a solo violin concerto with secondary roles for a pair of instruments which Bach called ‘echo flutes’. These are generally interpreted to be ordinary alto recorders, used in a sort of echo-dialogue with the solo violin and the string orchestra. The gently tumbling figures of these flutes at the very opening of the first movement continue to characterise the long, lilting introductory section. By contrast, the principal violin’s solo episodes become progressively more questing and virtuosic, leading away from the safety of the home key, and breaking eventually into whirling demisemiquaver roulades. But even when the violin carries the music to distant minor keys, the duetting flutes provide a serene reminder of home in frequent reprises of snippets of the introductory music. To close, there is a literal repeat of the entire opening section. The minor-key second movement contrasts the full band of soloists and strings (marked ‘forte’, loud) in an ‘echo’ dialogue with a trio of soloists playing alone (‘piano’, soft). The melodic impetus, often disguised in decorative quaver figures, consists mainly in gently falling chromatic phases, which give the music the air of a tender lament. A short written out cadenza for one of the flutes leads to an expectant half close.

ACO performance history The ACO has performed Brandenburg Concerto No.4 16 times.

The third movement is a joyful fugue, beginning with the theme in the violas, passed through the violins, and crowned by the entry of the ﬂutes. Between the various ritornelli (returns) of the full band, are extended episodes for the three solo instruments. In the ﬁrst, Bach borrows one of Vivaldi’s favourite tactics, by presenting the trio alone without bass support, the treble-saturated sound lending an unusual weightlessness to the texture. Vivaldi, likewise, provided Bach with the model for the second solo episode in which the solo violin breaks into fantastic virtuoso passage work.

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PERFORMED IN SYDNEY & MELBOURNE

Violas Christopher Moore Alexandru-Mihai Bota Violas da gamba Laura Moore Ruth Wilkinson Cello Timo-Veikko Valve Double Bass Maxime Bibeau Harpsichord Anthony Romaniuk

Brandenburg Concerto No.6 in B flat major, (BWV1051) for 2 violas, 2 violas da gamba, cello, double bass, and harpsichord I. [Allegro] II. Adagio ma non troppo III. Allegro Two musicians at Köthen are known to have played the viola da gamba (leg viol), so called because it rests on the player’s calves. One was a salaried professional member of Bach’s band, the other was Prince Leopold himself, and it is fancifully – though quite reasonably – assumed that the sixth concerto was first composed precisely so that Leopold could play one of the gamba parts. In Bach’s sacred music, gambas often play a prominent obligato role (famously in the aria Es ist vollbracht in the St John Passion). Here their role is mostly to provide a mellow-toned ensemble infill that does not attract too much attention away from the two violas da braccio (arm viols) as Bach calls them in his score. For the same reason, Bach dispenses with violins entirely, though probably not violinists – he and his assistant leader probably simply put down their violins, and picked up violas instead. The introductory music of the first movement and its regular returns are driven by a pulsing repeated quaver bass, over which the paired leaders, the violas, weave a counterpoint in strict canon. The pairs of violas and gambas continue in canon during the ensuing episodes, though none of these could be described as truly soloistic until the gambas fall silent leaving the violas and cello to venture briefly into more familiar concerto territory.

ACO performance history The ACO has performed Brandenburg Concerto No.6, 46 times.

The slow second movement has a trio sonata texture, the two violas and bass (cello, double bass and harpsichord) – the gambas meanwhile silent. When they return in the Allegro third movement, the gambas are accompanying instruments through and through. Meanwhile, the violas have what must be one of the earliest extended solo concerto movements written for that instrument.

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INSTRUMENTS FROM BACH’S TIME Recorder — Genevieve Lacey I have two beautiful treble recorders that I’ll use for the ACO’s Brandenburg Concertos. They’re both copies of historical instruments, and they’re both Australian made. Sadly, unlike string instruments, wind instruments don’t improve with age. While we have a decent selection of historical instruments in museums and private collections, it’s rare to have the chance to play one, and many of the survivors have come through history scathed in various ways – the wood has warped, which changes the tuning, the timbre, and its ability to respond to articulation.

One of my instruments is made by the late Fred Morgan, considered by many to have been the greatest recorder maker since the 18th-century. The other is made by his only apprentice, now a revered maker in her own right, Jo Saunders. They each have a distinctive voice and character – even though they’re both treble recorders, at 415 pitch, they’re very diﬀerent creatures. As I write this program note, I’m playing the Brandenburg Concertos most days in my practice room. My decision as to which instrument I’ll play for which concerto will be made once we’re in rehearsal together: hearing my colleagues’ sounds, deciding on shapes, character and balance, will tell me which instrument ﬁts best. My guess is that I’ll use the Morgan for Brandenburg Concerto No.4, and the Saunders for No.2, but experience tells me that decisions like this often change late in the piece. If you see me playing a honey coloured instrument, that’s the Morgan. It’s made out of European boxwood, and is a copy of an instrument by Bressan. Peter Bressan (b. 1685 – d. 1731) 10 AUSTRALIAN CHAMBER ORCHESTRA

was born in France, as Pierre Jaillard, but spent most of his working life in London, where he made instruments that were greatly prized, and which engendered an English school of recorder making, continued by Stanesby (father and son), Bradbury and Schuchart. My Saunders recorder is a dark chocolate colour. It’s rosewood, and a copy of a Steenbergen instrument. Steenbergen (b. 1676 – d. c.1730) was Dutch, based in Amsterdam, and made flutes and oboes as well as recorders. He was apparently influenced by the English makers Bressan and Stanseby senior. His instruments have double holes for the lower right hand fingers and are the only surviving Dutch instruments with this feature. GENEVIEVE LACEY © 2013

Oboe — Benoît Laurent For this concert I’m playing two oboes. The first was made by M. and F. Ponseele, copied from an original instrument in boxwood built by Thomas Stanesby Jr. (b. London, 1692 – d. London, 1754), which is located in Edinburgh’s Music Instrument Museum; and a copy made by A. Bernardini from an original instrument in boxwood built by Johann Heinrich Eichentopf (b. Stollberg, 1686 – d. Leipzig, 1769) located in Brussel’s Music Instrument Museum. When you look at the importance of the oboe in J.S. Bach’s music, it is plausible to assume he had very good oboe players at his disposal throughout his career. In 2/3 of his cantatas there are obligato arias for oboe, as well as significant solo parts in his Oratorios. Much of the oboe music composed during his Leipzig period was probably written for Johann Caspar Gleditsch (b. 1684 – d. 1747) and he was likely also working with other instrument makers from Leipzig to develop and improve new instruments in the oboe family. He probably had contact with J.H. Eichentopf who developed a new instrument, the oboe da caccia, often used in Bach’s cantatas. In Brandenburg Concerto No.1, Bach uses three oboes and for the Menuet and Trio he uses two with a bassoon. This refers to the French tradition of the trio d’anches (trio of reeds) which in the second part of the 17th-century may have been among the first appearances of the oboe as a soloist. In Brandenburg Concerto No.2 Bach associates the oboe with both the trumpet and the recorder which highlights its ability to play as loudly as the trumpet, or in the softer register of the recorder. BENOÎT LAURENT © 2013 AUSTRALIAN CHAMBER ORCHESTRA 11

Oboe — Lidewei De Sterck My Baroque oboe is by Marcel Ponseele, after Thomas Stanesby Junior, an oboe-maker from London. Oboe-players usually play on copies as the few remaining original instruments are not in good condition. Wind instruments deteriorate from the humidity of the air that is blown into it. The rare original Baroque instruments in good condition are mostly kept in private collections and museums. We use treatises and descriptions from eye-witnesses from Bach’s time to deduce how his works might have sounded. I believe it is important to build on that information, but also to add a personal touch. LIDEWEI DE STERCK © 2013

Bassoon — Jane Gower In a sense the bassoon I am using is ‘doubly historical’. It is a copy of an instrument from the Nuremberg workshop of J.C. Denner from the early 1700s. Built by the London maker Mathew Dart in 1991, it was on its way to an Australian musical institution who ultimately could not pay for it. Thus; desperate as I was for my first Baroque bassoon, I stepped in and purchased it. Considering what poor examples of historical bassoons were floating around in those times, I was extraordinarily fortunate to have landed this one. It has served me faithfully throughout my career, despite my attempts to replace it with ‘better’ makes. Denner’s bassoons are amongst the very earliest models known, and even coexisted with the dulcian, the bassoon’s predecessor. Thus they lack some of the volume, the bore refinements, the chromatic keys and the high register of later 18th-century builds. As a basso continuo instrument I have found it unrivalled, with its agility, its many-hued tone, flexibility of articulation and ability to blend with the string bass as well as voices. It is perhaps in playing the superlative continuo lines of a composer such as Bach that the differences between a Baroque and modern bassoon become most apparent. The modern instrument is built for homogeneity of attack, colour and control but is more laborious to play continuo basslines with the subtlety and flexibility that is needed to shade them. JANE GOWER © 2013

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Viola da gamba — Laura Moore ‘If one were to judge musical instruments according to their ability to imitate the human voice, and if one were to esteem naturalness as the highest accomplishment, so I believe that one cannot deny the viola da gamba the ﬁrst prize, because it can imitate the human voice in all its modulations, even in its most intimate nuances: that of grief and joy.’ – Marin Mersenne, 1636 The viola da gamba, originating from Spain in the late-15th century, ﬂourished in England throughout the 16th to 18th centuries. Described by many theorists at the time as the closest instrument to imitate the human voice, the viola da gamba was used in a variety of musical settings. The use of polyphony was very popular, and the viola da gamba was used in a vocal mode (madrigal, motet) as well as instrumental forms (fantasia, canzona, ricercare). The viola da gamba comes in a variety of sizes (treble, tenor and bass, the most common in the aristocratic household). In comparison to the violin family, the viola da gamba is held between the legs and has six or seven strings. The instrument is fretted, like a guitar or lute, and is bowed ‘underhand’. Both viola da gambas played in these concerts are seven string bass viola da gambas: copies of Barak Norman (17th-century) by John Hall, Sydney. LAURA MOORE © 2013

Viola da gamba — Ruth Wilkinson The viola da gambas I use in tonight’s program are copies of instruments made in England by Barak Normann (c.1700). They represent the viola da gamba in its fully developed form with seven strings (tuned in fourths and a third) and frets, played in an under hand bowing style. The seventh string was said to have been added by the French viola da gamba player and composer St Colombe, a musician in the court of Louis XIV to add extra depth to the sound of the instrument. Each nation developed the instrument according to the favoured repertoire of the time. The Golden Age of the viola da gamba in pre-restoration England, was dominated by the Fantasia and families or consorts of instruments from the small treble viola da gamba to the bass viola da gamba were played by the aristocracy seeking to show their education, knowledge and skill as part of their desire to be valued as gentlemen. In France the solo repertoire written for the basse de viol was considered a high point for the instrument. The suites of the AUSTRALIAN CHAMBER ORCHESTRA 13

great Marin Marais reveal the poignancy and great beauty of this noble instrument, capable of moving the soul to great heights with its persuasive tone, ability to play chords like a lute and melodies like a singer. J.S. Bach knew the instrument well, as the viola da gamba in 18th-century Germany was a popular solo instrument. Compositions for the instrument at this time reveal great virtuosity. Bach composed some of the viola da gamba’s most tender moments, including the alto aria Es ist vollbracht, which marks the moment of Christ’s death in St John Passion. Bach uses a pair of violas da gamba in the sixth Brandenburg Concerto as concertato instruments. RUTH WILKINSON © 2013

14 AUSTRALIAN CHAMBER ORCHESTRA

RICHARD TOGNETTI ao © Paul Henderson-Kelly

ARTISTIC DIRECTOR 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 Festival Maribor in Slovenia.

“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, BEETHOVEN & BRAHMS ABC Classics 481 0679 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: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 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 Orchestra. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank. 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. 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. AUSTRALIAN CHAMBER ORCHESTRA 15

GENEVIEVE LACEY RECORDER Genevieve Lacey is a recorder virtuoso and serial collaborator. She has an international career as a soloist, and a substantial recording catalogue with ABC Classics. Passionate about contemporary music, Genevieve has commissioned, premiered and recorded scores of new works. She created en masse with London ﬁlmmaker Marc Silver, and the music for Namatjira, for Big hART. Genevieve’s collaborators are as diverse as the ACO, singer-songwriter Paul Kelly, ﬁlmmaker Sophie Raymond, medieval pipe and tabor player Poul Høxbro, writer/director Scott Rankin, and The Black Arm Band, who present music of the Australian Indigenous experience. Genevieve has won many awards including two ARIA Awards and a Helpmann, as well as Australia Council, Freedman and Churchill Fellowships. She holds academic and performance degrees (including a doctorate) in music and English literature from universities in Melbourne, Switzerland and Denmark. Between 2008-2012 Genevieve was Artistic Director for Four Winds Festival. In 2013, she gave the Peggy Glanville-Hicks Address, Australia’s only public lecture on music. genevievelacey.com

BENOÎT LAURENT OBOE Benoît Laurent studied recorder, modern oboe and Baroque oboe in Belgium with Frédéric de Roos, Paul Dombrecht, Ann Vanlancker and Sylvain Cremers, then studied the Baroque oboe in Germany with Michael Niesemann. In 2008, he was awarded second prize at the prestigious competition for early music, Musica Antiqua, in Bruges, in the soloist category. In 2009, he was appointed Professor for Baroque Oboe at the Hochschule für Musik Frankfurt, and teaches Baroque oboe at the Conservatoire Royal de Bruxelles. Benoît has recorded various oboe solo repertoire including recordngs with his own ensemble Lingua Franca. He also plays orchestral and chamber music with some of the best period ensembles (Concerto Köln, B’rock, Orchestre des Champs Elysées, Collegium Vocale Gent, Amsterdam Baroque Orchestra). He has played as a soloist with Concerto Köln, Akademie für Alte Musik Berlin, La Stagione Frankfurt, Kammerorchester Basel, Zürcher Kammerorchester, Les Agremens and Les Muﬀatti.

NEIL BROUGH TRUMPET Neil Brough is Principal Trumpet with Sir John Eliot Gardiner’s English Baroque Soloists and the Orchestre Révolutionnaire et Romantique. He has toured the world with them, as well as many of the UK’s top orchestras, often making CD recordings and radio and television broadcasts. He has played on numerous feature ﬁlms and television soundtracks including Black Swan, Monsters Vs. Aliens, Robin Hood and Judge John Deed. He has recorded Bach’s Cantata 51 with Natalie Dessay for Virgin Classics, and has featured as a soloist alongside great singers such as James Bowman, Emma Kirkby and John Tomlinson. His high note playing in Bach’s second Brandenburg Concerto has been described as ‘absolutely astonishing’ and ‘awe-inspiring’ by the national press. His CD recording with the EBS & Gardiner received much acclaim and he performed it live on radio and on TV at the Proms in 2010. Neil is Professor of Natural Trumpet at the Royal College of Music, UK. 16 AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

ACO Musicians Richard Tognetti Artistic Director and Lead Violin Helena Rathbone Principal Violin Satu Vänskä Principal Violin Rebecca Chan Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal Viola Alexandru-Mihai Bota Viola Nicole Divall Viola Timo-Veikko Valve Principal Cello Melissa Barnard Cello Julian Thompson Cello Maxime Bibeau Principal Double Bass Part-time Musicians Zoë Black Violin Veronique Serret Violin Caroline Henbest Viola Daniel Yeadon Cello

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the ensemble. Founded in 1975 by John Painter am, this string orchestra comprises leading Australian and international musicians. The Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig. Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised. Several of the ACO’s players perform on remarkable instruments. Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; TimoVeikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss ao and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA Awardwinning Bach recordings, multi-award-winning documentary film Musica Surfica and the complete set of Mozart Violin Concertos.

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

The ACO presents outstanding performances to over 9,000 subscribers across Australia and when touring overseas, consistently receives hyperbolic reviews and return invitations to perform on the great music stages of the world including Vienna’s Musikverein, Amsterdam’s Concertgebouw, London’s Southbank Centre and New York’s Carnegie Hall. In 2005 the ACO inaugurated a national education program including a mentoring program for Australia’s best young string players and education workshops for audiences throughout Australia.

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

aco.com.au AUSTRALIAN CHAMBER ORCHESTRA 17

MUSICIANS ON STAGE

Photos: Paul Henderson-Kelly, Helen White

RICHARD TOGNETTI AO§

HELENA RATHBONE*

SATU VÄNSKÄ≈

REBECCA CHAN

Director & Violin Chair sponsored by Michael Ball AM & Daria Ball, Wendy Edwards, Prudence MacLeod

Principal Violin Chair sponsored by Kate & Daryl Dixon

Principal Violin Chair sponsored by Kay Bryan

Violin Chair sponsored by Ian Wallace & Kay Freedman

AIKO GOTO

MARK INGWERSEN

ILYA ISAKOVICH

CHRISTOPHER MOORE

Violin Chair sponsored by Anthony & Sharon Lee

Violin

Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund

Principal Viola Chair sponsored by peckvonhartel architects

ALEXANDRUMIHAI BOTA

TIMOVEIKKO VALVE ❖ Principal Cello Chair sponsored by Peter Weiss ao

Viola Chair sponsored by Philip Bacon AM

MELISSA BARNARD

JULIAN THOMPSON #

Cello Chair sponsored by Bruce & Joy Reid Foundation

Cello Chair sponsored by The Clayton Family

Violin

Oboe

LACHLAN O’DONNELL

BENOIT LAURENT 2 LIDEWEI DE STERCK JULIA FANKHAUSER

1 Courtesy of Melbourne Symphony Orchestra 2 Courtesy of Royal Conservatory of Brussels 3 Courtesy of Orchestre Révolutionnaire et Romantique 4 Courtesy of RTV Slovenian Symphony Orchestra

Viola

CHRISTOPHER CARTLIDGE 1

JANE GOWER 3

LAURA MOORE RUTH WILKINSON

Horn

Recorder

MAXIME BIBEAU ✩

Bassoon

Viola da gamba

GENEVIEVE LACEY HANNAH COLEMAN

Principal Bass Chair sponsored by John Taberner & Grant Lang

BOSTJAN LIPOVSEK 4 BORUT PAHIČ

Players dressed by

Trumpet

AKIRA ISOGAWA

NEIL BROUGH 3 Harpsichord

ANTHONY ROMANIUK

§ Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor.

✽ Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. ≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. ❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andreæ cello kindly on loan from the Australia Council. ✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from private Australian benefactors.

18 AUSTRALIAN CHAMBER ORCHESTRA

ACO BEHIND THE SCENES BOARD Guido Belgiorno-Nettis am Chairman Angus James Deputy Bill Best John Borghetti Liz Cacciottolo Chris Froggatt

Janet Holmes à Court ac John Grill Heather Ridout ao

Andrew Stevens John Taberner Peter Yates am

Richard Tognetti ao Artistic Director

ADMINISTRATION STAFF EXECUTIVE OFFICE

FINANCE

MARKETING

Timothy Calnin General Manager

Cathy Davey Chief Financial Oﬃcer

Rosie Rothery Marketing Manager

Jessica Block Deputy General Manager

Steve Davidson Corporate Services Manager

Amy Goodhew Marketing Coordinator

Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO

Rachel O’Brien Accountant

Clare Morgan National Publicist

Shyleja Paul Assistant Accountant

Jack Saltmiras Digital Content & Publicity Coordinator

ARTISTIC & OPERATIONS

DEVELOPMENT

Luke Shaw Head of Operations & Artistic Planning

Jill Colvin Acting Development Manager

Chris Griﬃth Box Oﬃce Manager

Alan J. Benson Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Elissa Seed Travel Coordinator Jennifer Powell Librarian/Music Technology Assistant Bernard Rofe Assistant Librarian

Dean Watson Customer Relations Manager

Rebecca Noonan Corporate Relations Manager Alexandra Cameron-Fraser Public Aﬀairs Manager

Deyel Dalziel-Charlier Box Oﬃce & CRM Database Assistant

Tom Tansey Events Manager

Christina Holland Oﬃce Administrator

Tom Carrig Senior Development Executive

INFORMATION SYSTEMS

Alison Carter Investment Relations Manager

Ken McSwain Systems & Technology Manager

Ali Brosnan Patrons & Foundations Executive

Emmanuel Espinas Network Infrastructure Engineer

Sally Crawford Development Coordinator

ARCHIVES John Harper Archivist

EDUCATION Phillippa Martin Acting Education & Emerging Artists Manager Sarah Conolan Education Assistant

AUSTRALIAN CHAMBER ORCHESTRA

ABN 45 001 335 182

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

In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Oﬃce: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au

AUSTRALIAN CHAMBER ORCHESTRA 19

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

PO Box 7585 St Kilda Road Melbourne Victoria 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au

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

VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Deborah Beale, Mr Sandy Clark, Mr Julian Clarke, Ms Catherine McClements, Mr Graham Smorgon am, Mr David Vigo ARTS CENTRE MELBOURNE FOUNDATION BOARD OF GOVERNORS Mr Sandy Clark Chairman Mr John Haddad ao Emeritus Chairman Miss Betty Amsden oam, Mrs Debbie Dadon, Mr John Denton, Mr Carrillo Gantner ao, Mr Tom Harley, Ms Dana Hlavacek, Mrs Mem Kirby oam, Mrs Jennifer Prescott

AEG OGDEN (PERTH) PTY LTD

EXECUTIVE GROUP Ms Judith Isherwood Chief Executive Ms Jodie Bennett Executive Corporate Services (CFO) Mr Tim Brinkman Executive Performing Arts Ms Louise Georgeson General Manager – Development, Corporate Communications & Special Events Ms Sarah Hunt General Manager, Marketing & Audience Development Mr Kyle Johnston Executive Customer Enterprises

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

Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal. FOR YOUR INFORMATION The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary. The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

20 AUSTRALIAN CHAMBER ORCHESTRA

PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briﬀa

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

ACKNOWLEDGEMENTS VENUE SUPPORT

A City of Sydney Venue Clover Moore Lord Mayor Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Anne-Marie Heath General Manager

PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 Chair: Henry Smerdon am Deputy Chair: Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant oam, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White EXECUTIVE STAFF Chief Executive: John Kotzas Director – Marketing: Leisa Bacon Director – Presenter Services: Ross Cunningham Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENT 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 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

SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) Mr Wayne Blair, Ms Catherine Brenner, The Hon Helen Coonan, Ms Renata Kaldor ao, Mr Chris Knoblanche, Mr Robert Leece am rfd, Mr Peter Mason am, Mr Leo Schoﬁeld am, Mr Robert Wannan

Director-General, Department of Science, Information Technology, Innovation and the Arts: Andrew Garner

SYDNEY OPERA HOUSE EXECUTIVE Chief Executive Officer Louise Herron am Chief Operating Officer Claire Spencer Director, Programming Jonathan Bielski Director, Theatre & Events David Claringbold Director, Building Development & Maintenance Greg McTaggart Director, External Affairs Brook Turner Director, Commercial David Watson

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.

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

The Honourable Ian Walker mp Minister for Science, Information Technology, Innovation and the Arts

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published. Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

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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–1311 — 17201 — 1/031213

AUSTRALIAN CHAMBER ORCHESTRA 21

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ACO MEDICI PROGRAM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti ao

Helena Rathbone

Satu Vänskä

Lead Violin

Principal Violin

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod

Kate & Daryl Dixon

Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

peckvonhartel architects

Peter Weiss ao

John Taberner & Grant Lang

Alexandru-Mihai Bota

Anthony & Sharon Lee

Violin Chair Terry Campbell ao & Christine Campbell

Mark Ingwersen

Rebecca Chan

Melissa Barnard

Violin

Cello

Ian Wallace & Kay Freedman

The Bruce & Joy Reid Foundation

Ilya Isakovich

Nicole Divall

Julian Thompson

Violin

Viola

Cello

Australian Communities Foundation – Connie & Craig Kimberley Fund

Ian Lansdown

The Clayton Family

CORE CHAIRS Aiko Goto Violin

Viola

Philip Bacon am

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon

Mr R. Bruce Corlett am & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

24 AUSTRALIAN CHAMBER ORCHESTRA

ACO INSTRUMENT FUND The ACO has established its Instrument Fund to oﬀer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s ﬁrst asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin of the Orchestra. The ACO pays tribute to its Founding Patrons of the Fund.

BOARD MEMBERS Bill Best (Chairman) Jessica Block Janet Holmes à Court ac John Leece am John Taberner

FOUNDING PATRONS PETER WEISS ao, PATRON VISIONARY $1m+ Peter Weiss ao

LEADER $500,000–$999,999

ENSEMBLE $10,000$24,999 Leslie & Ginny Green

CONCERTO $200,000–$499,999 Amina Belgiorno-Nettis Naomi Milgrom ao

OCTET $100,000–$199,999 QUARTET $50,000–$99,999 John Leece am & Anne Leece

SONATA $25,000–$49,999

SOLO $5,000$9,999 Amanda Staﬀord

PATRONS $500$4,999 June & Jim Armitage Leith & Darrel Conybeare John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Pamela McGaw Patricia McGregor Alison Reeve Angela Roberts Robyn Tamke Anonymous (2)

FOUNDING INVESTORS Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins Angus & Sarah James John Taberner Ian Wallace & Kay Freedman

AUSTRALIAN CHAMBER ORCHESTRA 25

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 2012 and 2013.

THE REEF LEAD PATRONS

PATRONS

Tony & Michelle Grist

Graham & Treﬃna Dowland Wendy Edwards Euroz Charitable Foundation Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo Anonymous (1)

Jane Albert Steven Alward & Mark Wakely Ian Andrews & Jane Hall Janie & Michael Austin T Cavanagh & J Gardner Anne Coombs & Susan Varga Amy Denmeade Toni Frecker John Gaden am Cathy Gray Susan Johnston & Pauline Garde

Brian Kelleher Andrew Leece Scott Marinchek & David Wynne Kate Mills & Sally Breen Nicola Penn Martin Portus Janne Ryan Barbara Schmidt & Peter Cudlipp Richard Steele Stephen Wells & Mischa Way Anonymous (1)

ELECTRIC PRELUDES by Brett Dean Commissioned by Jan Minchin for Richard Tognetti and the 2012 Maribor Festival, and the 2013 ACO National Concert Season.

NEVER TRULY LOST by Brenton Broadstock Commissioned by Robert & Nancy Pallin for Rob’s 70th birthday in 2013, in memory of Rob’s father, Paddy Pallin.

SPECIAL COMMISSIONS PATRONS Dr Jane Cook & Ms Sara Poguet Mirek Generowicz Peter & Valerie Gerrand V Graham Anthony & Conny Harris Andrew & Fiona Johnston Lionel & Judy King Dr Suzanne Trist Margot Woods & Arn Sprogis Team Schmoopy Anonymous (1)

26 AUSTRALIAN CHAMBER ORCHESTRA

NISEKO SUPPORTERS The ACO would like to pay tribute to the following donors who have supported our involvement with the Niseko Winter Music Festival.

NISEKO PATRONS Ann Gamble Myer Alf Moufarrige Louise & Martyn Myer Foundation Peter Yates AM & Susan Yates

NISEKO SUPPORTERS A J Abercrombie Warwick Anderson Breeze Family Tim Burke Simone Carson Suzy Crittenden Cathryn Darbyshire & Andrew Darbyshire am Kerry Gardner & Andrew Myer Phil & Rosie Harkness Ryota Hayashi Louise Hearman & Bill Henson Simon & Katrina Holmes à Court Family Trust

Howard & Launa Inman Robert Johanson & Anne Swann Richard & Lizzie Leder Naomi Milgrom Clarke & Leanne Morgan Richard & Amanda O’Brien Jill Reichstein Schiavello Peter Scott John & Nicky Stokes Dr Mark & Mrs Anna Yates Oliver Yates Anonymous (2)

INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2013. International Tour Patrons Catherine Holmes à Court-Mather

International Tour Supporters Jan Bowen Jenny & Stephen Charles Suellen & Ron Enestrom Delysia Lawson Julia Ross

MELBOURNE HEBREW CONGREGATION PATRONS Lead Patron

Patrons Marc Besen AO and Eva Besen AO The Eddie and Helen Kutner Family The Graham and Minnie Smorgon Family

AUSTRALIAN CHAMBER ORCHESTRA 27

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Bill Best (Chairman) Guido Belgiorno-Nettis am Chairman ACO & Executive Director Transﬁeld Holdings Leigh Birtles Executive Director UBS Wealth Management Anna Bligh

Liz Cacciottolo Senior Advisor UBS Australia Ian Davis Managing Director Telstra Television Chris Froggatt Tony Gill

Tony O’Sullivan Head of Investment Banking Lazard Australia

Peter Shorthouse Client Advisor UBS Wealth Management

Heather Ridout ao Director Reserve Bank of Australia

John Taberner Consultant Herbert Smith Freehills

Margie Seale

Jennie Orchard

MELBOURNE DEVELOPMENT COUNCIL Peter Yates am (Chairman) Chairman Royal Institution of Australia Director AIA Ltd

Debbie Brady Ben Brady Stephen Charles Christopher Menz

Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC

EVENT COMMITTEES Bowral

Brisbane

Sydney

Elsa Atkin Michael Ball am (Chairman) Daria Ball Cam Carter Linda Hopkins Judy Lynch Karen Mewes Keith Mewes Tony O’Sullivan Marianna O’Sullivan The Hon Michael Yabsley

Ross Clarke Steﬃ Harbert Elaine Millar Deborah Quinn

Lillian Armitage Margie Blok Alison Bradford Liz Cacciottolo (Chair) Dee de Bruyn Judy Anne Edwards JoAnna Fisher Chris Froggatt Elizabeth Harbison Bee Hopkins Sarah Jenkins Vanessa Jenkins

DISABILITY ADVISORY COMMITTEE Amanda Tink Training Coordinator Arts Activated National Conference Convenor Accessible Arts Morwenna Collett Program Manager Arts Funding (Music) Australia Council for the Arts

28 AUSTRALIAN CHAMBER ORCHESTRA

Somna Kumar Prue MacLeod Julianne Maxwell Julie McCourt Elizabeth McDonald Julia Pincus Sandra Royle Nicola Sinclair John Taberner Jennifer Tejada Judi Wolf

ACO DONATIONS PROGRAM The ACO pays tribute to all of our generous foundations and donors who have 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.

PATRONS  NATIONAL EDUCATION PROGRAM Janet Holmes à Court ac Marc Besen ao & Eva Besen ao

TRUSTS AND FOUNDATIONS HOLMES À COURT FAMILY FOUNDATION THE ROSS TRUST THE NEILSON FOUNDATION

PJ Jopling qc Miss Nancy Kimpton Bruce & Jenny Lane Prudence MacLeod Mr Robert Albert ao & Alf Moufarrige Louise & Martyn Myer Mrs Libby Albert Australian Communities Foundation Bruce Neill Foundation – Jennie & Ivor Orchard Ballandry Fund Alex & Pam Reisner Daria & Michael Ball Steven Bardy & Andrew Mr Mark Robertson oam & Mrs Anne Patterson Robertson The Belalberi Foundation Margie Seale & David Guido & Michelle Hardy Belgiorno-Nettis Tony Shepherd ao Liz Cacciottolo & Mr John Singleton am Walter Lewin Beverley Smith John & Janet CalvertJohn Taberner & Grant Jones Lang Carapiet Foundation Alden Toevs & Judi Wolf Mark Carnegie The Hon Malcolm Stephen & Jenny Turnbull mp & Charles Ms Lucy Turnbull ao Darin Cooper Family John & Myriam Wylie Daryl & Kate Dixon E Xipell Geoﬀ & Dawn Dixon Anonymous (2) Chris & Tony Froggatt Daniel & Helen Gauchat DIRETTORE John Grill & Rosie $5,000  $9,999 Williams Geoﬀ Alder Catherine Holmes Brad Banducci à Court-Mather Belinda Hutchinson am Bill & Marissa Best Angus & Sarah James Patricia Blau

EMERGING ARTISTS & EDUCATION PATRONS $10,000+

Marjorie Bull Joseph & Veronika Butta Terry Campbell ao & Christine Campbell The Clayton Family Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Mr R. Bruce Corlett am & Mrs Ann Corlett Ellis Family Suellen & Ron Enestrom Bridget Faye am Michael Firmin Ian & Caroline Frazer Jan Freemantle Maurice Green ao & Christina Green Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith & Maureen Kerridge Lorraine Logan David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation

David Mathlin Julianne Maxwell P J Miller Jan Minchin Marianna & Tony O’Sullivan John Rickard The Sandgropers Paul Schoﬀ & Stephanie Smee Anthony Strachan Tamas Szabo Cameron Williams Karen & Geoﬀ Wilson Peter Yates am & Susan Yates Carla Zampatti Foundation Anonymous (1)

MAESTRO $2,500  $4,999 Mrs Jane Allen Will & Dorothy Bailey Charitable Gift Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Bill & Marissa Best Mr Leigh Birtles Rosemary & Julian Block Dr David & Mrs Anne Bolzonello

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATIONS PROGRAM Ben & Debbie Brady Andrew Clouston Robert & Jeanette Corney Judy Crawford Kate Dixon Leigh Emmett Michael Fitzpatrick R Freemantle Ann Gamble Myer Colin Golvan sc Warren Green Nereda Hanlon & Michael Hanlon am Liz Harbison Mrs Yvonne Harvey & Dr John Harvey ao Peter & Helen Hearl Wendy Hughes Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins I Kallinikos Peter Lovell Macquarie Group Foundation Sandra & Michael Paul Endowment Elizabeth Pender Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Ruth Ritchie Susan & Gary Rothwell D N Sanders Cheryl Savage Brian Schwartz Jennifer Senior Greg Shalit & Miriam Faine Petrina Slaytor Philippa Stone Tom Thawley Ralph Ward-Ambler am & Barbara WardAmbler Drs Victor & Karen Wayne Anonymous (4)

VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Antoinette Albert David & Rae Allen

Andrew Andersons Australian Communities Foundation – Clare Murphy Fund Virginia Berger Linda & Graeme Beveridge Jessica Block In memory of Peter Boros Vicki Brooke Sally Bufé Rowan Bunning Neil Burley & Jane Munro Massel Australia Pty Ltd Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Elizabeth Cheeseman Elizabeth Chernov Stephen Chivers Caroline & Robert Clemente Angela & John Compton Bernadette Cooper Laurence G Cox ao & Julie Ann Cox Anne & David Craig Judy Croll Lindee & Hamish Dalziell Mrs June Danks Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling Dr William F Downey Michael Drew Emeritus Professor Dexter Dunphy am Peter Evans Julie Ewington Elizabeth Finnegan Stephen Fitzgerald Lynne Flynn Jane & Richard Freudenstein Justin & Anne Gardener Jaye Gardner Paul Gibson & Gabrielle Curtin Griﬃths Architects Peter Halstead Lesley Harland Jennifer Hershon

30 AUSTRALIAN CHAMBER ORCHESTRA

Reg Hobbs & Louise Carbines Michael Horsburgh am & Beverley Horsburgh Carrie & Stanley Howard Penelope Hughes Stephanie & Michael Hutchinson Brian Jones Bronwen L Jones Carolyn Kay & Simon Swaney Mrs Judy Lee Mr Michael Lee Mr John Leece am Sydney & Airdrie Lloyd Charlotte & Adrian Mackenzie Jane Mathews ao Janet P Matton Kevin & Deidre McCann Paul & Elizabeth McClintock Brian & Helen McFadyen Donald & Elizabeth McGauchie Jenny McGee J A McKernan Peter & Ruth McMullin Jillian & Robert Meyers Graeme L Morgan John Morgan Suzanne Morgan Jane Morley Marie Morton Nola Nettheim Graham North Elspeth & Brian Noxon Origin Foundation Brendan Ostwald Anne & Christopher Page Leslie Parsonage Rowland Paterson peckvonhartel architects David Penington ac Tom Pizzey Michael Power Mark Renehan Dr S M Richards am & Mrs M R Richards Warwick & Jeanette Richmond in memory of Andrew Richmond

Josephine Ridge Em. Prof. A. W. Roberts am Joan Rogers Peter J Ryan Manfred & Linda Salamon Jennifer Sanderson Garry E Scarf In memory of H. St. P. Scarlett Peter & Ofelia Scott Gideon Shaw Diana & Brian Snape am Maria Sola & Malcolm Douglas Ezekiel Solomon am Keith Spence Cisca Spencer Robert Stephens Professor Fiona Stewart Andrew Strauss John & Josephine Strutt Dr Charles Su & Dr Emily Lo Kyrenia & Rob Thomas Paul Tobin Peter Tonagh Ngaire Turner Venture Advisory Kay Vernon David Walsh Janie Wanless & Nev Wittey G C & R Weir Mrs M W Wells Rachel Wiseman & Simon Moore Sir Robert Woods cbe Lee Wright Don & Mary Ann Yeats William Yuille Anonymous (18)

CONCERTINO $500  $999 A Ackermann Mrs Lenore Adamson in Memory of Mr Ross Adamson Ruth Bell Max Benyon Tamara Best Brian Bothwell Dr Sue Boyd Denise Braggett

ACO DONATIONS PROGRAM Diana Brookes Mrs Kay Bryan Arnaldo Buch Tim & Jacqueline Burke Lynda Campbell Helen & Ian Carrig Julie Carriol Kirsten Carriol Colleen & Michael Chesterman Richard & Elizabeth Chisholm Georg Chmiel Elizabeth Clayton ClearFresh Water Jilli Cobcroft Geoff Cousins & Darleen Bungey Carol & Andrew Crawford Professor John Daley & Dr Rebecca Coates Marie Dalziel Mari Davis Defiance Gallery David Dix In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Carol Farlow Ian Fenwicke Jean Finnegan & Peter Kerr Janet Fitzwater Michael Fogarty Nancy & Graham Fox Brian Goddard Steven Gregg Katrina Groshinski & John Lyons Annette Gross Dr Penny Herbert in Memory of Dunstan Herbert Marian Hill Sue & David Hobbs Geoff Hogbin

Julie Hopson How to Impact Pty Ltd Pam & Bill Hughes Dr & Mrs Michael Hunter Geoﬀ & Denise Illing Diane Ipkendanz Margaret & Vernon Ireland Philip & Sheila Jacobson Owen James Barry Johnson & Davina Johnson oam Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso ao Danièle Kemp Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Greg Lindsay ao & Jenny Lindsay Andrew & Kate Lister Megan Lowe Robin & Peter Lumley Bronwyn & Andrew Lumsden James MacKean Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Ian & Pam McGaw H E McGlashan Colin McKeith Jeanne McMullin Joanna McNiven I Merrick Julie Moses Dr G Nelson Jenny Nichol J Norman Richard & Amanda O’Brien Robin Oﬄer

Josephine Paech Lisa Paulsen Deborah Pearson Robin & Guy Pease Kevin Phillips Miss F V Pidgeon am The Hon C W Pincus qc Ian Pryer Ruth Redpath Team Schmoopy Lucille Seale Mr Berek Segan obe am & Mrs Marysia Segan Andrew & Rhonda Shelton Anne Shipton Roger & Ann SmithJohnstone Alida Stanley & Harley Wright Mrs Judy Ann Stewart Geoﬀrey Stirton & Patricia Lowe In Memory of Dr Aubrey Sweet Leslie C Thiess Matthew Toohey Sarah Jane & David Vaux Evan Williams am Sue Wooller & Ron Wooller Rebecca Zoppetti Laubi Brian Zulaikha Anonymous (19)

CONTINUO CIRCLE BEQUEST PROGRAM The late Charles Ross Adamson The late Kerstin Lillemor Andersen Steven Bardy Dave Beswick Ruth Bell

Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill The late John Nigel Holman Penelope Hughes Estate of Pauline Marie Johnston The late Mr Geoﬀ Lee am oam Mrs Judy Lee The late Shirley Miller Selwyn M Owen The late Richard Ponder Ian & Joan Scott G.C. & R Weir Margaret & Ron Wright Mark Young Anonymous (11)

LIFE PATRONS IBM Mr Robert Albert ao & Mrs Libby Albert Mr Guido BelgiornoNettis am Mrs Barbara Blackman Mrs Roxane Clayton Mr David Constable am Mr Martin Dickson am & Mrs Susie Dickson Dr John Harvey ao Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter Weiss ao

Patrons list is current as of 10 October 2013.

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 Ali Brosnan on 02 8274 3830 or at Ali.Brosnan@aco.com.au. AUSTRALIAN CHAMBER ORCHESTRA 31

ACO PARTNERS 2013 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 BelgiornoNettis am Chairman Australian Chamber Orchestra & Executive Director Transﬁeld Holdings

Mr Greg Ellis Chief Executive Oﬃcer REA Group

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Dr Bob Every Chairman Wesfarmers

Mr David Mathlin Senior Principal Sinclair Knight Merz

Aurizon Holdings Limited

Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel

Ms Julianne Maxwell

Mr Philip Bacon am Director Philip Bacon Galleries Mr David Baﬀsky ao

Mr Richard Freudenstein Chief Executive Oﬃcer FOXTEL

Mr Brad Banducci Director Woolworths Liquor Group

Mr Colin Golvan SC & Dr Deborah Golvan

Mr Jeﬀ Bond Chief Executive Oﬃcer Peter Lehmann Wines

Mr John Grill Chairman WorleyParsons

Mr John Borghetti Chief Executive Oﬃcer Virgin Australia

Mr Andrew & Mrs Hiroko Gwinnett

Mr Hall Cannon Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux Mr Michael & Mrs Helen Carapiet Mr Stephen & Mrs Jenny Charles Mr Georg Chmiel Chief Executive Officer LJ Hooker Mr Julian Clarke Chief Executive Officer News Limited Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am

Mr Michael Maxwell Mr Geoﬀ McClellan Partner Herbert Smith Freehills Mr Donald McGauchie ao Chairman Nufarm Limited Ms Naomi Milgrom ao Ms Jan Minchin Director Tolarno Galleries

Mrs Janet Holmes à Court ac

Mr Jim Minto Managing Director TAL

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited

Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp

Ms Catherine Livingstone ao Chairman Telstra

Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects

Mr Tim Longstaﬀ Managing Director, Corporate Finance, Deutsche Bank, Australia/New Zealand

Mr Neil Perry am Rockpool

Mr Andrew Low Chief Executive Oﬃcer RedBridge Grant Samuel

Ms Margie Seale & Mr David Hardy

Mr Steven Lowy am Lowy Family Group

Mr Glen Sealey General Manager Maserati Australia & New Zealand

32 AUSTRALIAN CHAMBER ORCHESTRA

Mr Mike Sangster Managing Director Total E&P Australia

Mr Tony Shepherd ao President Business Council of Australia Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand Mr Paul Sumner Director Mossgreen Pty Ltd Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd Mr Michael Triguboﬀ Managing Director MIR Investment Management Ltd The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Ms Vanessa Wallace Director Mr Malcolm Garrow Director Booz & Company Mr Peter Yates am Chairman, Royal Institution of Australia Director, AIA Ltd

ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support. PRINCIPAL PARTNER

FOUNDING PARTNER

FOUNDING PARTNER: ACO VIRTUAL

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

REGIONAL TOURING PARTNER

CONCERT AND SERIES PARTNERS

Peter Weiss AO

Daryl Dixon

Warwick & Ann Johnson

EVENT PARTNERS

on george

AUSTRALIAN CHAMBER ORCHESTRA 33

ACO NEWS • DECEMBER 2013

news EDUCATION NEWS Our week at Picton Public School Last month, American violinist and music educator, Sharon Roffman, ﬂew to Australia from New York to spend a week with primary school students at Picton Public School as part of our Music & Art Program. Throughout this year Sharon has been teaching these students music, via Skype, so the students, who had only seen her through a computer screen,

were thrilled to meet her and be taught in person. Sharon, who has become somewhat of a celebrity at the school, formed an ACO string quartet in their classroom, teaching the students about dynamics, emotion in music, rhythm and composition. The week culminated in Sharon and the ACO quartet’s in-school performance featuring the students’ original compositions. The concert played to an enthusiastic and packed school hall. Running concurrently with Sharon’s music lessons, local visual artist Melissa Wheeler runs in-school art classes in which students produce artwork depicting visual interpretations of their compositions. “Thank you for coming to Picton Public School… Not every class gets special people like you to come into their class.” Ava (aged 8)

Veronique Serret, Sharon Roffman, Caroline Henbest and Daniel Yeadon with a class of students from Picton Public School.

“We will be very sad when you go because we will not be able to listen to the beautiful music that you make!” Leilani (aged 8)

The ﬁnal performance at the end of our week at Picton Public School.

34 AUSTRALIAN CHAMBER ORCHESTRA

Artwork created by students.

SYDNEY FUNDRAISING GALA Beaux & Belles Our annual Sydney Fundraising Gala, Beaux & Belles, presented by Maserati, took place on Wed 30 Oct at the University of Sydney. On arrival, guests enjoyed drinks under the ﬂowering jacaranda in the Quad before moving upstairs to the beautiful MacLaurin Hall for a feast designed and prepared by celebrated chef, Luke Mangan.

The evening was a great success, raising just over $500,000 for our Education Program, a record result! In the words of guest speaker Linda Dalton, ‘music is a great gift and you have helped us to make that gift a reality for children across Australia.’ Thank you to Liz Cacciottolo and the Sydney Event Committee for their amazing support. Photos: Fiora Sacco

The Chaser’s Julian Morrow and Craig Reucassel, our hilarious MCs, were very able assistants to fabulous auctioneer Justin Miller. A highlight of the evening was being joined on stage by young players from the Picton Strings ensemble, who we have been working with intensively for the last three years. Together we performed Holst’s St Paul’s Suite, with the students (some aged as young as 13) impressing guests with their musicality.

Emma Stevens, Mandie Purcell, Liz Cacciottolo

Craig Reucassel and Satu Vänskä draw the Tiffany & Co. Rafﬂe.

John Taberner, Bee Hopkins Justin Miller, Carla Zampatti AC

Jeanne-Claude Strong, John Borghetti

AUSTRALIAN CHAMBER ORCHESTRA 35

YOUR SAY… Mozart Clarinet Concerto “Cracker end to your 2013 Melbourne subscription series! Fröst playing Fröst — exciting, Mozart marvellous as always, Rautavaara gripping, Denisov delightful but that Broadstock? Wow! Exquisite! Please, please, please record it! And bring on 2014!” — G. Chrisﬁeld

“Very generous and electric and the introductory comments by Satu were fun. I loved Never Truly Lost, thanks to the Pallin family for adding this new piece by Brenton Broadstock. It was redolent of the bush I have experienced.” — S. Hall Ross-Gowan Aslin

“What a fantastic concert we had tonight. Thank you Martin and ACO.” — M. Sansom

“Truly wonderful. Thank you ACO.” — M. Perry

“Absolutely spectacular tonight.” — J. Barlow

“Absolutely brilliant!” — J. Sweetman

Let us know what you thought about today’s concert on Facebook, Twitter or email aco@aco.com.au

36 AUSTRALIAN CHAMBER ORCHESTRA

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TRADEMARKS: IBM, the IBM logos, ibm.com, Smarter Planet, Let’s build a smarter planet 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 of IBM or others. A current list of IBM trademarks is available on the Web at “Copyright and trademarks information” at www.ibm.com/legal/copytrade.shtml. © Copyright IBM Australia Limited 2012 ABN 79 000 024 733 © Copyright IBM corporation 2012 All Rights Reserved. These customer stories are based on information provided by the customers and illustrate how certain organisations use IBM products. Many factors have contributed to the results and beneﬁts described. IBM does not guarantee comparable results elsewhere.* The IBM Business Value survey is available at: http://www.ibm.com/ibm/ﬁles/Y067208R89372O94/11The_worlds_4_trillion_dollar_challenge-Executive_Report_1_3MB.pdf. IBMNCA0626/SCOMMERCE/ACO