The Reef 2013 program by Australian Chamber Orchestra

THE REEF

Now you’re ﬂying

Proud Principal Partner of the Australian Chamber Orchestra.

THE MORE WE KNOW, THE MORE WE WANT Today we are capturing more data about more things more quickly than ever before. The sheer facts of big data—2.5 quintillion bytes are created daily—present outsized challenges, and opportunities. As our analytical prowess grows, we are using it to create a series of powerful, even disruptive transformations: of our organisations, our industries, even our individual roles. SMART IS A VERB.

Across the world, a distinct group of leaders is emerging, who possess both a wealth of data and an acuity of analytical insight that their predecessors never had. So they feel freer to act—with a calculated boldness—to lead the big shifts that are reverberating through their organisations, their industries and beyond.

This may explain the sound you’ve been hearing so often lately: the crashing of one convention after another to the ground.

however, is applying new analytical rigor to vast pools of transactional and social data. This allows them to develop deeper profiles of individuals, and to design marketing that is more relevant, more personal and, ultimately, more like a service than before.

LET’S CHANGE THE WAY THE WORLD WORKS.

TO CHANGE EVERYTHING. City leaders used to be judged by how well they responded to a crisis. Now they are judged by how well they anticipate one.

Mayor Eduardo Paes of Rio de Janeiro has adopted a proactive approach to the safety of the city’s 6.3 million people. From a single integrated operations centre, city officials now monitor and coordinate information from 30 public agencies. During the annual rainy season, this has helped improve response times to f looded areas by 30%. More promising

still, officials have begun using predictive analytical models to pinpoint high-risk areas before f looding occurs— and to evacuate residents before rescue is too dangerous or too late. Marketers used to see you as a “segment.” Now they see you as you.

Until recently, marketers saw consumers only as vague demographic blots. So it’s no wonder so much marketing missed its audience, or bored it, or annoyed it. A generation of CMOs,

IBM® works with leaders in Australia and around the world to put data and analytics at the heart of their organisations. We’ve observed that among these leaders a distinct group is emerging, whose talents are enabled by technology but go beyond it. They are making bold decisions and advancing them on the basis of rich evidence; they are anticipating events, not merely reacting to them; and they are toppling the conventions that stand in the way of thinking and working smarter. ibm.com/smarterplanet/au

LET’S BUILD A SMARTER PLANET.®

IBM, the IBM logo, smarter planet and Let’s build a smarter planet are trademarks of IBM Corp registered in many jurisdictions worldwide. Other product, company or service names may be trademarks or services marks of others. A current list of IBM trademarks is available on the Web at “Copyright and trademark information” at www.ibm.com/legal/copytrade.shtml © Copyright IBM Australia Limited 2013 ABN 79 000 024 733 © Copyright IBM Corporation 2013 All Rights Reserved. IBMNCA0187/CONV/ACO/FPC

NATIONAL TOUR PARTNER

At a time when digital technologies inspire new ways to experience and contribute to the world, it is fitting that IBM presents The Reef, a multi-media surf odyssey by the Australian Chamber Orchestra. The Reef’s synthesis of musical styles and cutting-edge digital video technologies reflects IBM’s passion for fresh thinking and for changing the way we live and work. This collaboration of performers and film makers reinforces IBM’s belief that Australia’s unique greatness is derived from the diversity and creativity of its people — one of our most important natural resources.

NATIONAL TOUR AND FOUNDING PARTNER

ANDREW STEVENS MANAGING DIRECTOR, IBM AUSTRALIA & NEW ZEALAND AUSTRALIAN CHAMBER ORCHESTRA 1

ABOUT THE MUSIC The Reef follows on from 2008’s Musica Surfica and 2011’s The Glide. Its journeys are at once personal and universal. Surfer and wanderer Derek Hynd possesses legendary gifts, including an uncanny ability to confront exploding exteriors (on a finless surfboard) and collapsing interiors. We are then dared to comprehend these elements and mould them into the wonder of art. The personal odyssey of The Reef begins with Hynd’s own – traversing across our continent east to west, against the earth’s regular flow of storms, in a black, a coal-black beast of a vehicle.

Richard Tognetti Director, violin, composer, surfer and co-creator of The Reef

Richard Tognetti writes:

The story ﬁnishes with, and encompasses, the universal, as we are left in wonder at the dizzyingly apparent proximity of the desert stars and beyond into the abyss. But what of the music and why the need to project images?

Within all of us is the capacity for wonder, in some it just lies dormant.

Through the art of universal synchronisation, one is oﬀered the possibility of hearing more in images and seeing further into music.

“Most serious matters are closed to the hardboiled. They are un-practised in introspection, and therefore badly equipped to deal with opponents whom they cannot shoot like big game or outdo in daring…the hard-boiled are compensated for their silence: they ﬂy planes or ﬁght bulls or catch tarpon…” – from Saul Bellow’s narrator in the Dangling Man

Our musical universe ranges from our 42,000 year old Indigenous culture with the restorative music of Stephen Pigram and Mark Atkins and the cohesive force of Iain Grandage; through to remnants of a surf culture that was driven by grunge in the 90s; lurching forward to the sublimely gruesome Ramiﬁcations of Ligeti and transcending to the holy grail of J.S. Bach.

…or surf.

It also includes Orawa by composer Wojciech Kilar, best known for his music in Roman Polanski ﬁlms and a ﬁne composer in his own right, Rameau’s Entr’acte, Suite des Vents, the un-worldliness of George Crumb, scurrying Brett Dean, Soviet Shostakovich, Russian Rachmaninov and Obamainauguration performer (and 60s protest singer) Pete Seeger.

Art is one portal to notions existing beyond the material, and this project The Reef attempts, amongst other things, to bring a sense of existential awe and wonder to the hard-boiled – whilst trying to boil away perceptions that ‘classical music’ (whatever that may mean in 2013) is seemingly only for those boiled soft. The dreams of many have come from out of the mighty realm of north western Australia, where the desert is unleashed into the sea. A fertile release of our imaginations has been sparked by our ﬂeeting encounter, in May 2012, with this land and ocean, and is transformed onto the screen by Jon Frank and Mick Sowry, in an account more representative of a painter than a storyteller. 2 AUSTRALIAN CHAMBER ORCHESTRA

We conclude with Beethoven’s Cavatina written as tears ﬂooded his score, and with ‘beklemmt’ (anguish) indicated in the score. © Sean Davey

And a surfer does require a certain hardboiledness; try staying in the water as a three-metre tiger shark saunters by in Western Australia! – Anyone who reads the news will appreciate the need for that stiﬀ exclamation mark after those two words.

We invite you into our dreams, as this music sings to the elements of the natural environment and forms a sonic dialogue with the mysterious and wondrous dance-art that is surﬁng. The Reef is dedicated to the memory of Jeremy ‘Wire’ Curtain.

Jeremy ‘Wire’ Curtain

TOUR TWO THE REEF RICHARD TOGNETTI

STEPHEN PIGRAM

Artistic Director & Lead Violin MICK SOWRY Director & Producer JON FRANK Director of Photography DEREK HYND Director of Surﬁng IAIN GRANDAGE Composer MARK ATKINS Didgeridoo

Voice, Guitar & Ukulele SATU VÄNSKÄ Violin & Voice JULIAN THOMPSON Cello CRAIG JOHNSTON Voice

BRIAN RITCHIE Acoustic Bass Guitar

Prologue: ATKINS Didgeridoo improvisation S. PIGRAM (arr. Grandage) Being A. PIGRAM / S. PIGRAM / WASILIEV (arr. Grandage) Mimi TOGNETTI (real. Grandage) Heart of the Black Beast TOGNETTI (arr. Grandage) Bathymetry TOGNETTI / GRANDAGE Beyond RAMEAU Les Boréades: Entr’acte, Suite des Vents LIGETI Ramiﬁcations CRUMB Black Angels: Night of the Electric Insects BACH (arr. Tognetti) Sonata No.1, BWV1001: Fugue in G minor GRANDAGE / ATKINS Immutable KILAR Orawa ALICE IN CHAINS (arr. Tognetti) Them Bones CRUMB Black Angels: God-Music DEAN Electric Preludes: Peripeteia SHOSTAKOVICH (arr. Barshai) Chamber Symphony, Op.110a: Allegro molto RACHMANINOV Vocalise TOGNETTI Sea Drift, after Seeger TOGNETTI Evaporate ALICE IN CHAINS (arr. Tognetti) Angry Chair TOGNETTI Lament Reverse BEETHOVEN String Quartet in B ﬂat Major, Op.130: Cavatina The concert will last approximately one hour and forty minutes with no interval.

BRISBANE

MELBOURNE

SYDNEY

QPAC Fri 22 Feb 8pm

Arts Centre Sun 24 Feb 2.30pm Mon 25 Feb 8pm

Opera House Mon 4 Mar 8pm

NEWCASTLE

Town Hall Fri 1 Mar 7.30pm

CANBERRA Llewellyn Hall Sat 2 Mar 8pm

City Hall Thu 28 Feb 7.30pm

WOLLONGONG

The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. The Reef ﬁlm and inaugural performance tour were co-produced by Tura New Music. AUSTRALIAN CHAMBER ORCHESTRA 3

BEETHOVEN PIANO CONCERTO NO.4 Pianist Dejan Lazic and the ACO recorded live.

MESSAGE FROM THE GENERAL MANAGER ACO.COM.AU VISIT THE WEBSITE TO: Prepare in advance A PDF and e-reader version of the program are available at aco.com.au one week before each tour begins, together with music clips and videos.

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NEXT TOUR Barry Humphries & Meow Meow 23 Apr – 8 May

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One of the highlights of 2012 was the commissioning of a full-length film which would become the heart of The Reef. This idea had been developing in Richard Tognetti’s mind for several years, and two pilot projects, Musica Surfica and The Glide, had demonstrated how powerful the combination of great music and overwhelming surf and oceanic imagery could be. When The Reef finally hit the big screen in July last year on a tour of remote northern WA, the results were engulfing. It is a measure of the vision and breadth of IBM, our Founding Partner, that they would throw the full weight of their support behind this most creative and unusual project and enable us to bring it to the widest possible audience around the country. We salute IBM for their faith in the ACO over more than three decades and thank them for helping us bring this uniquely Australian work to the whole country. The ACO must be the only orchestra in history to have the honour of winning the Surf Culture Award at the recent Australian Surfing Awards, in recognition of the unique achievement of The Reef. Immediately following these performances of The Reef in Australia, Richard leads the ACO on an international tour which comprises two prestigious residencies – one at the Hong Kong Arts Festival and one for CalPerformances in Berkeley, California. The Hong Kong programs include performances of The Reef at the Hong Kong City Hall on Saturday 16 March.

TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

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

AUSTRALIAN CHAMBER ORCHESTRA 5

NOTES ON SELECTED MUSICAL WORKS Jean-Philippe RAMEAU (b.1683–d.1764) Entr’acte, Suite des Vents from Les Boreades (composed 1763) Composer and theorist Rameau was one of the legendary ﬁgures in French musical history. He was France’s foremost composer in the 18th century, and many of his dramatic compositions stand as the pinnacles of pre-Revolutionary French opera. In fact, he composed his ﬁrst opera at age 50.

Jean-Philippe Rameau, by Jacques André Joseph Aved, 1728

Les Boreades is Rameau’s ﬁnal opera, which was never performed in Rameau’s lifetime. Suite des Vents was conceived as an entr’acte, or a work performed between acts in the opera, and it masterfully depicts winds and nature.

György LIGETI (b.1923–d.2006) Ramifications (composed 1969) György Ligeti’s haunting, futuristic music was used to great effect in Stanley Kubrick’s classic sci-fi movie 2001: A Space Odyssey. This Hungarian composer, for many years based in Hamburg, maintained a formidable reputation as a giant of the avant-garde for over four decades. A graduate of the Budapest Academy, Ligeti spent the 1950s – his late twenties and thirties – researching Romanian folk music and issuing compositions of a similarly folk-based nature.

In the short string work Ramifications, strings are divided into two groups, and one of them is required to tune the strings to create a shimmering sonic blur with eerie, strangely beautiful cluster harmonies that became Ligeti’s hallmark in the 1960s. Ramifications will strike each listener in a totally different way. Different timbres and textures will be heard, and each imagination will conjure unique images.

George CRUMB (b.1929) Black Angels – Thirteen Images from the Dark Land (composed 1970) Threnody I: Night of the Electric Insects and God-Music American composer George Crumb is still best known today for works that he wrote in the early 1970s, including Black Angels, originally for electric string quartet. Black Angels is no conventional chamber work. Not only are the instruments wired for ampliﬁcation, but the players make use of an extended array of other sound sources, such as the bowed glasses heard in God-Music. Black Angels was written as a response to the events of the Vietnam War. 6 AUSTRALIAN CHAMBER ORCHESTRA

Johann Sebastian BACH (b.1685–d.1750) Fugue from Sonata No.1 in G minor, BWV1001 (composed 1720) Arranged by Richard Tognetti This sonata, counted amongst Bach’s six sonatas and partitas for solo violin, stands as one of western music’s most glorious and monumental works by one of history’s greatest composers. Many violinists (not all of course) wish to ﬂesh out the chordal lines and underline the structures of Bach’s violin fugal writing.

JS Bach by Elias Gottlob Haussmann, 1746

Originally written for solo violin, it has been arranged here for violin with a supporting string trio.

Wojciech KILAR (b.1932) Orawa (composed 1986) Polish composer Wojciech Kilar will be celebrating his 81st birthday this year, and he is perhaps best known for his scores for Francis Ford Coppola and Roman Polanski ﬁlms.

Orawa is a rigorous, lively work with themes drawn from folk music, and is inspired by the mountainous region that straddles the border of Slovakia and Poland. It is music of nature and the people of the Carpathian highlands, with broad phrases and medieval, almost primal rhythms.

ALICE IN CHAINS (formed 1987) Angry Chair and Them Bones (from 1992 album Dirt) Alice in Chains remains the deﬁnitive heavy metal band of the 1990s. In the period of their second album Dirt, their music straddled the worlds of hard rock/metal and the (then) upwardly mobile Seattle grunge sound. Layne Staley and Jerry Cantrell, the two main creative forces behind this release, produced what was to be the group’s most commercially successful album and in many ways Staley’s most personal artistic statement. At the time, Staley was struggling with heroin addiction which a decade later would prove to be fatal. In Them Bones we hear Cantrell’s confrontation with mortality and in Angry Chair, solely written by Staley, bleak despair.

AUSTRALIAN CHAMBER ORCHESTRA 7

Brett DEAN (b.1961) Electric Preludes (composed 2012) III Peripeteia Peripeteia (noun): a sudden or unexpected reversal of circumstances or situation. Brisbane-born composer Brett Dean continues to enjoy a remarkable career as performer and composer, having begun his journey in Australia. After travelling to Germany on an Australia Council grant, he won a position in the viola section of the Berlin Philharmonic while in his twenties, and began composing in 1988. Now based in Berlin and Melbourne, his works are regularly performed around the world from London, Berlin, Los Angeles and New York, to Sydney. Electric Preludes was commissioned for Richard Tognetti, ACO, and Festival Maribor by Jan Minchin.

Dmitri SHOSTAKOVICH (b.1906–d.1975) Chamber Symphony, Op. 110a (composed 1960) [adapted from String Quartet No.8] Arranged by Rudolf Barshai II. Allegro molto Shostakovich’s String Quartet No.8 was dedicated “To the memory of the victims of fascism and war,” with the composer describing the Quartet as “in a sense [my] musical autobiography” or “the densest mass of self-quotation I ever wrote.” Dmitri Shostakovich, 1942

The Quartet was admired by musicians from its birth. Chamber groups begged to perform it and Shostakovich was also approached by several conductors and composers who could hear its potential as an orchestrated work. Rudolf Barshai fell into both these categories. A friend of the composer, his arrangement received Shostakovich’s blessing and is published as the Chamber Symphony with its own opus number, 110a.

Sergei RACHMANINOV (b.1873– d.1943) Vocalise, Op.34, No.14 (published 1912) A vocalise is a song without words, intended to be sung on one or more vowels. Rachmaninov made several transcriptions of this famous wordless melody. His compositional talent and skill is clearly evident in this work, with the hauntingly beautiful melody interplaying with a number of concurrent counter-melodies, all of which are combined together to ravishing eﬀect. Sergei Rachmaninov, early 1900s

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Pete SEEGER (b.1919) Where Have All the Flowers Gone? (composed 1961) American musician Pete Seeger is one of the most inﬂuential and instrumental ﬁgures in folk music, largely credited with the folk music revival of the 1950s and 1960s. He has been surrounded by controversy for much of his career, as he saw music as a means to promote and support political views. In April of 1961, the year this song was composed, Seeger was found guilty of contempt of US Congress and was sentenced to ten concurrent one-year terms in prison. He was acquitted in 1962, the year Where Have All the Flowers Gone? became a Top 40 hit.

Ludwig van BEETHOVEN (b.1770–d.1827) String Quartet in B ﬂat major, Op.130 (composed 1825) IV. Cavatina: Adagio molto espressivo Op.130 was composed between August and November 1825, and the quartet in its ﬁnal form was only performed after the legendary composer’s death, on 22 April 1827.

Beethoven by Joseph Karl Stieler, 1820

Teeming, sub-melodic detail is entirely absent in the fourth movement Cavatina, where a smooth, singing line and organically integrated accompaniment create music of extraordinary repose and aﬀecting tenderness. According to a famous account by the violinist Karl Holz, this movement ‘cost the composer tears in the writing and brought out the confession that nothing that he had written had so moved him.’ If the main melodic arch of this movement was unbearably moving for the composer, what of the brief central section, marked ‘beklemmt’ (anguish)? Heralded by hushed unison triplets in the lower voices, the violin utters forth a passage which is, all at once, full of wonder, hesitation and absolute terror. ‘Beklemmt’ can mean anxious, weighed down, restricted in some way. For Beethoven, are these few bars a terriﬁc glimpse of God, of death, or both?

ADAPTED FROM NOTES BY MEURIG BOWEN, K.P. KEMP, GRAEME SKINNER, AND ALAN J. BENSON.

AUSTRALIAN CHAMBER ORCHESTRA 9

ABOUT THE COMPOSITION: IMMUTABLE Iain Grandage writes: Immutable (adjective): unchanging over time or unable to be changed. ‘seascape and salt’

This co-composed work, written in collaboration with didgeridoo virtuoso Mark Atkins, grew out of improvisations during The Reef residency (run by ACO and Tura New Music) last year at Gnaraloo station in WA. The title alludes to a certain immutable fact. Australian Indigenous musics speak utterly from and for the country and landscapes in which we live. Every gorge and mountain range has its own song – every coastline its own caretaker. This work for didgeridoo and string orchestra is a request to share one of those songs – the song and story which is carried by Mark Atkins and his didgeridoo. Structurally, the work is built in a similar manner to some of Mark’s solo improvisations – namely – a slow introduction (both to warm the instrument and welcome the listener) followed by a rhythmic chapter around a particular groove. This is followed by a moment of stasis before the ﬁnale based around a second series of rhythmic ideas. But the undoubtedly grounded-in-earth nature of a Mark Atkins solo is counterbalanced in Immutable by moments that allude to the ocean – namely two moments of quotation from early European sources. By way of context, not far from Gnaraloo (across the bay at Cape Inscription) is the spot where in 1616 Dirk Hartog left a plate – the ﬁrst known European visit to Australia. Many of the vessels that followed him were wrecked on the WA coast. These shipwrecks have slowly decayed and morphed until they are unrecognisable from natural reefs – their story has become part of nature. Gradually, ever so slowly, their European story is becoming entwined in the Australian landscape – the very antithesis of being immutable. The two transformed quotations are from the Dutch composer Sweelinck, and a fragment of the John Banister setting of Shakespeare’s ‘Full Fathom Five’. The remainder of the work’s harmonic language is based around ever-expanding intervals separated by the semitone, as the strings slowly diverge from an initial unison with the didgeridoo in the introduction. The irony inherent in the title is the fact that Mark is the embodiment of a considerate and adaptable collaborator, and I thank him deeply for allowing me to share another chapter of his remarkable story.

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ABOUT THE MEETING OF SURFING AND CLASSICAL MUSIC Jon Frank writes:

Richard Tognetti surﬁng

I suppose my main concern was, as always, to try not to be party to the destruction of any masterpieces of western civilization along the way. Advertising sharks have no shame in using Beethoven to sell chocolate or Carl Orff to sell beer but this isn’t about selling you anything. How could anyone with a conscience project pictures of surfing to the music of Bach? His is the grand work of a musical genius. It is perfect. In fact it’s better than perfect, it’s biblical. God-like. Bach transcends mortality. Surfing certainly takes centre stage in the lives of its devotees but its lines are drawn on such an ephemeral medium and generally so far out to sea, that to non-surfers it can be difficult to understand. For a non-surfer it must be easy to view surfing as frivolous and self obsessed or worse still as a ‘sport’, which is blasphemy to the purists of our culture. Yes surfing is a culture, or is it a kultcha? I’m out of touch. What do you estimate the average age of a classical music concert audience to be? I’ve been to a few and I’d reckon it’s in the high 60s, kind of like Florida. Look around you tonight as you read this, I’ll wager there are quite a few younger faces in the crowd. A few raucous ones too no doubt, with sunburned noses and salty mops. So while you can’t make better the work of Beethoven or Bach, what you can do is enable that work to be heard by a generation that has been reared on YouTube, punk, and hip hop at the speed of a broadband revolution internet connection. That’s not to say that this is a better way, the music sure doesn’t need us. At the very least The Reef provides an opportunity for the youth who just don’t go to classical music concerts, to hear for themselves how massive, irreverent, exciting and damn touching this music can be. This music transcends age, wealth, status and class. This music needs to be heard by us all. (Just not on TV selling Old Spice, please.)

AUSTRALIAN CHAMBER ORCHESTRA 11

ABOUT THE FOOTAGE Mick Sowry writes: When I discovered I was to direct The Reef, after the surprise came the thinking.

Dane Beevor

How do you express a place you’ve known of for 40 years but never visited, with a palette of images without spoken word or recorded soundtrack, using a metaphoric visual and musical language built on a two week stay on the remote desert coast of north west Western Australia? Respect for the original inhabitants of the land was in the front of my mind too, and it was there that the seeds for the idea came. This is a place of deep time, a glass hard land that pricks and cuts and glistens. It is, and persists, eternal. Our days there, experiencing this extraordinary place, needed, it seemed to me, to be compressed into a Mythic Day, and that day was to become a metaphor for life. That was the idea.

We come and go, sparks in time. I approached the shoot armed with an open mind and a notebook full of ideas. Some elements were long planned. Our opening of the day underwater, a birth. The harshness of the high sun, the ants, the scratching frenetic nature of our working lives. Others, like the third movement of Crumb’s Black Angels was a reaction to the time the piece was written (during the Vietnam war) and the presence of The American Boy in the form of the virtuosic American surfer Ryan Burch. Ryan Burch

Under a bad fall of the temporal dice he could have been standing in a paddy ﬁeld in Vietnam.

The Gnaraloo experience was a lot diﬀerent from gazing down from Google Earth. Adjusting to managing, with a lot of help, (particularly from my line producer Fran Derham) 20 or more people on a big stage, and taking a couple of days to get acquainted with the near-military operation of synchronising arrival at a speciﬁc break with the right crew and equipment in time for optimum swell and shooting conditions, proved a challenge. We settled on the RED camera system as it gave us the ability to capture images of astonishing resolution and it also gave us the ability to stop time and allow us to see things that we might otherwise never see, or experience.

Ants

These cameras take us, in the hands of Director of Photography Jon Frank (Musica Surﬁca, The Glide, The Crowd, The Nothing Project), to another world.

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Relentless and courageous, he ﬁlmed with tiger sharks cruising the line up, throwing himself into the water whatever the conditions and whatever the time, for as long as it took. His ability to remain underwater for what seemed like minutes at a time delivered wonders. Ideas thrown up as potential ﬁlled lumps of coal turned into diamonds. He cruised the bush, alone with his camera, letting it wander with intent.

From left: Jon Frank and Dane Beevor

Returning to a small room in wintery Torquay, Jon and I edited for a very long month, with the help of Ed Saltau keeping us technically on track. The work ﬁnished, we entered an intense rehearsal period with Richard and the orchestra, followed by a 2012 tour of the Top End, tracking down the west coast to Perth, and on to the Sydney Opera House. Now, this year’s east coast tour is giving the rest of Australia a chance to see The Reef, and the added time has given Richard, Jon and me the chance to revisit it, a bit like a painter returning to a canvas for some ﬁnal touches. This is a new, evolved The Reef. It has been an adventure bringing it to you. I would like to especially thank Simon Yeo for his vision, energy and good humour. Without him The Reef would not have happened.

ABOUT THE SURF Derek Hynd writes: Welcome to The Reef.

Derek Hynd

The slight test of endurance, for my dedicated crew of five, started well before the slated event commencement in a trusty old Land Cruiser, involving a double roll over in the dirt of the Buntine Highway in the Northern Territory, emergency medical care from Patrick Underwood at Inverway Station, the adoption of Buntine the dingo pup at Halls Creek, a 1000km stretch with a crushed roof and no windscreen until Broome, investigation and discovery of dinosaur footprints at the threatened eon old terrain of James Price Point at the invitation of local tribal elders, and eventual dusk arrival at one of the planet’s most pristine vistas. We beheld an amazing land of wonderful souls and hidden majesties. The Reef is the culmination of a series of fusion projects focusing on the sea. Musica Surfica (2008), The Glide (2010), and now The Reef, largely championing the progression of Free Friction surfing, a new surfing artform conducted without fins. Man of few peers in finned surfing, Dane Beevor, offers structural perspective, whilst air mat rider Warren Pfeiffer – at 60 years of age – lays claim to being the fastest surfer on the planet. AUSTRALIAN CHAMBER ORCHESTRA 13

llustration: © Hugo Muecke

The indulgence of maestro Tognetti as a dedicated exponent of the discipline is of course noted. Without his devotion to speeding across the wave face as if on a magic carpet, none of these projects would have been undertaken. Great credit goes to the ACO Board and Administration in veering to the left bank of project fusion, and especially to Janet Holmes à Court whose core appreciation of The Reef has been something to behold. Two rising tenets of the artform exist. Alaia surfing, popularly originated by Jacob Stuth and Tom Wegener in tribute to the ancient Polynesian pursuit; and Far Field Free Friction (FFFF) surfing, pioneered by Sydney’s Dale Egan 20 years ago and modified by me 7 years ago with the removal of all fins.

Finless Boards

FFFF is so named (2006) in deference to Simopekka Vänskä, brother of ACO Principal Violin Satu Vänskä, whose mathematical theorem ‘Direct and Inverse Scattering for Beltrami Fields’ – or ‘The Far Field Theory’, depicts stability after chaos upon reaching the theoretical point of infinity. Inconsequential by comparison, certainly, but it is the feeling of coming into sudden control after marked instability that keys free friction surfing. Or just call it plain old stoke. It is the abandonment of ingrained control that most appeals. Patrick White noted before his passing the loss of intuition within society in the face of rising control. FFFF surfing places the variable as the control mechanism, evolving the artform into freeform jazz. I’ve garnered much joy from watching Richard tackling waves at Noosa Heads, Bells Beach or Ningaloo Reef with a proficiency that puts him at the forefront of research and development within the discipline. Credit also to Taylor Claire Miller, daughter of Waimea Bay great Rusty Miller, whose progression has been nothing shy of wild. The shock and awe on the faces of the pack at The Pass, Byron Bay, as she torques and rotates over them in the crowded line up has no parallels in women’s surfing. Sans fins, one can respectfully run another surfer over after all. Ryan Burch is the beacon of next generation FFFF. Aside from the miraculous chunk of foam ridden during The Reef, his performances after borrowing a board or two from my quiver leaves little doubt that he can be as magnetic to watch as the king of fins, Kelly Slater. What you are about to see is surfing, but not as you know or imagine it. Thank you for the support.

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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.”

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.

THE DAILY TELEGRAPH (UK)

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.

Select Discography

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.

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: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop.

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

IAIN GRANDAGE © Pia Johnson

COMPOSER Iain Grandage is both a musician and a composer for theatre, dance and the concert hall. He has been Composer-in-Residence with the Western Australian Symphony Orchestra, the Youth Orchestras of Australia and Black Swan Theatre Company. He received the Ian Potter Emerging Composer Fellowship and is currently an Honorary Research Fellow at University of Western Australia. Iain won Helpmann and Green Room Awards for theatre scores, which include The Blue Room, The Book of Everything, Cloudstreet, In the Next Room, Little Match Girl, and Secret River. His scores for dance include the award-winning Lawn (Splinter Group) and Remember Me (DanceNorth). Iain’s concert works have been performed by the Brodsky String Quartet, Australian String Quartet, Australian Brass Quintet, Sara Macliver, Craig Ogden, and by choirs and orchestras around Australia. He has won APRA/AMC awards and has completed orchestral arrangements for Ben Folds, Gurrumul, Tim Minchin, Steve Pigram, Tim Rogers, Sinead O’Connor, Tiddas and The Whitlams. Iain plays cello as part of the chamber ensemble Overlander with William Barton, Claire Edwardes and Melanie Robinson, and has moonlighted with the Brodsky Quartet, Australian Art Orchestra and Topology. He regularly performs piano with cabaret überdiva MeowMeow, and was Music Director of Meow’s Wunderschön with ANAM. Iain has acted as musical supervisor and arranger for the Black Arm Band’s Hidden Republic, Dirtsong and Seven Songs presentations, and was music director and arranger for Eddie Perfect’s Songs from the Middle. He conducted all the Australian symphony orchestras as part of the 2012 Tim Minchin vs the Orchestra tour.

DEREK HYND © Taylor Claire Miller

OUTRAGEOUS SURFER, THINKER, DOER Derek grew up in Newport Beach, Sydney, in an era of drug culture, motorcycle madness and plights of upward mobility…all of which he took no part in. Instead, upon graduating in political economy from Sydney University, he veered left to a life of world travel, incisive and often controversial writing as well as various groundbreaking surfing pursuits. This is his fourth decade at the forefront of performance, beginning with a top ten world ranking, a career in elite coaching and radical industry politics. His recent development of a revolutionary kind of surfing, Far Field Free Friction (FFFF), is nothing short of breathtaking invention. The fin has been removed, leaving the edge of the rail and the speed of no constraint. Think magic carpet. This being Derek’s eighth year sans fins, he remains committed to research and development. The Ningaloo Reef has posed the biggest challenge thus far, after seven years ‘going right’ (facing the wave). Now, with his back to the wave in The Reef, the process has been a challenge to overcome. The Reef is Derek’s third venture with the ACO, cross-pollinating free friction surfing with fine music. In the past he was one of the main collaborators with Jon Frank in the highly regarded soul surfing film Litmus. In this project, the Hynd/Tognetti/Frank fusion spawns fresh intoxication. By Taylor Claire Miller

16 AUSTRALIAN CHAMBER ORCHESTRA

MICK SOWRY © Ed Sloane

DIRECTOR, PRODUCER AND EDITOR Mick Sowry writes: Normally a biography in a document like this would consist of a list of degrees, awards and reviews of a glittering history. Here I’m a little different. My early life was one of searching for something I could hang on to as a career, but a curiosity about everything made it impossible for me to decide, and to find a focus. I was thrown out of design school as I kept disappearing off to chase waves, but a base set of strong artistic skills help me settle into advertising as a creative in an industry that covered every base. I could draw and think and write and conjure up ideas for a stream of ever-changing challenges that kept me (often) fascinated when I wasn’t gazing out the window daydreaming of the sea. After almost 30 years the daydreams got the better of me. We sold the house, and, returning from a last real summer holiday, I sent a ‘wing and a prayer’ email to Richard Tognetti describing one particular filmic daydream, asking him if he’d be interested in doing the sound design. An hour later we were talking, never having met before, and two months later I was on King Island making a first collaboration with the ACO in the form of Musica Surfica. It wasn’t the filmic daydream I’d approached Richard about, but it was a fork in the road I had to take. The premise behind that film was the benefits of risk in creativity. I can say amen to that. Without that forced opportunity this new life would not have happened, and I would not have had the chance to work with such wonderful people sharing a different view of the watery world we love to live in.

JON FRANK © Ed Sloane

PHOTOGRAPHIC IMAGES AND FOOTAGE, EDITOR It was May 2012 and already winter on Victoria’s West coast. Thick lumps of roaring forties swell surge shoreward like great humpback whales, rising and falling onto this remote beach; a steep bite of sand where each wave arrives dark with intent. Jon Frank wades through the fading light, ducking and diving through the treacherous shore break, swim fins propelling him towards the impact zone, heavy film camera encased waterhousing held just above water level. There is a moment here, a split second, where a wave arches, bending towards the shallow sandbar, dimpled like a buckled sheet of steel illuminated by the final rays of the day. As a surf photographer, Jon Frank is without peer. Widely regarded as the artist of the ocean image, Frank has spent the past two decades expressing his unique vision of surfing and ocean waves, winning a slew of photography and cinematography awards along the way. His ethereal images have adorned magazine covers, books and advertising campaigns, selling everything from soft drinks to surfboards. His cinematography has added an esoteric layer to an impressive catalogue of surf films, documentaries and television programs. His work has been exhibited in Australia, USA, Slovenia and Portugal and he has collaborated with Richard Tognetti and the ACO to create a series of classical music concerts (The Glide, The Crowd and Nothing) featuring video projection behind live orchestra. Surf photography has been described as ‘starvation on the road to madness’ and Frank’s gaze has wandered far beyond the agitation of wind on water. But it is in these moments, as darkness kisses this chill and desolate coastline, that he lifts us beyond our imagination. By Brendan J McAloon www.jonfrank.org AUSTRALIAN CHAMBER ORCHESTRA 17

MARK ATKINS DIDGERIDOO One of the world’s ﬁnest didgeridoo players, Australian Aboriginal musician Mark Atkins is internationally recognised for his collaborative projects with some of the world’s leading composers and musicians. A descendant of Western Australia’s Yamitji people, and of Irish/ Australian heritage, Mark has incorporated the didgeridoo sound into some unlikely musical environments, adding its primal pulse to orchestral works, theatrical productions and dance performances. Through Mark’s lips the air blows as a natural desert sound, in old ethnic chants and in polyphonic melodies of astonishing rhythm. Mark is a performer, storyteller, songwriter, composer, percussionist, visual artist and instrument maker. He creates and paints didgeridoos from wood collected near his home in Tamworth, New South Wales and has exhibited his traditional and contemporary artwork in Japan, Europe and the United States. As performer and composer, Mark has worked with Led Zeppelin’s Robert Plant and Jimmy Page, the London Philharmonic Orchestra, Hothouse Flowers, Philip Glass, Sinead O’Connor, Peter Sculthorpe, Donald Lunney, Ornette Coleman, Gondwana Voices, Jenny Morris, John Williamson, James Morrison, The Blind Boys of Alabama and many more. He also won the Golden Didgeridoo at the Tamworth Country Music Festival. In 2001 Mark collaborated with composer Philip Glass and Wurundjeri elder Joy Murphy Wandin in Voices, a concert work for didgeridoo and organ performed in Australia, at the Lincoln Centre, New York, and in Amman, Jordan. He also performed in the Sydney Opera House season of Naqoyqatsi and toured Philip Glass’ Orion, which premiered in Greece and subsequently toured to Italy, France, UK, USA, Mexico and Australia. Mark’s solo work Grungada toured Australia, Hong Kong and France. Mark has also performed at festivals Womadelaide, Australia and WOMAD Seatle, USA. Mark is founding member of Black Arm Band, featuring Australian legends of indigenous contemporary music, which wrote and performed Murandak, Hidden Republic and Dirtsong.

STEPHEN PIGRIM © Rhys Graham

VOICE AND GUITAR From Australia’s far northwest Kimberley region, singer/songwriter/ musician Stephen Pigram is probably best known for his work with his six musical brothers in Broome’s much loved Pigram Brothers band and the ‘saltwater country’ style of music they deliver. He was a member of the pioneering bands Kuckles and Scrap Metal, and was musical director for the original production of the first Aboriginal musical Bran Nue Dae. He played a major role in the development and production of the recent Australian film Mad Bastards as both producer and composer. In 2006, Stephen and brother Alan were inducted into the West Australian Music Industry Hall of Fame, the first indigenous artists to receive this honour. 2013 sees the release of Stephen’s first solo album, ‘Wanderer’. Mimi ‘Mimi’ in the Yawuru language is the word for ‘grandmother’ (mother’s mother)…her spirit never dies, she’s always watching over me… imajalajalan ngaiyu.

18 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 Madeleine Boud Violin Rebecca Chan Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Christopher Moore Principal 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, 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 has been at the helm as Artistic Director since 1989, expanding the Orchestra’s national program, spearheading vast and regular international tours, injecting unprecedented creativity and unique artistic style into the programming and transforming the group into the energetic standing (except for the cellists) ensemble for which it is now 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; Principal Violin Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Principal Violin Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund and Principal Cello Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andraea cello on loan from Peter William Weiss AO. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include three-time ARIA Award-winning 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 regular subscribers and tens of thousands of ticket buyers 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 19

MUSICIANS ON STAGE

RICHARD TOGNETTI AO§ HELENA RATHBONE* Director & Violin Chair sponsored by Michael Ball AM & Daria Ball, Joan Clemenger, Wendy Edwards, and Prudence MacLeod

Principal Violin Chair sponsored by Hunter Hall Investment Management Limited

Photos: Paul Henderson-Kelly, Helen White

SATU VÄNSKÄ≈

MADELEINE BOUD

Principal Violin Chair sponsored by Robert & Kay Bryan

Violin Chair sponsored by Terry Campbell AO & Christine Campbell

REBECCA CHAN

AIKO GOTO

MARK INGWERSEN

ILYA ISAKOVICH

Violin Chair sponsored by Ian Wallace & Kay Freedman

Violin Chair sponsored by Andrew & Hiroko Gwinnett

Violin

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

CHRISTOPHER MOORE

NICOLE DIVALL

JULIAN THOMPSON#

MAXIME BIBEAU

Principal Viola Chair sponsored by Tony Shepherd

Viola Chair sponsored by Ian Lansdown

Acting Principal Cello Chair sponsored by the Clayton Family

Principal Bass Chair sponsored by John Taberner & Grant Lang

Viola

Didgeridoo

Players dressed by

ALEXANDRUMIHAI BOTA

MARK ATKINS

AKIRA ISOGAWA

Voice, Guitar & Ukulele

Cello

STEPHEN PIGRAM

TIMOTHY NANKERVIS1

Acoustic Bass Guitar

Cello

BRIAN RITCHIE

SHARON DRAPER2

Voice

CRAIG JOHNSTON 1 2

Courtesy of Sydney Symphony Courtesy of Melbourne Symphony Orchestra

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 # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andræ cello kindly on loan from the Australia Council

20 AUSTRALIAN CHAMBER ORCHESTRA

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

Chris Froggatt Janet Holmes à Court AC Heather Ridout

Andrew Stevens John Taberner Peter Yates AM

Richard Tognetti AO Artistic Director

ADMINISTRATION STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager and Development Manager Michelle Kerr Executive Assistant to Mr Calnin and Mr Tognetti AO ARTISTIC & OPERATIONS Luke Shaw Head of Operations and Artistic Planning 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

EDUCATION Vicki Norton Education and Emerging Artists Manager Sarah Conolan Education Assistant FINANCE Cathy Davey Chief Financial Oﬃcer Steve Davidson Corporate Services Manager Shyleja Paul Assistant Accountant DEVELOPMENT Alexandra Cameron-Fraser Corporate Relations and Public Aﬀairs Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Lillian Armitage Philanthropy Manager Ali Brosnan Patrons and Foundations Executive Stephanie Ings Investor Relations Manager Julia Glass Development Coordinator

AUSTRALIAN CHAMBER ORCHESTRA

MARKETING Rosie Rothery Marketing Manager Amy Goodhew Marketing Coordinator Clare Morgan National Publicist Hazel Savage Publicity Coordinator and Videographer Chris Griffith Box Office Manager Dean Watson Customer Relations Manager David Sheridan Office Administrator and Marketing Assistant INFORMATION SYSTEMS Ken McSwain Systems and Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist

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 21

FILM PRODUCTION CREDITS A collaboration by Richard Tognetti, Mick Sowry and Jon Frank Richard Tognetti Artistic Director

Mick Sowry Director and Producer

Jon Frank Director of Photography

Derek Hynd Director of Surﬁng

Edited by Mick Sowry and Jon Frank FEATURED SURFERS Derek Hynd Dane Beevor Ryan Burch Richard Tognetti Taylor Miller Warren Pfeiffer Tully Beevor Karl Atkins Tos Mahoney – Artistic Director TURA New Music Vicki Norton – Tour Manager Michelle Kerr – Assistant to Richard Tognetti and Production Assistant Simon Yeo – Logistics Manager Fran Derham – Line Producer Wes Greene – Post production Manager, Camera Operator & Data Wrangler Ed Saltau – 2nd Unit Camera Operator, Post Production Coordinator, Assistant Editor and Colourist Ed Sloane – 2nd Unit 2nd Camera and Stills Photography Craig Johnston – Sound Recordist Luke McNee – Additional Footage Tully Beevor – Additional Footage Jack McCoy – Additional Footage Rory Mahoney – Post Production Supervisor Tim Hayes – Safety Officer, Zero Risk International Steve Shearer – Surf Forecaster Frederic Poguet, Mike Junghans and Sara Poguet – Catering Cameras, Underwater Equipment, Technical Support and post production Facility supplied by Nalu Productions Sound Design by Soundfirm 22 AUSTRALIAN CHAMBER ORCHESTRA

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

PO Box 7585 Arts Centre Melbourne PO Box 7585 St Kilda Road, Melbourne VIC 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au VICTORIAN ARTS CENTRE TRUST Ms Janet Whiting (President) Ms Deborah Beale, Ms Terry Bracks, Mr Julian Clarke, Ms Catherine McClements, Mr Graham Smorgon, Prof Leon van Schaik ao, Mr David Vigo EXECUTIVE GROUP Chief Executive Ms Judith Isherwood Corporate Services Ms Jodie Bennett Performing Arts Mr Tim Brinkman Facilities & Asset Management Mr Michael Burns General Manager – Development, Corporate Communications & Special Events Ms Louise Georgeson Customer Enterprises Mr Kyle Johnstone Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

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

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

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. Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

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

AUSTRALIAN CHAMBER ORCHESTRA 23

ACKNOWLEDGEMENTS VENUE SUPPORT

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

PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444

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

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 EXECUTIVE STAFF Chief Executive John Kotzas Director – Marketing Leisa Bacon Director – Presenter Services Ross Cunningham Director – Development Jacquelyn Malouf 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 The Honourable Rachel Nolan mp Minister for Finance, Natural Resouyrces and The Arts Director-General, Department of the Premier and Cabinet John Bradley Deputy Director-General, Arts Queensland Leigh Tabrett PSM 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 TRUST Mr Kim Williams am (Chair) Ms Catherine Brenner, The Hon Helen Coonan, Mr Wesley Enoch, Ms Renata Kaldor ao, Mr Robert Leece am rfd, Mr Peter Mason am, Dr Thomas Parry am, Mr Leo Schofield am, Mr John Symond am EXECUTIVE MANAGEMENT Chief Executive Officer Louise Herron Executive Producer SOH Presents Jonathan Bielski Director, Theatre & Events David Claringbold Director, Marketing, Communications & Customer Services Victoria Doidge Director, Building Development & Maintenance Greg McTaggart Director, Venue Partners & Safety Julia Pucci Chief Financial Officer Claire Spencer SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Office: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

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24 AUSTRALIAN CHAMBER ORCHESTRA

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 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 AO

Peter William Weiss AO

John Taberner & Grant Lang

Aiko Goto

Madeleine Boud

Violin

Viola Chair Philip Bacon AM

Andrew & Hiroko Gwinnett

Terry Campbell AO & Christine Campbell

Melissa Barnard

CORE CHAIRS

Mark Ingwersen Violin

Ilya Isakovich Violin

Australian Communities Foundation – Connie & Craig Kimberley Fund

Cello

Rebecca Chan Violin

The Bruce & Joy Reid Foundation

Ian Wallace & Kay Freedman

Julian Thompson Cello

Nicole Divall

The Clayton Family

Viola

Ian Lansdown

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon

Mr R. Bruce Corlett AM & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert AO & Mrs Libby Albert AUSTRALIAN CHAMBER ORCHESTRA 25

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 OAM John Taberner

FOUNDING PATRONS PETER WILLIAM WEISS AO, PATRON VISIONARY $1m+ Peter William Weiss AO

LEADER $500,000–$999,999

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

CONCERTO $200,000–$499,000 Naomi Milgrom AO

SOLO $5,000  $9,999 Amanda Staﬀord

OCTET $100,000–$199,000 Amina Belgiorno-Nettis

QUARTET $50,000–$99,000 John Leece OAM & Anne Leece

SONATA $25,000–$49,999

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

26 AUSTRALIAN CHAMBER ORCHESTRA

PATRONS $500  $4,999 June & Jim Armitage John Landers & Linda Sweeny Alison Reeve Angela Roberts Anonymous (1)

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

Wendy Edwards Euroz Charitable Foundation Don & Marie Forrest Tony & Rose Packer Nick & Claire Poll Gavin & Kate Ryan Jon & Caro Stewart Simon & Jenny Yeo

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 Mirek Generowicz Peter & Valerie Gerrand V Graham Margot Woods & Arn Sprogis Anonymous (1)

AUSTRALIAN CHAMBER ORCHESTRA 27

NISEKO SUPPORTERS The ACO would like to pay tribute to the following donors who are supporting our continued 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 Ă Court Family Trust Howard & Launa Inman Robert Johanson & Anne Swann Richard & Lizzie Leder Naomi Milgrom

Clarke & Leanne Morgan Richard & Amanda Oâ&#x20AC;&#x2122;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 Ă CourtMather

International Tour Supporters Jenny & Stephen Charles Julia Ross

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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

EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Daria & Michael Ball Steven Bardy Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin Carapiet Foundation Mark Carnegie Darin Cooper Family John B Fairfax AO Chris & Tony Froggatt Belinda Hutchinson AM Angus & Sarah James PJ Jopling QC Miss Nancy Kimpton Paula Kinnane Mr Bruce & Mrs Jennifer Lane Prudence MacLeod Alf Moufarrige Alex & Pam Reisner Margie Seale & David Hardy Mr John Singleton AM Beverley Smith John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO Peter William Weiss AO E Xipell Anonymous (1)

DIRETTORE $5,000$9,999 The Abercrombie Family Foundation Geoﬀ Alder The Belalberi Foundation Jenny & Stephen Charles Leith & Darrel Conybeare Peter & Tracey Cooper Bridget Faye AM Ian & Caroline Frazer Edward C Gray Maurice Green AM & Christina Green Annie Hawker Rosemary Holden Warwick & Ann Johnson Julie Kantor Keith Kerridge Philip Levy Lorraine Logan Peter Lovell David Maloney & Erin Flaherty Julianne Maxwell Louise & Martyn Myer Foundation Marianna & Tony O’Sullivan Sandra & Michael Paul Endowment John Rickard The Roberts Family Mark & Anne Robertson Paul Salteri Paul Schoﬀ

Seleco Foundation Ltd Kerry Stokes AC & Christine Simpson Ian Wallace & Kay Freedman Ian Wilcox & Mary Kostakidis Cameron Williams Anonymous (2)

MAESTRO $2,500$4,999 Jane Allen Tiﬀany Andrews Will & Dorothy Bailey Bequest Doug & Alison Battersby Berg Family Foundation Virginia Berger Bill & Marissa Best Patricia Blau Dr David & Mrs Anne Bolzonello Cam & Helen Carter Jenny Charles Caroline & Robert Clemente Dr Peter Clifton Judy Crawford John & Gloria Darroch Kate Dixon Leigh Emmett Michael Fitzpatrick Ann Gamble Myer Rhyll Gardner Liangrove Foundation Warren Green Nereda Hanlon & Michael Hanlon AM

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATIONS PROGRAM Liz Harbison Angela James & Phil McMaster Vanessa Jenkins Macquarie Group Foundation The Marshall Family The Michael Family P J Miller Patricia H Reid Endowment Pty Ltd Ruth Ritchie D N Sanders Cheryl Savage Brian Schwartz Greg Shalit & Miriam Faine Ms Petrina Slaytor Amanda Staﬀord Philippa Stone Dr & Mrs R Tinning Ralph Ward-Ambler AM & Barbara Ward-Ambler Anonymous (2)

VIRTUOSO $1,000$2,499 Annette Adair Mr L H & Mrs M C Ainsworth Antoinette Albert David & Rae Allen Andrew Andersons David Arnott Sibilla Baer The Beeren Foundation Linda & Graeme Beveridge Jessica Block Kathy Borrud Ben & Debbie Brady Vicki Brooke Sally Bufé Neil Burley & Jane Munro Michael Cameron Cannings Communication Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Georg & Monika Chmiel Angela & John Compton Bernadette Cooper Anne & David Craig Judy Croll Marie Dalziel Lindee & Hamish Dalziell Mrs June Danks Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling

Jennifer Dowling Dr W Downey Professor Dexter Dunphy AM Bronwyn Eslick Peter Evans Helen Elizabeth Fairfax Elizabeth Finnegan Stephen Fitzgerald Lynne Flynn Nancy & Graham Fox R Freemantle Jane & Richard Freudenstein Colonel Tim Frost Anne & Justin Gardener Jaye Gardner Daniel & Helen Gauchat Paul Gibson & Gabrielle Curtin Colin Golvan SC Richard & Jay Griﬃn Lyndsey Hawkins Peter Hearl Reg Hobbs & Louise Carbines Michael Horsburgh AM & Beverley Horsburgh Penelope Hughes Wendy Hughes Pam & Bill Hughes Graeme Hunt Glen Hunter & Anthony Niardone Stephanie & Michael Hutchinson Brian Jones D & I Kallinikos Len La Flamme Greg Lindsay AO & Jenny Lindsay Sydney & Airdrie Lloyd Judy Lynch Martin Family in memory of Lloyd Martin AM Kevin & Deidre McCann Brian & Helen McFadyen Ian & Pam McGaw J A McKernan Jane Morley G & A Nelson Nola Nettheim Anne & Christopher Page Rowland Paterson peckvonhartel architects David Penington AC Ayesha Penman Tom Pizzey Mark Renehan Dr S M Richards AM & Mrs M R Richards

30 AUSTRALIAN CHAMBER ORCHESTRA

Warwick & Jeanette Richmond In Memory of Andrew Richmond David & Gillian Ritchie Peter J Ryan In Memory of H. St. P. Scarlett Jeﬀ Schwartz In memory of Elizabeth C Schweig Peter & Ofelia Scott Jennifer Senior Tony Shepherd Paul Skamvougeras Diana Snape & Brian Snape AM Maria Sola & Malcolm Douglas Ezekiel Solomon AM K W Spence Cisca Spencer Robert Stephens Geoﬀrey Stirton Mr Tom Story Dr Douglas Sturkey CVO AM Dr Charles Su & Dr Emily Lo Paul Tobin Anne Tonkin Ngaire Turner Loretta van Merwyk Kay Vernon Bill Watson M W Wells Janie Wanless & Nev Wittey Sir Robert Woods Nick & Jo Wormald Don & Mary Ann Yeats William Yuille Anonymous (15)

CONCERTINO $500$999 Antoinette Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Peter & Catherine Aird Elsa Atkin Ruth Bell Max Benyon Brian & Helen Blythe Dr Anthony Bookallil Brian Bothwell Denise Braggett Julie Carriol Kirsten Carriol Fred & Jody Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm

ACO DONATIONS PROGRAM Stephen Chivers John Clayton ClearFresh Water Laurence Cox AO & Julianne Cox Sam Crawford Architects Professor John Daley Ted & Christine Dauber Mari Davis Dr Christopher Dibden Mike & Pamela Downey In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Suellen Enestrom Barbara Fargher Michael Fogarty Patricia Gavaghan Brian Goddard Prof Ian & Dr Ruth Gough Philip Graham Katrina Groshinski Dr Annette Gross Matthew Handbury Mr Ken Hawkings Dr Penny Herbert in memory of Dunstan Herbert Jennifer Hershon Peter & Ann Hollingworth Dr & Mrs Michael Hunter Diane Ipkendanz Philip & Sheila Jacobson Barry Johnson & Davina Johnson OAM Mrs Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Danièle Kemp Robert Leece AM Megan Lowe John Lui Bronwyn & Andrew Lumsden James MacKean Roderick & Leonie Matheson Janet Matton Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham

Dr Hamish & Mrs Rosemary McGlashan Colin McKeith Mrs Robyn McLay Joanna McNiven I Merrick Jan Minchin Julie Moses Helen & Gerald Moylan Hon Dr Kemeri Murray AO Susan Negrau J Norman Graham North Selwyn M Owen Josephine Paech L Parsonage Deborah Pearson Kevin Phillips Miss F V Pidgeon AM Michael Power Larry & Mickey Robertson Team Schmoopy Manfred & Linda Salamon Greg & Elizabeth Sanderson Garry Scarf & Morgie Blaxill Ken & Lucille Seale Mr Berek Segan OBE AM & Mrs Marysia Segan John Sydney Smith Dr Fiona Stewart Prof Robert Sutherland In memory of Dr Aubrey Sweet Matthew Toohey David Walsh G C & R Weir Gordon & Christine Windeyer Lee Wright Mr Hugh Wyndham Brian Zulaikha Anonymous (18)

CONTINUO CIRCLE BEQUEST PROGRAM The late Kerstin Lillemor Andersen 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 Penelope Hughes The late Pauline Marie Johnston The late Mr Geoﬀ Lee AM OAM Mrs Judy Lee The late Richard Ponder Ian & Joan Scott Margaret & Ron Wright Mark Young Anonymous (13)

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 William Weiss AO

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. AUSTRALIAN CHAMBER ORCHESTRA 31

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

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

Anna Bligh

Jennie Orchard Tony O’Sullivan Head of Investment Banking Lazard Australia Heather Ridout Director Reserve Bank of Australia

Peter Shorthouse Client Advisor UBS Wealth Management John Taberner Consultant Freehills

MELBOURNE DEVELOPMENT COUNCIL Peter Yates AM (Chairman) Chairman Royal Institution of Australia Director AIAA Ltd

Debbie Brady Ben Brady Stephen Charles

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 Liz Cacciottolo (Chair) Judy Crawford Dee de Bruyn Judy Anne Edwards Chris Froggatt Elizabeth Harbison Bee Hopkins

32 AUSTRALIAN CHAMBER ORCHESTRA

Sarah Jenkins Vanessa Jenkins Prue MacLeod Julianne Maxwell Julie McCourt Julia Pincus Mandie Purcell Sandra Royle

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 Belgiorno-Nettis AM Chairman Australian Chamber Orchestra & Executive Director Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon AM Director Philip Bacon Galleries Mr David Baffsky AO Mr Brad Banducci Director Woolworths Liquor Group Mr Jeff Bond General Manager Peter Lehmann Wines Mr John Borghetti Chief Executive Officer Virgin Australia Mr Hall Cannon Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux

Dr Bob Every Chairman Wesfarmers Mr Robert Scott Managing Director Wesfarmers Insurance Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel

Ms Julianne Maxwell Mr Michael Maxwell Mr Geoﬀ McClellan Partner Freehills Mr Donald McGauchie AO Chairman Nufarm Limited

Mr Richard Freudenstein Ms Naomi Milgrom AO Chief Executive Oﬃcer FOXTEL Ms Jan Minchin Director Mr Colin Golvan SC & Tolarno Galleries Dr Deborah Golvan Mr John Grill Chairman WorleyParsons

Mr Jim Minto Managing Director TAL

Mrs Janet Holmes à Court AC

Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Ms Catherine Livingstone AO Chairman Telstra

Mr Michael & Mrs Helen Mr Andrew Low Chief Executive Oﬃcer Carapiet RedBridge Grant Samuel Mr Stephen & Mrs Jenny Mr Steven Lowy AM Charles Lowy Family Group Mr Georg Chmiel Mr Didier Mahout Chief Executive Oﬃcer CEO Australia & NZ LJ Hooker BNP Paribas Mr & Mrs Robin Crawford Mr David Mathlin Rowena Danziger AM & Senior Principal Kenneth G. Coles AM Sinclair Knight Merz

Mr Scott Perkins Head of Corporate Finance Deutsche Bank Australia/New Zealand Mr Mike Sangster Managing Director Total E&P Australia Ms Margie Seale and Mr David Hardy Mr Glen Sealey General Manager Maserati Australia & New Zealand 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 Kim Williams AM Chief Executive Officer News Limited Mr Geoff Wilson Chief Executive Officer KPMG Australia Mr Peter Yates AM Chairman, Royal Institution of Australia Director, AIAA Ltd

AUSTRALIAN CHAMBER ORCHESTRA 33

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

FOUNDING PARTNER

ACO VIRTUAL ORCHESTRA FOUNDING PARTNER

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

CONCERT AND SERIES PARTNERS

Peter William Weiss AO

Daryl Dixon

Warwick & Ann Johnson

EVENT PARTNERS

GPO Sydney No. 1 Martin Place

34 AUSTRALIAN CHAMBER ORCHESTRA

on george

ACO NEWS • FEBRUARY/MARCH 2013

news NISEKO WINTER MUSIC FESTIVAL 12–14 January Benjamin Caddy (viola) and Sharon Draper (cello). The Festival would not have been possible without the generous support of sponsors like Hokkaido Tracks and all of our private patrons led by Alf Moufarrige, Annie Myer, Martyn Myer and Peter Yates. We are immensely grateful to them all. © Richard Tognetti

We’ve just returned from our fourth annual Niseko Winter Music Festival in the stunning snowﬁelds of Japan. Our tour group consisted of Richard Tognetti, Satu Vänskä, Nicole Divall, Julian Thompson, Maxime Bibeau, Rebecca Chan, a handful of our young Emerging Artists and special guest Joseph Tawadros. The threeday festival consisted of music by Mozart, Vivaldi and Rameau, and songs by Pete Seeger and R.E.M. and featured the wild, wonderful sounds of Joseph Tawadros’ Oud and beautiful strains of local classical guitarist Yasuji Ohagi.

Niseko Mountain

Concert halls by night and the fabulous powder snow every day was a fantastic, if exhausting, start to the year. We were particularly excited to share this experience with our young Emerging Artists; Glenn Christensen (violin),

From left: Maxime Bibeau, Julian Thompson, Aiko Goto.

AUSTRALIAN CHAMBER ORCHESTRA 35

EDUCATION NEWS Our program at the Matraville Soldiers’ Settlement School is part of the music program at the school run by the Australian Children’s Music Foundation (ACMF), and moves up a notch this year introducing four more Year 3 and 4 students to the joys of playing a string instrument.

Music educator Rachel Scott, who works with the children in the ensemble on a weekly basis says, “Kids throughout the school are talking about violin and cello playing. Teachers want to come to classical music concerts. And families want to come too; families who would have never done something like that before.”

Last year together with the ACMF we inaugurated a string ensemble made up of students aged 8 and 9 who had never played a string instrument before. During our biannual visits to the school, we joined these enthusiastic students for group rehearsals and an in-school concert for an audience of students and teachers. As well as developing their playing, these students have shown improvement in their general reading skills and overall attention in class.

We’re looking forward to seeing the progress of the ensemble at our ﬁrst 2013 visit in early April.

The Matraville Soldiers’ Settlement School String Ensemble and choir perform with us as part of our partnership with the Australian Children’s Music Foundation’s Education Program.

YOUR SAY Feedback about the Tognetti’s Mozart concert tour “Wonderful concert to kick off 2013. Pure genius in the programing, played to perfection. Haydn and Mozart symphonies were both wonderful but it was the Dean and the Mozart concerto that really rocked my socks. The former a total headspin and so exciting. The latter so joyous and beautiful beyond belief.” Gail Chrisﬁeld

“There was a really fresh lightness and motion in both second movements in the Mozart works. Transparent; you could

hear the DNA shining through, and what was passed on to others like Paganini and Schubert. Thanks again ACO!” Charles Su

“Thankyou Richard & ACO for dragging us into the 21st century with your exploration of new musical frontiers and experimentation with sound. That performance on electric violin of Brett Dean’s Electric Preludes was transcendental.” Emma Zen

Let us know what you thought about this concert at aco@aco.com.au.

36 AUSTRALIAN CHAMBER ORCHESTRA

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