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As one of the world’s leading oil and gas companies, TOTAL appreciates that technical excellence, hard work, creativity and innovation are important drivers of success. When looking to form a flagship arts partnership in Australia, it was just these attributes that attracted TOTAL to the Australian Chamber Orchestra and its unique and exceptional musical performances. In 2013, for the first time, TOTAL will be a National Tour Partner of the ACO, supporting the exciting Barefoot Fiddler tour with Guest Director and Lead Violinist Patricia Kopatchinskaja. For TOTAL, the partnership with ACO reflects a growing commitment to Australia and the communities where it operates. As a major partner in two liquified natural gas projects, providing technical and project management expertise, as well as participating in both offshore and onshore exploration, TOTAL is an active participant in Australia’s oil and gas industry, investing many billions in 2013 alone. With plans to grow in Australia, TOTAL hopes to continue to make a positive contribution to exciting artistic endeavours for as many as possible to experience. And on that note (pardon the pun), I very much hope you enjoy this performance.
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MIKE SANGSTER MANAGING DIRECTOR TOTAL EXPLORATION & PRODUCTION AUSTRALIA AUSTRALIAN CHAMBER ORCHESTRA 1
ABOUT THE MUSIC By Patricia Kopatchinskaja Projects with the marvellous Australian Chamber Orchestra are always a great pleasure and involve intense musical teamwork. Every single musician in this unique ensemble has a strong personality and an independent mind. For this program I wanted to be less a soloist and instead focus more on exploring polyphonic and democratic ideas within the ensemble. I also hope to challenge some of the musicians of the ACO in their own solo roles. This program showcases the immense possibilities of all the ACO musicians.
Patricia Kopatchinskaja Guest Director & Lead Violin
In the first half we present a concerto for three violins by Johann Sebastian Bach. This was found in a collection of cembalo concertos, but there are indications that the piece was originally for three violins. The work is full of joy and energy and requires a flowering, light virtuosity and a dancing bass. Mozart – even as a mature artist – studied a lot of Bach’s music. His wife Constanze often asked him to play fugues by Handel and Bach for her. Mozart adopted this musical language and even wrote pieces in Bach’s style. It is one of these pieces – the dramatic Adagio and Fugue KV546 – which opens our program. I can’t wait to play Alberto Ginastera’s concerto for strings which has been a discovery for me personally. This hotblooded South-American music is full of dark energy – it has guts and balls! The music gets under the skin and goes directly to the heart. It’s wild, it has the rhythm and the intensity of a crowd of people…it is full of individual freedom, shadows, mystery, brutality, colours, gestures, questions, anxiety and ominous presentiments. It tells a hair-raising story, with the Finale furioso leading directly into hell. We conclude with a daredevil violin concerto which Mendelssohn wrote (and played!) when only sixteen years old.
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TOUR FIVE BAREFOOT FIDDLER PATRICIA KOPATCHINSKAJA Guest Director & Lead Violin
HELENA RATHBONE Violin REBECCA CHAN Violin MOZART
Adagio and Fugue in C minor, K.546
J.S. BACH
Concerto for Three Violins in D major, BWV1064
I N T E R VA L
GINASTERA
Concerto for Strings, Op.33
MENDELSSOHN
Violin Concerto in D minor
Approximate durations (minutes): 12 – 23 – INTERVAL – 18 – 22 The concert will last approximately two hours including a 20-minute interval.
ADELAIDE Town Hall Tue 23 Jul 8pm BRISBANE QPAC Mon 29 Jul 8pm CANBERRA Llewellyn Hall Sat 27 Jul 8pm
MELBOURNE Arts Centre Sun 21 Jul 2.30pm Mon 22 Jul 8pm PERTH Concert Hall Wed 24 Jul 7.30pm
SYDNEY Opera House Sun 28 Jul 2pm City Recital Hall Angel Place Tue 30 Jul 8pm Wed 31 Jul 7pm Fri 2 Aug 1.30pm Sat 3 Aug 7pm WOLLONGONG Town Hall Sat 20 Jul 7.30pm
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary.
AUSTRALIAN CHAMBER ORCHESTRA 3
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ACO ON THE RADIO ABC CLASSIC FM: Barefoot Fiddler concert with Patricia Kopatchinskaja Fri 26 July, 1.05pm Brahms Piano Quintet Wed 21 August, 7pm
NEXT TOUR Brahms Piano Quintet 12—26 August Scholl Sings Vivaldi 3—9 October
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It is hard to believe that three years have passed since we last had the enormous pleasure of presenting Patricia Kopatchinskaja as guest director of the ACO. Patricia’s infectious joy in music-making energises the ACO’s musicians as much as it thrills audiences and we are looking forward to the vigour and spontaneity of her concerts around the country. We are especially pleased to be joined by a new National Tour Partner for these concerts. TOTAL was a major force behind the creation of The Reef last year and we are immensely grateful to them for their expanded support of the ACO this year. Their support enables us to bring great music to audiences right across the country. In these concerts, we are unveiling something extraordinary. Last year, we were approached by a couple of anonymous private benefactors who had been inspired by the ACO Instrument Fund. They were keen to bring another great instrument into the ACO’s midst and, coincidentally, Maxime Bibeau had been forwarding me photos of and articles about a uniquely historic double bass which was on the market after several decades in the care of a celebrated German bass player. Our benefactors were intrigued and threw themselves into profound historical research to gain a complete understanding of the provenance and significance of this instrument. In the end, they have bought it for use by the ACO and, in these concerts, Patricia and Max are adding a little bonus to the program so you can hear it for yourself. So, what’s all the fuss about? It is a double bass by the Stradivari of double bass makers, the legendary Gasparo da Salò, and it was built c.1590, when Francis Drake had just circumnavigated the earth, William Shakespeare married Anne Hathaway, and Europeans had just had their first taste of chocolate. The ACO is so fortunate to have such generous supporters in our circle, enabling our musicians to perform on these incomparable instruments. We thank them most sincerely and promise to reward their generosity through great performances here in Australia and around the world.
PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue.
TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA 5
MOZART Adagio and Fugue in C minor for Strings, K.546 (Composed 1788)
Wolfgang Amadeus MOZART (b. Salzburg, 1756 — d. Vienna, 1791) Mozart was the single greatest composer of the Classical period and remains one of music’s foremost geniuses. A master both of the highbrow and the common touch, he has delighted audiences and inspired performers from his time until now. fugue: a compositional technique in which independent musical lines enter one after the other in imitation of an opening melody, known as the ‘subject’. Fugues can appear either as stand-alone works or as episodes embedded into larger movements or pieces. stretto: a technique used to intensify a fugue (see above) in which subject entries follow in quick succession, each subject overlapping with the next.
ACO performance history ACO has played Mozart’s Adagio and Fugue four times since 1978, including as part of a 1982 tour of Europe.
Further listening Patricia recommends an impressive recording of Mozart’s Adagio and Fugue from the Camerata Salzburg, directed by Sandor Vegh (Capriccio). 6 AUSTRALIAN CHAMBER ORCHESTRA
‘A short Adagio…for a fugue which I had already written a long time ago for two pianos,’ wrote Mozart in his diary of completed compositions on 26 June 1788, about the time he was composing his last three symphonies. He had transcribed the Fugue for the two violins, viola and bass for which the Adagio was scored. Music writer Hans Keller wondered whether Mozart’s equivocal words about the Fugue, and some smudged writing in the diary, conceal diffidence about putting these two pieces together. The Adagio introduction, plumbing the depths of remote keys in some of the most daring harmonic progressions Mozart ever wrote, prefaces a fugue which is a masterly contrapuntal display-piece. The work as a whole is certainly deeply impressive, though startling to those who have never encountered this short-lived aspect of his music. ‘A long time ago’ was five years: in 1783 Mozart was coming to grips for the first time with the contrapuntal mastery of Johann Sebastian Bach, to whose music he had been introduced by Baron Gottfried van Swieten, Vienna’s Imperial Court Librarian and patron of the arts. The result in Mozart’s music has been called by Alfred Einstein ‘a true crisis of creative ability’, which worked itself out in fugal exercises as Mozart tried to come to terms with what he could learn from Bach. The Fugue, K.426 was composed at this time for two pianos, and is a strict one for four voices, on a deeply serious theme. Mozart includes in it all the technical devices of stretto and inversion, showing that he had learnt very well – if proof were needed by anyone who knows the integration of contrapuntal devices into later music by Mozart, such as the finale of the Jupiter Symphony! Even at the time of composing the Fugue, Mozart felt it needed an introduction, and began, but did not complete, a prelude. (He composed a number of such preludes for his string trio transcriptions of fugues from J.S. Bach’s Welltempered Clavier.) He must have considered this Fugue of importance, since he returned to it five years later and provided it with an introduction matching it in significance and weight. The original form of the Fugue does not explore the potential of two keyboards, so the arrangement for strings is probably preferable. Mozart’s entry in his diary seems to imply performance by a string quartet, but a sketch in the manuscript dividing the bass stave for cellos and double basses leaves open the possibility that he had in mind a string orchestra, a medium which better brings out the music’s expressive weight. DAVID GARRETT © 1991
J.S. BACH Concerto for Three Violins in D major, BWV 1064 (Composed c1730)
I. Allegro II. Adagio III. Allegro assai BACKGROUND
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.
Johann Sebastian Bach was a practical composer, writing whatever music was required of him with little thought to his lasting fame or legacy. Hardly any of his music was published during his lifetime; the majority of his work was preserved in his own manuscripts and the handwritten copies of others. There are probably hundreds of compositions by Bach that were written down once for a specific occasion, never needed again, and subsequently lost. The Concerto for Three Violins in D major very nearly joined the ranks of the missing. There is no surviving manuscript of the original; what we have instead is the music for a Concerto in C major for three harpsichords. This was written sometime in the early 1730s, probably for performance by Bach and two of his sons with the Leipzig Collegium Musicum. In the early twentieth century Arnold Schering, a German musicologist, pointed out that many of the figurations in the solo harpsichord parts looked like they were originally intended for violin. After further research, it is now almost unanimously accepted that this concerto started out as a triple violin concerto in D major. By analysing other arrangements Bach made of his own works, it has been possible to reconstruct the triple violin concerto from the harpsichord version. In these concerts, Patricia Kopatchinskaja and the ACO perform the reconstruction undertaken by Wilfried Fischer for the New Bach Edition.
ABOUT THE MUSIC
ritornello: the Italian word for ‘return’, used here to describe the recurring melodic theme which holds together the opening movement, a typical feature of concerto form.
ACO performance history The Concerto for Three Violins was last performed by the ACO in 1978, as part of a Musica Viva regional subscription tour.
The first movement is strongly reminiscent of the Vivaldi concerto style that Bach so admired. The soloists play in unison at the beginning, announcing the sturdy ritornello phrase that returns faithfully throughout the movement. This opening theme is functional rather than melodic, but with so many strands of music interweaving in the same register (two orchestral violin parts as well as the three soloists), simple building blocks are ideal. Listeners can easily feel disoriented by such thickly woven counterpoint; the writer Percy M. Young suggests listening “from within – as though one were taking part in the performance.” The musical strands are more distinct in the Adagio, where the three soloists work in tandem to create long, singing phrases over the orchestra’s forlorn tread. Bach uses a basso quasi ostinato – a single-bar bass pattern that is repeated over and over at different pitches. Increasingly anguished AUSTRALIAN CHAMBER ORCHESTRA 7
harmonies almost bring the languid plodding to a standstill several times, but with a sigh the orchestra carries on to complete the movement. The final movement returns to the bright character of the first. This time the ritornello is more complicated, made up of three themes layered together. In between this recurring refrain, the three soloists are each given an extended run on their own, and they make the most of it. It’s almost like a chase – the orchestra sprints to keep up with the speedy virtuosity of the first two solos, and then is almost tripped over by the mischievous harmonies of the third. Eventually the ritornello finds its feet and we reach the end. © DAVID JOHN LANG 2013
GINASTERA Concerto for Strings, Op.33 (Composed 1965)
I.
Variazioni per i solisti – Theme: Libero e rapsodico – Variation I: Pochissimo più mosso – Variation II: Allegro – Variation IV: Lento – Variation V: Tempo 1 II. Scherzo fantastico III. Adagio angoscioso IV. Finale furioso
Alberto GINASTERA (b. Buenos Aires, 1916 — d. Geneva, 1983) One of South America’s greatest composers, whose works remain some of art music’s most infrequently performed, Alberto Ginastera’s output ranged from folk-music-inspired works all the way to avant-garde, atonal masterpieces. Ginastera sought to create an original Argentinian musical style and remains a key figure in the history of 20th-century music in the Americas. Included among his many pupils is the legendary Argentinian composer Ástor Piazzolla. See feature article page 12.
BACKGROUND In the late 1960s, the Argentinian composer Alberto Ginastera identified three distinct periods in his writing career. He described the first (from 1934 to 1947) as ‘objective nationalism’, a period in which he referred directly to Argentinian folk materials within traditional tonal means. In the second, ‘subjective nationalism’ lasting roughly from 1947 to 1957, he sublimated Argentinian features into an original style. In his third period, ‘neo-Expressionism’, he sought an even more symbolic and arguably deeper nationalism in combining magic surrealism with serial techniques and avant-garde procedures. It may seem odd that Ginastera should define his creative periods himself – was he influenced by the way critics categorise Beethoven’s career in terms of stages? But he was right in looking back over his life, from the vantage point of the late 60s, and seeing in it a grand trajectory. Along with Bartók, Ginastera might be considered the 20th century’s most successful and impressive assimilator of national elements within the western classical tradition.
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ABOUT THE MUSIC This work, the Concerto for Strings (completed in 1965), dates from the third of these periods. There are obvious 12-tone passages in the vigorous unisons; quarter-tones are apparent from the opening bars. But this work also retains features of the second period, a period which saw Ginastera evolve movement prototypes which he would explore for the rest of his career.
tutti: the Italian word for ‘everybody’, used here to indicate the contrast of the full on-stage ensemble with the five soloists of the first movement. Since its Baroque origins in the concerto grosso form, the concerto has been characterised by such striking alternations between small and large groups of performers. tremolo: quick and continuous reiteration of a single pitch. pizzicato: notes to be plucked rather than bowed.
To quote from Grove’s Dictionary of Music and Musicians: ‘A [second period] work generally opened with a bithematic sonata movement whose initial motivic cells generated melodic, harmonic and formal processes.’ This Concerto’s first movement begins with a meditative theme, a single note with arpeggiated flourishes heard at the outset on solo violin. Much use is made of quarter-tones; the ‘initial motif ’ has an incantatory character; the violin’s opening rumination and the tutti’s reponse form principal ideas which will be developed. What follows are a series of variations or cadenzas featuring different solo instruments: cello, second violin, viola, and double-bass returning with the initial idea subjected to various inflections (variation IV). Grove goes on: ‘He cast his second movements into mysterious scherzos that echoed sublimated malambo rhythms using evanescent pianissimo effects.’ The malambo is a traditional Argentinian dance in rapid 6/8 metre. You can certainly hear an atomised dance – as well as an acute attention to differences in sound – in the various types of attack favoured by each instrument in this work’s second movement. Within the space of the first 13 bars, for example, we have notes played with mutes, bowed near the bridge, tremolo near the fingerboard, pizzicato, harmonics…It happens faster and more fleetingly than you can really note it. If we return to the Grove description we can see how even at this late stage, Ginastera’s third movements have a ‘chromatic intensity’ (in the Concerto the Adagio is even described as ‘anguished’) which he balances with ‘diatonic malambo finales which achieved an unprecedented vigour through their increasing use of irregular beat patterns and changing metres’. This work is therefore a good work by which to understand the hallmarks of Ginastera’s mature style. The Concerto for Strings, Op.33, was premiered by the Philadelphia Orchestra, under the direction of Eugene Ormandy in May 1966. Ginastera’s stature can be gauged from the quality of the commissions and premieres he received throughout his career. GORDON KALTON WILLIAMS © 2013
ACO performance history Ginastera’s Concerto for Strings Op.33 was performed as part of an ACO subscription tour in 1998. AUSTRALIAN CHAMBER ORCHESTRA 9
MENDELSSOHN Violin Concerto in D minor for violin and string orchestra (Composed 1822)
I. Allegro molto II. Andante III. Allegro BACKGROUND
Felix MENDELSSOHN (b. Hamburg, 1809 — d. Leipzig, 1847) Although Mendelssohn is often considered a musical reactionary, his intense lyricism betrays an underlying emotion that helps explain his perennial popularity.
Mendelssohn was famous for his brilliant precocity as a composer, but he had been selective about the works he published from his earliest years. They include supreme masterpieces: the Octet for Strings, composed when he was 17, and the Overture A Midsummer Night’s Dream, from the following year. Yet even before he had composed either of these, in 1823, his teacher Zelter had arranged a mock ceremony, in which he told Felix, ‘From this day forth you are no longer an apprentice but a member of the brotherhood of musicians. I proclaim you independent, in the name of Mozart, Haydn, and old father Bach.’ To reverse composers’ own judgment about their juvenilia, it takes the advocacy of performers, preferably famous ones. No violinist was more famous than Yehudi Menuhin when in 1951 he came across and purchased the manuscript of a concerto in D minor for violin and strings that Mendelssohn had composed about 1822. The following year Menuhin performed it, then recorded it. This paved the way for the revival of Mendelssohn’s 13 string symphonies of 1821–3. This music was first heard in the musicales held on Sunday mornings in the Mendelssohn home in Berlin. Felix selected the programs, directed the rehearsals, appeared as piano soloist, and also conducted, even though he was so small that he had to stand on a stool to be seen. There were many excellent string players available, and Felix, who himself played the violin and the viola, was able to experiment with string writing in ideal workshop conditions.
ACO performance history The ACO has performed Mendelssohn’s Violin Concerto in D minor for violin and string orchestra twice as part of a subscription tour in 2000 and 2006, and as part of Huntington Festival in 1993, and as part of a special performance in 1994.
Among Felix Mendelssohn’s friends was the young violinist Eduard Rietz, from whom he had violin lessons. The Violin Concerto in D minor of 1822 was dedicated to Rietz, who was described by a critic as ‘a first-rate fiddler – in the good old style, with a fondness for a big, full bow and a firm, juicy tone’. The style of this early concerto is understandably very different from that of Mendelssohn’s great masterpiece in E minor, of 1844. Among its models were the concertos of the French school: those of Viotti, Rodolphe Kreutzer, and Rode, on which all violinists of that time cut their teeth. Yet more striking is this music’s affinity with the Baroque and Classical concerto. Mendelssohn’s musical mentor Zelter was a conservative, and Mendelssohn knew the music of the ‘old-fashioned’ Sebastian (‘father’) Bach, and through him the concertos of Vivaldi.
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ABOUT THE MUSIC The serious, intense D minor manner of the first movement seems to Mendelssohn’s biographer Philip Radcliffe to give evidence of his love for Mozart’s Piano Concerto in the same key (No.20, K.466). The frequent use of string tremolos, and the interweaving string parts in the second subject, bear this out, as do the leaps in the solo instrument’s first entry. To these ears, however, there is more of the Baroque, in the arresting unisons with dotted rhythms which recur in ritornello fashion, as also in the early Classical concertos of Haydn. There is no pause for a cadenza, and in the recapitulation the main themes are presented in reverse order, with the second, heard first, treated to impressive variation and modulation.
Further listening Patricia recommends a sparkling interpretation of Mendelssohn’s Concerto for violin in D minor by Gidon Kremer and the Orpheus Chamber Orchestra (Deutsche Grammophon 427338).
Yehudi Menuhin described the second movement as representing ‘a noble song’. The musical language here is much closer to that of the mature Mendelssohn. The soloist comes in on the tail-end of a phrase with free material, like a cadenza. Mendelssohn’s handling of his ideas is impressively sure, ranging through keys and moods, but always highlighting the singing capacity of the solo instrument. In a coda, there is suspense, dramatic mutterings from the lower strings, then long-held high and low notes for the soloist, preparing the finale. The third movement is based on a single lively theme, playfully exploring its possibilities. The writing is more showily virtuosic than anything in Mozart’s violin concertos – presumably Mendelssohn wanted to give Rietz opportunity for display. ADAPTED FROM A NOTE BY DAVID GARRETT © 2002
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GINASTERA’S SOUTH AMERICA GORDON KALTON WILLIAMS Some might know Ginastera as the teacher of Ástor Piazzolla, the inventor of ‘nuevo tango’, or even the teacher of Waldo de los Rios, who made 1960s pop songs from classical music. But his music is important in its own right. Ginastera was born in Buenos Aires to an Italian mother and Catalan father. He was proud of his Catalan heritage and in later life preferred the Catalan pronunciation of his surname, with a soft ‘G’ as in ‘George’, to the Spanish ‘J’, as in ‘Jose’. Ginastera began his musical training at the age of seven and studied, formally, with Alberto Williams, one of the pioneers of the national movement in Argentinian music, and at the National Conservatory of Music. In 1941 he joined the faculties of the National Conservatory and the San Martín National Military Academy but the Péronist regime forced his resignation from the Military Academy in 1945 for signing a petition in support of civil liberties and he took advantage of a Guggenheim grant to reside in the US from December 1945 until March 1947. There he participated in Aaron Copland’s composition course at Tanglewood. In 1948 Ginastera played a key role in founding the Argentinian section of the International Society for Contemporary Music (ISCM), and became director of the conservatory at the National University of La Plata. Further difficulties with the Péron government caused his resignation from La Plata in 1952 and he only regained the post there after Péron’s defeat, earning a full professorship in 1958. Ginastera resigned again to organise and direct the faculty of musical arts and sciences at the Catholic University of Argentina.
During the period which saw his resignation from La Plata he concentrated on film music. His separation from his first wife led to a creative dry spell broken only under the influence of his relationship with cellist Aurora Nátola, whom he married in 1971 and with whom he permanently settled in Switzerland. During his last 12 years, he produced a significant body of cello music. As musicologist Deborah Schwartz-Kates says in her article on Ginastera in Grove’s Dictionary: ‘From his earliest works, [Ginastera] showed a remarkable ability to forge new symbols expressive of Argentinian musical identity.’ He did this mainly through artistic adoption of the gauchesco (cowboy) tradition, the tradition of the horseman whose image played a key role in establishing Argentinian culture. Much of Ginastera’s music contains two elements that are immediately expressive of the gaucho. One is the use of harmonies and melodies that are reminiscent, or even derived, from the open strings of the guitar. The other is the incorporation or evocation of the malambo, the vigorous jousting or competitive dance of the gauchos, whose characteristic foot-tapping (zapateo) Ginastera often expresses as six, rapid quavers, over which he can then superimpose the rhythms of dances such as the gato and zamba, often in a Bartókian build-up of percussion and dissonance. Malambos are some of the most exciting examples of Ginastera’s music.
When the Latin American Centre for Advanced Musical Studies at the Instituto Torcuato di Tella was founded in 1962, Ginastera was asked to assume its leadership. There (from 1963 to 1971) Ginastera promoted avant-garde techniques, offering young Latin American composers fellowships to study with composers such as Copland, Messiaen, Xenakis, Nono and Dallapiccola.
All his career Ginastera worked toward an idealisation and abstraction of these national characteristics. Early works, such as Estancia (1941) and the Obertura para el ‘Fausto’ criollo (1943) make overt use of gaucho literature, however. The ballet version of Estancia drew on spoken and sung passages from José Hernández’s epic poem, Martín Fierra, a portrait of gaucho lifestyle. The Obertura para el ‘Fausto’ criollo is a programmatic work based on Estanislao del Campo’s poem Fausto of 1866, which tells of a gaucho’s misadventures after he stumbles upon a performance of Gounod’s Faust at Buenos Aires’ Teatro Colón.
Says Carlos A. Gaviria in his dissertation, Alberto Ginastera and the Guitar Chord: ‘Ginastera’s compositional output tended to mirror his personal and professional circumstances.’
Ginastera’s music interweaves memorable passages from Gounod’s opera with Argentinian folk features. Estancia was originally commissioned by Lincoln Kirstein’s American Ballet Cavaran, but when that
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company folded Ginastera created a four-movement suite from the ballet, which is among his most popular works. You can find various offerings of its first and last movements (The Agricultural Workers and the final Malambo) on YouTube played by the Simón Bolivar Youth Orchestra of Venezuela conducted by Gustavo Dudamel. Earlier Argentinian nationalist composers tended to superimpose folkloristic elements over European forms, but it was Ginastera who had sufficient mastery of compositional techniques to sublimate those national elements into abstract music. This marks the achievement of Ginastera’s second period, which includes works such as the String Quartet No.1, Piano Sonata No.1 and the Harp Concerto, one of his more popular works in Australia. As David Garrett has written of another popular work, 1953’s Variaciones Concertantes: ‘The theme...is stated by a single cello over a figure played by the harp, sounding the notes of the open strings of the ‘gauchesco’ guitar (E–A–d– g–b–e), a tuning in fourths which runs through the chordal structure of the work, and relates the music to the feel of the pampas: the vast treeless plains and ranch lands that identify almost all of Argentina outside Buenos Aires and its suburbs.’ Cello solos, ‘the guitar chord’, an opening melody which originates from an inflected single note – here are continuing concerns. The final movement is once more an idealised malambo. It is important to note, however, that at this time, Ginastera counterbalanced his interest in strict construction with opportunities for improvisational freedom. His Pampeana No.1 (1947) and Pampeana No.2 (1950) are both subtitled ‘rhapsody’ and feature extended solo cadenzas. And the instrumental solos in the first movement of this concert’s work have an improvisatory feel. In his third stylistic period, Ginastera was influenced by the composers of the Second Viennese School. Webern is the influence behind the Cantata para América mágica (1960), for soprano and 53 percussion instruments. In fact, the Cantata’s fourth movement is palindromic. After reaching a central 12-note cluster, it repeats its materials in retrograde. Schoenberg’s idea of Klangfarbenmelodie (tone colour melody) influences Milena (1971) and the String Quartet No.3 (1973). Berg was also an influence, particularly in the composer’s contribution to opera from the 1960s on. 1964 saw the premiere of Ginastera’s Don
Rodrigo, and Plácido Domingo’s appearance in the title role at the New York City Opera’s first season in its new home at the Lincoln Center in 1966, was an early milestone in Domingo’s career. It’s important to note that Ginastera specified his stylistic periods in the late 1960s. He still had more than a decade to live, and Deborah Schwartz-Kates has thus suggested a fourth stylistic period – Final Synthesis (1976–1984) typified by ‘complex post-serial techniques to recreate the spirit of the Americas as exemplified in its collective indigenous heritage’. Note that the text for Cantata para América mágica, by Ginastera’s first wife Mercedes de Toro, was based on pre-Columbian manuscripts. Perhaps the most stunning work of this period is Popol Vuh, a series of eight symphonic frescoes (seven were completed) based on the Mayan creation mythology as translated around 1700 by a Dominican priest in present-day Gautemala. Eugene Ormandy and the Philadelphia Orchestra commissioned this work after the orchestra had premiered Ginastera’s monumental Turbae ad Passionem Gregorianam in 1975. Ginastera composed most of the score, but left it unfinished at his death. Some years later, Barbara Nissman was performing Ginastera’s First Piano Concerto with the Philadelphia Orchestra under Leonard Slatkin and drew the conductor’s attention to the unfinished work. They discovered that it felt complete at seven movements, and Slatkin and the St. Louis Symphony Orchestra premiered the work in 1989. Popol Vuh was recorded by the SLSO under Slatkin in 1990 and attracted a cult following. As noted, Ginastera sought more than mere folkloricism. What he was after was something more profound and definitely more profoundly South American and it dictated his development. Perhaps we should leave the fourth-period Ginastera with the penultimate word: ‘I am evolving…The change is taking the form of a… reversion…to the primitive America of the Mayas, the Aztecs, and the Incas. This influence in my music I feel as not folkloristic, but…as a kind of metaphysical inspiration...What I have done is a reconstitution of the transcendental aspect of the ancient pre-Columbian world.’ This is a composer whose world many might like to explore. GORDON KALTON WILLIAMS © 2013 AUSTRALIAN CHAMBER ORCHESTRA 13
PATRICIA KOPATCHINSKAJA © Marco Borggreve
GUEST DIRECTOR & SOLO VIOLIN
Violinist Patricia Kopatchinskaja’s repertoire ranges from baroque and classical (often played on gut strings) to a number of new commissions or re-interpretations of modern masterworks. 2013/14 sees Kopatchinskaja continue her regular collaboration with the London Philharmonic Orchestra and Vladimir Jurowski as they embark upon a major European tour. This season she will debut with the Philharmonia Orchestra and NHK Symphony Orchestra Tokyo, both with Vladimir Ashkenazy, Akademie für alte Musik Berlin under the baton of René Jacobs and MusicAEterna with Teodor Currentzis. She will also perform Peter Eötvös’ new violin concerto DoReMi (with the composer conducting) with the Symphonieorchester des Bayerischen Rundfunks as part the Musica Viva Festival in Munich in spring 2014. Other highlights of the season include a play/direct program with Britten Sinfonia at London’s Barbican Centre and a residency at the 2013 Beethovenfest Bonn which will feature chamber concerts and a performance of the Beethoven Violin Concerto with Bamberger Symphoniker under the baton of Jonathan Nott. Chamber music is of immense importance to Kopatchinskaja’s artistic life and her regular chamber partners include Fazil Say, Sol Gabetta, Markus Hinterhäuser and Polina Leschenko, as well as members of her own family. She is also a founding member of the newly formed quartet-lab, a string quartet with Pekka Kuusisto, Lilli Maijala and Pieter Wispelwey. In autumn 2013 the quartet will embark upon a European tour including performances at London’s Wigmore Hall, Berlin Konzerthaus and the Eindhoven Muziekgebouw among others. Patricia Kopatchinskaja records exclusively for Naïve Classique. Releases for the label include her reading of Beethoven’s Violin Concerto with Philippe Herreweghe and the Orchestre des Champs-Élysées, and more recently, a critically acclaimed allHungarian CD featuring Bartók’s second Violin Concerto, Ligeti’s Concerto and Peter Eötvös’ Seven, with the composer conducting in collaboration with hr-Sinfonieorchester and Ensemble Modern. Her latest disc – a recording of violin concerti by Prokofiev and Stravinsky with the London Philharmonic Orchestra and Vladimir Jurowski – will be released in autumn 2013. In addition, she has recorded works by Tigran Mansurian and Ustvolskaya for ECM Records. The winner of numerous prizes over the course of her career to date, Kopatchinskaja was announced as the recipient of the 2012 Praetorius Musikpreis Niedersachsen Award in the category of innovation. Patricia Kopatchinskaja plays a violin made by Giovanni Francesco Pressenda in 1834. She is a goodwill ambassador for the charity Terre des Hommes, through which she supports projects for children in Moldova. 14 AUSTRALIAN CHAMBER ORCHESTRA
HELENA RATHBONE © Paul Henderson-Kelly
VIOLIN
Helena Rathbone was appointed Principal Second Violin of the Australian Chamber Orchestra in 1994. Since then she has performed as soloist and Guest Leader with the ACO in Australia and overseas. In 2006 Helena was appointed Director and Leader of the ACO’s regional touring ensemble, AcO2, which sources musicians from the ACO’s Emerging Artists Program. Helena studied with Dona Lee Croft and David Takeno in London and with Lorand Fenyves in Banff, Canada. Before moving to Australia, she was Principal Second Violin and soloist with the European Community Chamber Orchestra and regularly played with ensembles such as the Academy of St. Martin in the Fields. When not performing with the ACO, Helena has been leader of Ensemble 24, guest leader of the Tasmanian Symphony Orchestra and is a frequent tutor and chamber orchestra director at National Music Camps and with the Australian Youth Orchestra. She has appeared in the Australian Festival of Chamber Music, the Christchurch Arts Festival, the Sangat Festival in Mumbai and the Florestan Festival in Peasmarsh, Sussex. As a regular participant of the International Musicians Seminar at Prussia Cove (Cornwall), Helena played in the IMS tour of the UK in 2007. The group, led by Pekka Kuusisto, won the Royal Philharmonic Society Award for chamber music 2008. In November 2013, Helena will be guest-leading the Mahler Chamber Orchestra for concerts and recordings in Europe, with the pianist Leif Ove Andsnes. Helena plays a 1759 Guadagnini violin loaned to her by the Commonwealth Bank.
AUSTRALIAN CHAMBER ORCHESTRA 15
REBECCA CHAN © Jon Frank
VIOLIN
Rebecca Chan was born in Melbourne and grew up in regional Victoria. After leaving school when she was fourteen, she completed degrees in Medicine and Arts at the University of Melbourne and studied violin with William Hennessy before her main musical studies at the Australian National Academy of Music (ANAM) and the Sydney Conservatorium with principal teacher Alice Waten. Rebecca has been soloist with many of Australia’s major orchestras, including the Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, Adelaide Symphony Orchestra, Canberra Symphony Orchestra, Orchestra Victoria and Melbourne Chamber Orchestra, and has also performed as soloist in Europe. She has had success in many competitions, winning the string section and Nelly Apt Scholarship in 2008 ABC Young Performers Awards, winning the ANAM concerto competition twice (2005 and 2007) and the Australian Concerto and Vocal Competition and John Hopkins Fellowship in 2009. In 2010 she was a prizewinner at the International Citta di Brescia Violin Competition. An avid chamber musician, Rebecca has performed in numerous festivals and series around Australia and Europe. She was a founding member of the Hamer Quartet, winners of the first prize, the audience prize and the overall Musica Viva award in the inaugural 2009 Asia Pacific Chamber Music Competition. Rebecca was a core member of the Melbourne Chamber Orchestra for many years, often as soloist, principal or guest director. She has also played regularly with the Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra and Camerata Bern and has been invited to perform as Guest Principal Second Violin with the London Philharmonic Orchestra. Rebecca has been a core member of the ACO since 2010 and was also a 2008 ACO Emerging Artist.
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 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, 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; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter William 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 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 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
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: MOZART Violin Concertos BIS SACD 1754/5 ˇÁK Violin Concerto DVOR BIS CD 1708 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 Bach 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 THE REEF (DVD) ABC 763959 All available from aco.com.au/shop
Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including 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.
18 AUSTRALIAN CHAMBER ORCHESTRA
MUSICIANS ON STAGE
PATRICIA KOPATCHINSKAJA Guest Director & Lead Violin
Photos: Paul Henderson-Kelly, Helen White
HELENA RATHBONE✽
REBECCA CHAN
AIKO GOTO
Principal Violin Chair sponsored by Kate & Daryl Dixon
Violin Chair sponsored by Ian Wallace & Kay Freedman
Violin Chair sponsored by Anthony & Sharon Lee
MARK INGWERSEN
ILYA ISAKOVICH
CHRISTOPHER MOORE
NICOLE DIVALL
Violin
Violin Chair sponsored by Australian Communities Foundation – Connie & Craig Kimberley Fund
Principal Viola Chair sponsored by peckvonhartel architects
Viola Chair sponsored by Ian Lansdown
TIMOVEIKKO VALVE❖
MELISSA BARNARD
JULIAN THOMPSON#
MAXIME BIBEAU✩
Principal Cello Chair sponsored by Peter William Weiss AO
Cello Chair sponsored by the Bruce & Jay Reid Foundation
Cello Chair sponsored by the Clayton Family
Principal Bass Chair sponsored by John Taberner & Grant Lang
LIISA PALLANDI
LACHLAN O’DONNELL
Players dressed by
Violin
Violin
AKIRA ISOGAWA
IKE SEE 1
ALEXANDRUMIHAI BOTA
Violin
Viola
CAMERON HILL Violin
1 Courtesy of Adelaide Symphony Orchestra
✽ Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. ❖ 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 William Weiss AO. # Julian Thompson plays a 1721 Giuseppe Guarneri filius Andræ cello kindly on loan from the Australia Council. ✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from private Australian benefactors.
AUSTRALIAN CHAMBER ORCHESTRA 19
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 John Grill Heather Ridout AO
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 & Development Manager Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO ARTISTIC & OPERATIONS Luke Shaw Head of Operations & 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 Phillippa Martin Acting Education & Emerging Artists Manager Sarah Conolan Education Assistant
FINANCE Cathy Davey Chief Financial Officer Steve Davidson Corporate Services Manager Rachel O’Brien Accountant Shyleja Paul Assistant Accountant DEVELOPMENT Jill Colvin Acting Development Manager Rebecca Noonan Acting Corporate Relations & Public Affairs Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Retha Howard Patrons and Foundations Manager Ali Brosnan Patrons and Foundations Executive Lillian Armitage Philanthropy Consultant Stephanie Ings Investor Relations Manager Sally Crawford Development Coordinator
AUSTRALIAN CHAMBER ORCHESTRA
MARKETING Rosie Rothery Marketing Manager Amy Goodhew Marketing Coordinator Clare Morgan National Publicist Chris Griffith Box Office Manager Dean Watson Customer Relations Manager Poppy Burnett Box Office & CRM Database Assistant Christina Holland Office Administrator INFORMATION SYSTEMS Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist
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20 AUSTRALIAN CHAMBER ORCHESTRA
ACKNOWLEDGEMENTS GOVERNMENT SUPPORT
VENUE SUPPORT We are also indebted to the following organisations for their support:
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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.
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AUSTRALIAN CHAMBER ORCHESTRA 21
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
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22 AUSTRALIAN CHAMBER ORCHESTRA
SUPPORT THE FUTURE Our National Education Programs cultivate the musical growth of young people across Australia. We are determined to instil students with a love of music and to nurture young musical talent, ensuring the continuation of music excellence in Australia. By supporting our National Education Programs you will help us engage with students at every level of the education system from our Emerging Artists Program and AC O2 down to primary school students. Together we can inspire the next generation of musicians.
Richard Tognetti AO Artistic Director
To donate please visit
aco.com.au/support/donate For more information please phone Ali Brosnan on (02) 8274 3830 or email patrons@aco.com.au
Helena Rathbone with Jack. Photo ŠFiora Sacco
Help us to inspire the next generation of musicians.
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
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 William Weiss AO
John Taberner & Grant Lang
Viola Chair Philip Bacon AM
Anthony & Sharon Lee
Violin Chair Terry Campbell AO & Christine Campbell
Mark Ingwersen
Rebecca Chan
Melissa Barnard
Violin
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
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 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–$499,999 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 John Landers & Linda Sweeny Alison Reeve Angela Roberts Anonymous (1)
FOUNDING INVESTORS Guido & Michelle Belgiorno-Nettis Bill Best Benjamin Brady Steven Duchen Brendan Hopkins 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 Andrew & Fiona Johnston Margot Woods & Arn Sprogis Anonymous (1)
26 AUSTRALIAN CHAMBER ORCHESTRA
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 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 Julia Ross
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 AIAA 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
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert AO & Mrs Libby Albert Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Carapiet Foundation Mark Carnegie Stephen & Jenny Charles Darin Cooper Family Geoff & Dawn Dixon Chris & Tony Froggatt Daniel & Helen Gauchat John Grill & Rosie Williams Belinda Hutchinson AM Angus & Sarah James PJ Jopling QC Miss Nancy Kimpton Bruce & Jenny Lane Prudence MacLeod Alf Moufarrige Jennie & Ivor Orchard Alex & Pam Reisner Mr Mark Robertson OAM & Mrs Anne Robertson Margie Seale & David Hardy Tony Shepherd AO Mr John Singleton AM Beverley Smith
John Taberner & Grant Lang Alden Toevs & Judi Wolf The Hon Malcolm Turnbull MP & Ms Lucy Turnbull AO John & Myriam Wylie E Xipell Anonymous (1)
DIRETTORE $5,000 $9,999 The Abercrombie Family Foundation Geoff Alder Brad Banducci The Belalberi Foundation Patricia Blau Marjorie Bull Joseph & Veronika Butta Jenny & Stephen Charles The Clayton Family Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Mr R. Bruce Corlett AM & Mrs Ann Corlett Suellen & Ron Enestrom Bridget Faye AM Ian & Caroline Frazer Maurice Green AM & Christina Green Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith Kerridge
Lorraine Logan Peter Lovell David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation Julianne Maxwell P J Miller Marianna & Tony O’Sullivan John Rickard The Roberts Family The Sandgropers Paul Salteri AM Paul Schoff & Stephanie Smee Seleco Foundation Ltd Kerry Stokes AC & Christine Simpson Ian Wallace & Kay Freedman Ian Wilcox & Mary Kostakidis Cameron Williams Evan Williams AM Karen & Geoff Wilson Anonymous (2)
MAESTRO $2,500 $4,999 Tiffany Andrews Will & Dorothy Bailey Bequest Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Bill & Marissa Best Mr Leigh Birtles Dr David & Mrs Anne Bolzonello Cam & Helen Carter Caroline & Robert Clemente Dr Peter Clifton Robert & Jeanette Corney
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO DONATIONS PROGRAM Judy Crawford John & Gloria Darroch Kate Dixon Leigh Emmett Michael Fitzpatrick R Freemantle Ann Gamble Myer Liangrove Foundation Warren Green Nereda Hanlon & Michael Hanlon AM Liz Harbison Mrs Yvonne Harvey & Dr John Harvey AO Wendy Hughes Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins Macquarie Group Foundation Louise & Martyn Myer Foundation Sandra & Michael Paul Endowment Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Ruth Ritchie D N Sanders Cheryl Savage Brian Schwartz Greg Shalit & Miriam Faine Petrina Slaytor Philippa Stone Tom Thawley 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 Peter & Cathy Aird Antoinette Albert David & Rae Allen Andrew Andersons David Arnott Sibilla Baer Virginia Berger Linda & Graeme Beveridge Jessica Block Rosemary & Julian Block Kathy Borrud Vicki Brooke Sally Bufé Neil Burley & Jane Munro Michael Cameron Terry Campbell AO & Christine Campbell Cannings Communication
Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Elizabeth Cheeseman Angela & John Compton Bernadette Cooper Anne & David Craig Judy Croll 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 Elizabeth Finnegan Stephen Fitzgerald Lynne Flynn Nancy & Graham Fox Jane & Richard Freudenstein Anne & Justin Gardener Jaye Gardner Paul Gibson & Gabrielle Curtin Colin Golvan SC Richard & Jay Griffin Peter Hearl Reg Hobbs & Louise Carbines Michael Horsburgh AM & Beverley Horsburgh Penelope Hughes Stephanie & Michael Hutchinson Brian Jones Bronwen L Jones D & I Kallinikos Carolyn Kay & Simon Swaney Len La Flamme Mrs Judy Lee Mr Michael Lee Mr John Leece AM Sydney & Airdrie Lloyd Judy Lynch Charlotte & Adrian Mackenzie Mr and Mrs Greg & Jan Marsh David Mathlin Kevin & Deidre McCann Paul & Elizabeth McClintock Brian & Helen McFadyen J A McKernan Jillian & Robert Meyers Suzanne Morgan Jane Morley Nola Nettheim Brendan Ostwald Selwyn M Owen Anne & Christopher Page Rowland Paterson
30 AUSTRALIAN CHAMBER ORCHESTRA
peckvonhartel architects David Penington AC Ayesha Penman Tom Pizzey Mark Renehan Dr S M Richards AM & Mrs M R Richards 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 Paul Skamvougeras Diana & Brian Snape AM Maria Sola & Malcolm Douglas Ezekiel Solomon AM Keith Spence Cisca Spencer Robert Stephens Professor Fiona Stewart Mr Tom Story Dr Douglas Sturkey CVO AM Dr Charles Su & Dr Emily Lo Kyrenia & Rob Thomas Paul Tobin Peter Tonagh Anne Tonkin Loretta van Merwyk Kay Vernon David Walsh Janie Wanless & Nev Wittey Bill Watson Mrs M W Wells Rachel Wiseman & Simon Moore Sir Robert Woods Nick & Jo Wormald Don & Mary Ann Yeats William Yuille Anonymous (21)
CONCERTINO $500 $999 Antoinette Ackermann Mrs Lenore Adamson In memory of Mr Ross Adamson Elsa Atkin Ruth Bell Max Benyon Tamara Best Brian & Helen Blythe Brian Bothwell Dr Sue Boyd Ben & Debbie Brady Denise Braggett Diana Brookes
ACO DONATIONS PROGRAM Mrs Kay Bryan Arnaldo Buch Julie Carriol Kirsten Carriol Fred & Jody Chaney Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Elizabeth Clayton John Clayton ClearFresh Water Jilli Cobcroft Geoff Cousins & Darleen Bungey Laurence Cox AO & Julianne Cox Carol & Andrew Crawford Professor John Daley Marie Dalziel Mari Davis Defiance Gallery Dr Christopher Dibden Mike & Pamela Downey Michael Drew In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Janet Fitzwater Michael Fogarty Patricia Gavaghan Brian Goddard Prof Ian & Dr Ruth Gough Philip Graham Steven Gregg Katrina Groshinski & John Lyons Annette Gross Lesley Harland Dr Penny Herbert In memory of Dunstan Herbert Jennifer Hershon Marian Hill Geoff Hogbin Peter & Ann Hollingworth Pam & Bill Hughes Dr & Mrs Michael Hunter Diane Ipkendanz Margaret & Vernon Ireland Philip & Sheila Jacobson Owen James Barry Johnson & Davina Johnson OAM Mrs Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso AO
Danièle Kemp Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Robert Leece AM Greg Lindsay AO & Jenny Lindsay Megan Lowe John Lui Robin & Peter Lumley Bronwyn & Andrew Lumsden James MacKean Janet Matton Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Ian & Pam McGaw Dr Hamish & Mrs Rosemary McGlashan Colin McKeith Joanna McNiven I Merrick Jan Minchin Julie Moses Helen & Gerald Moylan Hon Dr Kemeri Murray AO Susan Negrau Dr G Nelson Jenny Nichol J Norman Graham North Josephine Paech L Parsonage Lisa Paulsen Kevin Phillips Miss F V Pidgeon AM The Hon C W Pincus QC Michael Power Ruth Redpath Larry & Mickey Robertson Team Schmoopy Manfred & Linda Salamon Garry Scarf & Morgie Blaxill Lucille Seale Mr Berek Segan OBE AM & Mrs Marysia Segan John Sydney Smith Alida Stanley & Harley Wright Mrs Judy Ann Stewart Geoffrey Stirton & Patricia Lowe Mr Leslie C Thiess Matthew Toohey Sarah Jane & David Vaux G C & R Weir
Sue Wooller & Ron Wooller Lee Wright 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 The late Richard Ponder Ian & Joan Scott Mr Leslie C Thiess G.C. & R Weir Margaret & Ron Wright Mark Young Anonymous (11)
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 Dr John Harvey AO Mrs Alexandra Martin Mrs Faye Parker Mr John Taberner & Mr Grant Lang Mr Peter William Weiss AO
Patrons list is current as of 19 June.
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 Retha Howard on 02 8274 3835 or at Retha.Howard@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 Aurizon Holdings Limited Mr Philip Bacon AM Director Philip Bacon Galleries Mr David Baffsky AO
Dr Bob Every Chairman Wesfarmers
Mr Geoff McClellan Partner Herbert Smith Freehills
Mr Angelos Frangopoulos Chief Executive Officer Australian News Channel
Mr Donald McGauchie AO Chairman Nufarm Limited
Mr Richard Freudenstein Chief Executive Officer FOXTEL
Ms Naomi Milgrom AO
Mr Colin Golvan SC & Dr Deborah Golvan Mr John Grill Chairman WorleyParsons
Mr Brad Banducci Director Woolworths Liquor Group Mr Andrew & Mrs Hiroko Gwinnett Mr Jeff Bond Mrs Janet Holmes à Chief Executive Officer Court AC Peter Lehmann Wines Mr John Borghetti Chief Executive Officer Virgin Australia 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 & Mrs Robin Crawford
Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Ms Catherine Livingstone AO Chairman Telstra Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel Mr Steven Lowy AM Lowy Family Group Mr Didier Mahout CEO Australia & NZ BNP Paribas Mr David Mathlin Senior Principal Sinclair Knight Merz Ms Julianne Maxwell
Rowena Danziger AM & Kenneth G. Coles AM
Mr Michael Maxwell
32 AUSTRALIAN CHAMBER ORCHESTRA
Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand
Ms Jan Minchin Director Tolarno Galleries
Mr Paul Sumner Director Mossgreen Pty Ltd
Mr Jim Minto Managing Director TAL
Mr Mitsuyuki (Mike) Takada Managing Director & CEO Mitsubishi Australia Ltd
Mr Alf Moufarrige Chief Executive Officer Servcorp Mr Robert Peck AM & Ms Yvonne von Hartel AM peckvonhartel architects
Mr Michael Triguboff Managing Director MIR Investment Management Ltd
The Hon Malcolm Mr Scott Perkins Turnbull MP & Head of Corporate Finance Ms Lucy Turnbull AO Deutsche Bank Australia/New Zealand Ms Vanessa Wallace Director Mr Neil Perry Mr Malcolm Garrow Rockpool Director Booz & Company Mr Mike Sangster Managing Director Mr Kim Williams AM Total E&P Australia Chief Executive Officer Ms Margie Seale & News Limited Mr David Hardy Mr Gary Wingrove Mr Glen Sealey Chief Executive Officer General Manager KPMG Australia Maserati Australia & New Zealand Mr Peter Yates AM Chairman, Royal Mr Tony Shepherd AO Institution of Australia President Director, AIAA Ltd Business Council of Australia
ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support. PRINCIPAL PARTNER
ACO VIRTUAL FOUNDING PARTNER
FOUNDING PARTNER
NATIONAL TOUR PARTNERS
OFFICIAL PARTNERS
PERTH SERIES PARTNER
REGIONAL TOURING PARTNER
CONCERT AND SERIES PARTNERS
Peter William Weiss AO
Daryl Dixon
Warwick & Ann Johnson
EVENT PARTNERS
GPO Sydney
on george
No. 1 Martin Place
AUSTRALIAN CHAMBER ORCHESTRA 33
ACO NEWS • JULY/AUGUST 2013
news AcO2’S FIRST NATIONAL TOUR ACO2 was our best kept secret, until last month when Richard Tognetti presented the troupe on their first national subscription tour visiting Adelaide, Brisbane, Canberra, Melbourne, Newcastle and Sydney.
the girls in an array of silk designs; the brief was ‘nothing that is all-black’.
This tour marks the coming of age for our sevenyear-old Emerging Artist Program and it was a thrill to receive a review in The Australian calling the performance ‘one of the year’s must-hear concerts’.
The next major project for ACO2 is a regional tour through NSW and Queensland this September. Details at aco.com.au/aco2
Joining ACO2 was German cellist Daniel MüllerSchott whose performance of Bloch’s From Jewish Life was a crowd favourite.
To differentiate ACO2 from our core ensemble, Australian fashion designer Akira Isogawa delved into his own personal archives to style
Josef Bisits and Thibaud Pavlovic-Hobba playing chess in the back of the AcO2 tour bus.
Akira Isogawa with Emerging Artists Monique Lapins, Liisa Pallandi and ACO Principal Violin Helena Rathbone.
AcO2 on stage.
34 AUSTRALIAN CHAMBER ORCHESTRA
Daniel Müller-Schott in rehearsals with Lachlan O’Donnell, Richard Tognetti and Thibaud Pavlovic-Hobba.
© Will Huxley
ANNOUNCING ACO VIRTUAL
Imagine standing on stage during one of our concerts — our new installation ACO VIRTUAL makes this possible. Featuring 13 ACO musicians projected onto the walls around you and the sound of each player coming from the direction of their projection, it’s like being in the middle of the orchestra — surrounded on all sides by musicians and music. ACO VIRTUAL’s inaugural 3-week installation at Arts Centre Gold Coast in June attracted over 3,000 visitors. Music-lovers, families,
art-lovers and school children were enveloped in the music of Bach, Piazzolla, Smalley and Grieg; local musicians brought their instruments and played along with the installation; and children took charge of the music by spotlighting particular musicians or groups of musicians. Watch a video about the making of ACO VIRTUAL, see photos from the Gold Coast, download the mobile app and see the upcoming tour dates at aco.com.au/acovirtual Next stop Swan Hill!
YOUR SAY… Feedback about Tognetti Presents AcO2 ‘Our musical future is indeed in good hands.’ — H. Edwards ‘A truly wonderful and enriching experience that I hope not to forget for a long time.’ — D. Hamilton ‘A fantastic example of what is possible for young, talented musicians when given the opportunity to be mentored by the likes of the ACO!’ — K. Mewes
‘No words can do justice for how amazing and invigorating today’s concert was.’ — A. Swan ‘Amazing is an understatement. Loved every minute.’ — J. Chuntous Aguilar ‘Richard is growing a great crop of musical talent!’ — M. Turner ‘The cellos were brilliant and Daniel’s Bloch was truly beautiful.’ — A. Lean
Let us know what you thought about today’s concert at aco@aco.com.au. AUSTRALIAN CHAMBER ORCHESTRA 35
© Will Huxley
THE NEW DOUBLE BASS
We’re proud to officially unveil the latest addition to our outstanding array of instruments, an extremely rare and historically significant double bass.
have generously made it available to Maxime Bibeau to play.
Made by Gasparo da Salò in Brescia, Italy, in the late-16th century, this unusually large instrument features beautiful ornamentation and a rich, robust voice.
Now the oldest instrument in the ACO family, this bass is over 430 years of age. The wood used for the front of it came from a tree already aged at least two and a half centuries, making parts of this beautiful double bass around 700 years old.
Gasparo da Salò (real name Gasparo di Bertolotti) was one of the first — if not the first — luthier to make double basses. To this day his instruments are regarded by many as the Stradivari of basses.
Our Principal Double Bass, Maxime Bibeau, has spent the past few months getting to know the da Salò and says it is an impressive instrument with immense power, wonderful depth and richness of sound.
This bass is thought to have had only three owners in its long life. The earliest was Neustift Abbey in South Tyrol, Northern Italy until it was sold in 1970. In 2012 it was bought by anonymous Australian benefactors who
“You can really hear and feel the maturity of the instrument,” Max says. “As well as having an incredibly beautiful and robust tone, it has a large sub-woofer-like quality that lifts the sound of the orchestra to another level.”
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