Brahms 4 & Steven Isserlis by Australian Chamber Orchestra

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ABOUT THE PROGRAM Early in the New Year of 1897, Johannes Brahms asked a cellist friend to come to his studio and play through the solo part of Dvořák’s Cello Concerto, while Brahms himself busked the orchestral music on the piano. For Brahms, seldom idle, always inquisitive, this was his usual homework before a concert, even when he was merely in the audience. And on 27 March 1897, he sat in the stalls to hear the Vienna Philharmonic give the local premiere of Dvořák’s concerto. Also on the program was his own Fourth Symphony. It was the last public concert Brahms attended before his death on 3 April. For over 20 years, Brahms and Dvořák had genuinely liked each other, and each other’s music. Their first contact was back in 1874, when the 32-year-old Czech applied to the Imperial Government in Vienna for a young artists’ grant. Brahms, only 41 himself, was on the selection panel, as was the reviewer Eduard Hanslick, who wrote informing Dvořák of his success, adding: ‘Brahms, who along with me proposed this grant, takes great interest in your formidable talent… The attentions of an artist as influential and famous as Brahms should not only be pleasing to you, but also useful.’ Brahms also recommended Dvořák to his own publisher, Simrock, who within only a few years reaped major rewards when Dvořák’s Slavonic Dances became an international success. In 1885, aged 52 and at the height of his own career, Brahms may well have hoped that the Fourth Symphony would be his last, not because of illness or tragedy, but because retirement was such an attractive prospect. Though he told a friend while composing it, ‘I don’t want to risk a bad Fourth,’ he was evidently unafraid of pushing the limits of Viennese orchestral players, who duly taunted him by fitting words to his opening 2 AUSTRALIAN CHAMBER ORCHESTRA

theme: ‘He once again has no ideas!’ Brahms variously described this as his ‘sad symphony’, a ‘waltz and polka aﬀair’ and as consisting of ‘a few entr’actes’ – the last perhaps a hint that the sting is in its tail, the strange chaconne that doggedly refuses to give the sweet-tooth Viennese their usual happy ending. Brahms ﬁnally decided to retire in 1890, and though he slipped up and wrote a few more late masterpieces (the Clarinet Trio and Quintet, the Four Serious Songs), he was mostly glad with his self-imposed rest from a life of composing. Dvořák, meanwhile, half a world away in America in the late summer of 1893, was astonished by the roar of Niagara Falls. ‘Holy Mother!,’ he exclaimed, ‘This will be a symphony in B minor.’ More surprises were to follow, as he found himself instead working on a concerto for an instrument whose too limited charms, he once said, were outweighed by its ‘squeaks’ and ‘growls’. The result was the greatest cello concerto of the nineteenth century. After their private read-through, even Brahms told his cellist Hausmann: ‘Had I known such a cello concerto was possible, I would have tried to compose one myself!’

TOUR 8 BRAHMS 4 & STEVEN ISSERLIS STEVEN ISSERLIS Cello RICHARD TOGNETTI Director and Violin

DVOŘÁK

Cello Concerto in B minor, Op.104

INTERVAL

BRAHMS

Symphony No.4 in E minor, Op.98

Approximate durations (minutes): 40 – INTERVAL – 39 The concert will last approximately one hour and 45 minutes including a 20-minute interval.

ADELAIDE

CANBERRA

PERTH

Town Hall Tue 22 Oct 8pm

Llewellyn Hall Sat 19 Oct 8pm

Concert Hall Wed 23 Oct 7.30pm

BRISBANE

MELBOURNE

SYDNEY

Hamer Hall Sun 20 Oct 2.30pm* Mon 21 Oct 8pm

Opera House Sun 27 Oct 2pm Tue 29 Oct 8pm

QPAC Mon 28 Oct 8pm

The Melbourne performances of Brahms 4 and Steven Isserlis are presented in association with Melbourne Festival. *A special post-concert talk with Richard Tognetti and Steven Isserlis in conversation with Sir Nicholas Kenyon, Managing Director of London’s Barbican Centre, will take place in the Hamer Hall Stalls Foyer after the Sunday afternoon Melbourne performance.

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

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ACO ON THE RADIO ABC CLASSIC FM: Brahms 4 & Steven Isserlis Mon 28 October, 9pm EST Mozart Clarinet Concerto Wed 20 November, 7pm EST

UPCOMING TOURS

MESSAGE FROM THE GENERAL MANAGER In our biggest formation of 2013, the Australian Chamber Orchestra has invited many of our regular guest musicians as well as former and current members of ACO2 to join the core musicians of the ACO for Brahms’ Symphony No.4 and Dvořák’s Cello Concerto, with one of our favourite artistic partners, Steven Isserlis. Richard’s expeditions into ever-deeper symphonic territory have evolved from Classical symphonies by Haydn and Mozart, through Beethoven and Schubert to Brahms. Three years ago, he directed Brahms’ brooding Symphony No.1 from the violin; this year it’s the taut and dramatic Symphony No.4; and next year he steps further into the symphonic forest with Sibelius’ Sixth and Mahler’s Fourth symphonies. Next month, audiences in Sydney will have the chance to hear the musicians of the ACO in performances at the opposite end of the musical spectrum from this symphonic repertoire, when Timo-Veikko Valve curates a series of intimate chamber concerts in the wonderfully raw space of Pier 2/3 in Walsh Bay, near the home of our friends at the Sydney Dance Company. If you’re in Sydney on 2, 3 or 10 November, please join us at twilight for some great music and a glass of wine in this unique, harbourside setting. Details can be found at aco.com.au/pier23_2013 TIMOTHY CALNIN GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA

Mozart Clarinet Concerto 14—24 November Brandenburg Concertos 3—8 December Christmas Oratorio 15—19 December

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PRE-CONCERT TALKS Free talks about the concert take place 45 minutes before the start of every concert at the venue. 4 AUSTRALIAN CHAMBER ORCHESTRA

BRAHMS Symphony No.4 in E minor, Op.98 (Composed 1884–1885)

I. II. III. IV.

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionate

BACKGROUND

Johannes BRAHMS (b. Hamburg, 7 May 1833 — d. Vienna, 3 April 1897) In his mid-twenties, Brahms admitted that his ﬁrst fullscale orchestral work, the First Piano Concerto was ‘a brilliant and decisive failure’. Keeping his head down, and immersing himself in piano and chamber music and songs, Brahms mostly avoided orchestras for two decades. Then, in his forties, he staged a spectacular second bid for the orchestra’s attention, with, among other works, his ﬁrst three symphonies, violin and second piano concertos, and his Academic Festival Overture. Meanwhile, Brahms also enjoyed his important work as a teacher and as editor of other composer’s scores, and took a serious interest in earlier and newer music, of Bach, Schubert, and Dvorˇák in particular.

Brahms’ habit was to settle down each summer for a serious working holiday in a fashionable, but comfortable resort. Pörtschach, on Lake Wörth in Austria’s far south, was the backdrop for his genially pastoral Second Symphony, composed there in 1877. Bad Ischl, the emperor’s (and therefore half of Vienna’s) favourite watering place near Salzburg – where Brahms could be observed smoking away his afternoons at the Café Walter ‘a powerful, stocky fifty-year-old, blond-haired, red-faced, white-beard’ – was the scene for his Academic Festival Overture in 1880. In 1883, on hearing that the young singer Hermine Spies was there, tipped the semi-infatuated Brahms in favour of the German spa town of Wiesbaden, near Frankfurt, only (according to his first biographer Max Kalbeck) to confirm his bachelorhood in his Third Symphony and its ingenious connecting motto F-A-F (Frei aber Froh – ‘Free but happy’). In 1884, his friend Ignaz Brüll was expecting Brahms at Ischl again to while away their evenings playing piano duos. But at the last moment Brahms took himself off alone to Mürzzuschlag, in the mountains south of Vienna, instead. And since he came away at the end of that summer with only the first two movements of this Fourth Symphony, it may well have been for the sake of geographical and emotional consistency that he then returned to Mürzzuschlag the following summer to complete it, adding first the finale, and (if their curiously reversed order in his notebook is to be believed) the third-movement scherzo last of all. Not once but twice in letters, when asking if he might run the first movement past his regular confidant Elisabeth von Herzogenberg, and later introducing the complete work to conductor Hans von Bülow, he explained or excused their sombre mood as being due to Mürzzuschlag, ‘where the cherries never ripen, and so may not be to your taste.’ AUSTRALIAN CHAMBER ORCHESTRA 5

Modern-day Mürzzuschlag

Perhaps there was no significant pretext to Brahms’ deciding against a Vienna premiere by giving the Fourth instead to Bülow and his Meiningen Court Orchestra. However, its premiere in the central German town late in October 1885, conducted by Brahms himself, and repeats conducted by both of them during the Orchestra’s ensuing 10-concert November tour westward to Cologne, The Hague, and Amsterdam – were generally warmly received. Bülow himself called it ‘rock-like, stupendous’, and his 21-year-old deputy, Richard Strauss, wrote describing it to his horn-player father as ‘gigantic, new and original yet true Brahms’. This was sharply contrasted by the reactions in Vienna, both within Brahms’ circle, and later publicly. When Brahms first convened select intimates to hear Brüll and himself play it through in piano duo reduction, with conductor Hans Richter and reviewer Eduard Hanslick turning pages, he was clearly galled when after the first movement no one risked commenting, and huffed, ‘Well, let’s go on then’, before Hanslick risked joking: ‘Well, I spent the whole movement feeling I was being battered by two very clever people’.

ABOUT THE MUSIC Brahms had told Elisabeth von Herzogenberg, ‘I don’t want to risk a bad Fourth’, and Kalbeck even urged him to shelve it, lest it scare away his less daring admirers. But at 52, and with three symphonies and all but one concerto 6 AUSTRALIAN CHAMBER ORCHESTRA

Further listening It’s almost unbelievable, but there is an 1889 recording made on Edison Wax Cylinder of Brahms himself playing his Hungarian Dance No.1. Despite sounding like a dozen un-tuned radios playing all at once in a wind tunnel, ‘Old Brahms’ is still just audible enough in a few ﬂeeting snippets to make it well worth hearing. Try the various enhanced listening options on Stanford University’s excellent Brahms ‘Sonic Archeology’ webpage (https://ccrma. stanford.edu/groups/edison/ brahms/brahms.html)

behind him, he now knew he could do whatever he liked orchestrally, and ultimately get away with it. One small risk was to abandon two sustained wind and brass chords that in the original manuscript added a little solidity to the first movement’s opening, instead to launch the published version directly – but more precariously – on the upbeat of the main theme. A far bigger risk – soon realised – was that some of the Vienna Philharmonic’s musicians would pillory what seemed to them to be his entrenched disregard for traditional melodiousness. The only way they could remember this rather apologetic non-tune was, they implied, by fitting words to it: ‘Es fiel ihm wieder mal nichts ein!’ (‘He once again has no ideas!’). In fact, the theme is all idea, and steeped in tradition. Brahms had recently edited for publication Schubert’s minorkey ‘Tragic’ Symphony (D.417), and the falling thirds of its opening theme pre-echo those of his own ‘new sad symphony’, as he described it to Bülow. Playing on falling thirds and their complementary opposites, rising sixths – intervals that in his more popular earlier handlings had almost become Brahms’ personal trademarks – the first 8-notes of his theme in the first movement charts a loop of thirds, covering all seven scale notes but in a different order before arriving back at its beginning (B-G-E-C-A-F sharp-D-B…). The strange modal undertow in the next phrase, and then the gloss of wind counterpoints as the falling thirds are repeated in the strings, perfectly conjure the tart-cherry wistfulness, before a bloom of strings, wind fanfares lead into the cellos’ broad new theme. And yet somehow – amid what seems to be an almost profligate organic profusion of contrasting ideas – the opening theme keeps creeping back, perfectly recognisably, to taunt its detractors. The horns and winds first sound the ‘motto’ of the second movement in unison, four notes rising, mirrored by four notes falling, and then back to the first four rising notes again, neither clearly major nor minor sounding, but equivocal, and even inconclusively modal when harmonised on further repeats. At the first rehearsals, it evoked for young Richard Strauss ‘a funeral procession moving in silence across moonlight heights’. Though he may well have composed his self-described ‘scherzo’ (albeit in two-time rather three), Brahms was never going to leave his ‘sad symphony’ without something remarkably contrasted to separate the slow movement and the finale. He reportedly described the fruits of his second AUSTRALIAN CHAMBER ORCHESTRA 7

Mürzzuschlag summer, self-deprecatingly, as ‘my waltz and polka aﬀair’, the polka – clearly the third movement – apparently written late enough in the summer for even the most recalcitrant mountain cherries to have ripened. The ‘theme’ is an unalloyed white C major, not a chromatic note in sight until nine bars in, lending the opening an almost neo-Classical feel, that looks forward (could but Brahms have imagined it) to Prokoﬁev and Stravinsky. At the two-piano read through, Kalbeck applauded the third movement as ‘unkempt and heavily humorous’, but though the orchestration periodically shimmers (with added piccolo and triangle), blazes, and burns, the overwhelming impression is of lightness and closely observed detail, a small miracle achieved in not much more than, on average, six minutes.

chaconne: A composition in a series of varying sections in slow triple time, typically over a repeated bass theme.

Andante: A moderately slow tempo.

Another slowly unfolding miracle of the 1870s and 1880s was the appearance, volume by volume, of the first complete edition of the works of Bach. Most of the music came as a complete revelation to everyone except the editors, and when, shortly after the volume containing it appeared in 1884, Brahms first saw the ostinato-bass finale of Bach’s Cantata No.150, he reportedly asked Bulow: ‘What would you say to a symphonic movement on this theme? But it’s too bulky, too straight as it is; we must change it somehow.’ In fact, the original is considerably less bulky, less straight than Brahms’s reworking of it, which completely irons out Bach’s lilting, lightly harmonised chaconne into an eight-note theme in solid, evenly-spaced chords for wind and brass (the latter newly joined by three trombones). What follows is, for a symphony finale of its date, unique, a set of developing variations based on quite audible straight-forward repeats of this short selfrecirculating theme. The result is like a processional dance, though not always in the moonlight of the Andante, in which each repeat brings a new musical vista, outlined in distinctive countermelodies, moods, or orchestral colours (a meandering flute solo, a trombone hymn) but underpinned by returns – if Brahms’ own characterisation of it is to be believed – to his very curious ‘waltz’. As the variations wind up to their climactic finish, Brahms ingeniously has the strings reintroduce as countermelody the first movement’s loop of falling thirds, a more sophisticated show of closure than a conventional final turn to E major, which – a final finger to his detractors – he anyway foreswears! GRAEME SKINNER © 2013

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DVOŘÁK Cello Concerto in B minor, Op.104 (Composed 1894–95)

I. II. II.

Allegro Adagio ma non troppo Finale (Allegro moderato)

BACKGROUND

ˇ ÁK Antonín DVOR (b. Nelahozeves, Bohemia, 18 September 1841 — d. Prague, 1 May 1904) Dvorˇák‘s career is an inspiring reminder that greatness can grow from unlikely beginnings. A Czech innkeeper’s son, Dvorˇák was destined to be a butcher, and ended up a member of the Austrian House of Lords. His passion for music was his passport to upward mobility. His Moravian Duets caught the attention of Brahms, who recommended Dvorˇák to his own publisher. His Slavonic Dances took Europe by storm, and his Seventh and Eighth Symphonies became immensely popular in England. Then, while teaching in the United States, he composed two transcendent masterpieces, the New World Symphony and, completed on his return to Prague, the Cello Concerto.

Antonín Dvořák spent three years in the Big Apple in the Roaring Nineties, and composed there three enduringly memorable scores– the New World Symphony, the American Quartet, and the Cello Concerto. Each performance of these works is a reminder of the controversy that then, and even now, surrounded Dvořák’s use (or not) of African-American and Native-American melodies in his music from this period, and his farsighted proposal that the American nation’s ‘future music’ must be founded upon its non-European heritage. Ultimately, of course, it was – though he could not have known that this future would be jazz! Nor that his native Prague would itself become a major jazz outpost in the old world. The first attempt to lure the Czech nation’s most famous composer to the new world was made in 1891. Jeanette Thurber, the wealthy but extremely liberal-minded widow of a New York grocery tycoon, wanted him as director of her new, privately funded Conservatory of Music. At first he declined, but when Mrs Thurber increased the salary and reduced the duties, Dvořák capitulated and sailed for New York in 1892 with his wife and two of his six children. The Conservatory had high hopes of its new director, not only that Dvořák might bring distinction to the institution itself, but also become the figurehead of a new, more loosely defined ‘school’ of American music. Though the association was not, ultimately, as lengthy or productive as both parties might have wished, the United States of America at least has the consolation of being directly responsible for the three aforementioned masterpieces, even if – in the case of the last of them, the Cello Concerto – the overwhelming emotion it produced in the composer seems to have been home-sickness. Shortly after arriving in New York, Dvořák turned to American poet Henry Wadsworth Longfellow’s nativeAmerican fantasy, The Song of Hiawatha. Inspired by what he read, he jotted down in his notebook the music that would became the Largo of his most famous work, the symphony he decided to call From the New World. Within six months, in May 1893 the score was complete, and from AUSTRALIAN CHAMBER ORCHESTRA 9

Dvorˇák’s proof reader… One of the reasons that so many of Brahms’ great works (the Fourth Symphony for one) were composed during his summer holidays as he was often simply too busy with other commitments at home in Vienna. In 1890, he decided to stop composing for good, and though he did produce a few more late masterpieces (the Clarinet Trio and Quintet, the Four Serious Songs), he was mostly glad with his self-imposed rest from composing. This is not to say he was ever idle. At the request of their mutual publisher, Simrock, Brahms proof-read several forthcoming ﬁrst editions of new Dvorˇák works while the younger composer was away in New York in 1893–94, telling Simrock how satisfying it was working on such ‘happy creations’.

its first performance, at New York’s Carnegie Hall, which followed in December, the symphony did indeed inspire young American composers with the possibility of creating music in a similar mould. Not least among them were several of Dvořák’s African-American students, including Harry Burleigh, Maurice Arnold, and Will Marion Cook. Meanwhile, with a successor already in mind, on first seeing (and hearing) Niagara Falls, Dvořák reportedly announced: ‘Sacra! This will be a symphony in B minor.’ Though in the event his ‘Niagara’ B minor became the key not of another symphony but of the Cello Concerto. Dvořák may have hatched plans for a cello concerto on the eve of his departure for America, though only reluctantly. As a farewell to his home admirers, he undertook an extensive concert tour (over 40 dates) along with close friends, cellist Hanuš Wihan, and violinist Ferdinand Lachner. Repertoire highlights of the tour included his ‘Dumky’ Trio (Op.90), and a new rondo (Op.94) and an arrangement of his own Silent Woods (Op.68, No.5) both for cello and piano. These latter two he then revised, at Wihan’s request with orchestral accompaniments, in New York in October 1893, test runs – Wihan sincerely hoped – for the concerto that, since the tour, he had been pestering Dvořák to write. Further impetus may have come in March 1894 when Dvořák attended the première in New York of the Cello Concerto No.2 in E minor, composed and performed by one of his staff, the German-born cellistcomposer Victor Herbert, later popular for his operettas Babes in Toyland and Naughty Marietta. According to Dvořák’s assistant, he was so taken with novel aspects of the concerto’s orchestration that he attended a second performance, and then borrowed the manuscript score from Herbert. Eight months later, on 8 November, Dvořák started work on his own concerto for Wihan, though admitting at the time that he was ‘amazed and surprised to be so determined on such a work’, and completed it on 9 February 1895.

ABOUT THE MUSIC

grandioso orchestral tutti: The entire orchestra playing together in a grand and noble style. molto espressivo: Very expressive.

The first movement (Allegro) remains closely focussed throughout on the two ideas introduced in the orchestral introduction. The first is the sombre minor-key clarinet tune in the opening bars, its first phrase pulling upward away from the key note, the second phrase pulling downward. Soon worked up into a grandioso orchestral tutti, more than any other idea it is the ‘motto’ for the entire work (not least because of its recurrence in the final stages of the third movement). The second theme is a lovely major-key tune first played by solo horn molto espressivo. Both these themes are

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Brahms and Dvorˇák’s concerto One work that Brahms read through in page proofs was Dvorˇák’s new Cello Concerto, writing to the publisher on 27 January 1896 praising it as ‘a great and excellent work’. A year later, cellist Robert Hausmann played it through for Brahms privately, Brahms condensing the orchestra’s music on the piano. He told Hausmann he wished he’d known earlier such a concerto was possible, as he’d have tried writing one himself. Finally, on 7 March 1897, Brahms was present when Hans Richter conducted the Vienna Philharmonic in its ﬁrst performance of Dvorˇák’s Concerto. The other major work on the program was Brahms’ own Fourth Symphony. It was the last concert he attended. He died on 3 April. cadenza: A virtuoso solo passage inserted into a movement in a concerto, typically near the end. rondo: A musical form with a recurring musical theme.

Performance history The ACO has only performed Dvorˇák’s Cello Concerto in two previous concert series. In 1995 the Orchestra performed one concert at the Huntington Festival in Mudgee with Dutch cellist Peter Wispelwey, then seven years later Chinese cellist Liwei Qin joined the Orchestra for a 2002 national tour. This current tour with Steven Isserlis is the ﬁrst time the ACO has performed the work in eleven years.

Further listening Steven Isserlis recorded the Dvorˇák Cello Concerto with the Mahler Chamber Orchestra, conducted by Daniel Harding. (Hyperion).

then taken up by the solo cello. Deceptively, its first solo episode (a major-key transformation of the motto theme) is marked to be played quasi improvisando (‘as if improvised’), suggesting that Dvořák wanted to create the impression of a virtuoso’s natural, undirected testing-of-the-limits, but without actually relinquishing control over the notes. He would also go on to resist Wihan’s requests to be allowed to insert his own cadenzas toward the end of the first and third movements. The second movement (Adagio ma non troppo) opens with a small wind chorus, and is soon characterised by an exquisite interplay of solo winds with the cello. Predominantly it is a sad piece, its mood apparently reflecting Dvořák’s distress at news from home that his sister-in-law Josefina Kaunitzová (in whom he himself had once had an unrequited romantic interest) was seriously ill. For the central portion of the movement, Dvořák adapted – to the movement’s prevailing triple rhythm – the melody of Josefina’s favourite from among his songs, Leave me alone, Op.8, No.1. Conventionally, 19th-century concerto finales were launched by the soloist (unlike the other two movements, which usually began with orchestral introductions). Here, instead, Dvořák opted to set the scene with a portentous processional for winds and brass to a steady beat from the low strings. The third movement is a sort of rondo, characterised more by its frequent contrasting lyrical episodes (often in major keys) than by the recurring minor main theme. Towards the end, B minor gives way to B major as the prevailing tonality. In its final form, the extended, somewhat reflective coda differs from that in the original New York sketch. Composed after his return to Prague, this new passage is a memorial to Josefina, who died on 27 May 1895. It begins Andante with a passage for muted trumpets, and includes a retrospectively fateful reprise of the first movement’s motto theme, as well as further references to Josefina’s favourite song. Here at least, Dvořák was completely justified resisting Wihan’s attempts to tack on an extraneous solo cadenza. Dvořák organised for the concerto to be premiered under the aegis of the London Philharmonic Society, hoping that Wihan, as dedicatee, would be soloist. Instead, however, it was given by London-based cellist Leo Stern, who after travelling to Prague for coaching, so pleased the composer that Dvořák recommended him for the Prague and Vienna premières too. Wihan performed the work later, and when the published score appeared in 1896 it was dedicated to him. GRAEME SKINNER © 2013 AUSTRALIAN CHAMBER ORCHESTRA 11

INSTRUMENTS FROM BRAHMS’ TIME Oboe — Josep Domenech I am playing on a German system oboe from the late 1870s which I bought in Bulgaria about seven years ago. It needed to be restored because it was in very bad condition and hadn’t been played for many years. To play this repertoire on period original instruments is such an advantage. Sounds from the past are heard once again played with the same material, but we need to take care of them very well since they are very delicate. Unlike stringed instruments, these old woodwind instruments can be damaged while we are playing them, if we allow condensation to build up inside them. JOSEPH DOMENECH © 2013

Bassoon — Jane Gower My bassoon is one of the oldest surviving members of a royal family. Bassoons built by the Heckel factory in Biebrich, Germany, remain among the most coveted instruments, even for modern players today. This example was built in the 1880s, and in fact ended up back in the Heckel factory after its ﬁrst, no doubt eventful, life. After having languished unplayed for some decades in an attic, it had been brought in by someone hoping to sell it on to an eager period bassoonist. When my colleague Györgyi and I visited the factory after a concert in nearby Wiesbaden, we were told about it, if in the somewhat roundabout manner that often characterises instrument dealing! This was in 2007 and we were on the lookout for instruments for the Brahms symphony cycle we were to record with John Eliot Gardiner. Here was the perfect candidate. 12 AUSTRALIAN CHAMBER ORCHESTRA

Though in many respects the old Heckels resemble the modern German bassoon, they had not yet undergone many of the technical innovations and adaptions that created today’s sleek, high-tech machine. The sound is much warmer, less strident, more varied in tone, with a darker golden/ amber hue rather than today’s burnished brass. Performing Brahms 4th Symphony on this bassoon is in every respect a revelation with this instrument’s clearer, more diﬀerentiated textures bringing out so many new wonders of instrumentation, counterpoint, inner harmonic and melodic line. JANE GOWER © 2013

Contrabassoon — David Chatterton The contrabassoon is an original made in London in the 1870s by Mahillon with a French ﬁngering system but with the internal bore dimensions of the Heckel Contrabassoon of the time. Before WWII, this instrument was played in the London Symphony by Alan Cave. It has a lighter, more focused sound than the modern contrabassoon, but is more reliable than its Classical era predecessor. Brahms was the ﬁrst composer to write proper symphonic parts for the contra rather than copying the double bass part, which Beethoven did in his 5th and 9th Symphonies. I used this instrument to record the Brahms Symphonies with Sir John Eliot Gardner and the Orchestre Revolutionaire et Romantique and with Sir Roger Norrington and the London Classical Players. DAVID CHATTERTON © 2013

Horn — Jonas Rudner

Trumpet — David Elton

My instrument is a Vienna Horn made in 2005 by Andreas Jungwirth after originals by Leopold Uhlmann and Anton Dehmal.

For this performance, the trumpet section will perform on German rotary trumpets, as would have been the case by 1885. I have come across quite an old rotary-valved B-ﬂat German trumpet made by R. Schopper in Leipzig. The bell is marked with a royal crown, the name R. Schopper, Hoﬂieferant, Leipzig.

I have been playing Vienna Horn all my life although I have of course experience with the modern ‘double horn’ The Vienna Horn is the obvious choice for me since composers until the beginning of the 20th century wrote especially for this type of instrument and had its sound in mind. The colour changes and character of sound in both dynamics and register cannot be mimicked by the much shorter instruments, like the 99% worldwide-used B-Flat Horn. Since the Vienna Horn is still a single F-Horn I ﬁrmly believe it represents the ‘true’ horn sound and is closest to the sound that Brahms actually had in mind. Of course the Vienna Horn is much harder to master – it is probably the most diﬃcult brass instrument played in orchestras, but if mastered it is incomparable. ‘Horn players are like stuntmen. You don’t eyeball stuntmen when they’re about to dice with death. If this quotation by Sir Simon Rattle is true then Vienna Horn players might just be the most daring and bravehearted horn players. But in my mind there is no doubt that it is worth taking the ‘hard way’ with all the additional risks thus making it the ‘humbling way’.

The crown signiﬁes that they were the royal suppliers (Hoﬂieferant). As Schopper was a royal supplier from around 1912 until about the end of WWI, we can assume this trumpet was made between 1912–1918. From around 1899, Schopper was developing new instruments in Meiningen with a trumpeter by the name of Fleishcher. As Brahms’ Fourth Symphony was premiered in Meiningen, it is very likely that Fleischer performed this work on a Schopper. The rotary trumpets that we use these days are quite similar to the trumpets at the time of Brahms and Dvořák. The sound of the rotary valve trumpet is better suited to this repertoire than the piston trumpets we see most regularly, as it tends to blend better with the strings and woodwinds, and its intrinsic sound colour is more homogenous with the horns and trombones. Performance on period instruments, with their thinner metal and lighter construction, gives us valuable insight to the sound quality, balance and style of this music. DAVID ELTON © 2013

AUSTRALIAN CHAMBER ORCHESTRA 13

Trombone — Nigel Crocker Ros and I will be playing on original instruments by Kruspe (founded 1834 in Erfurt, Germany) made early 1900s by Ed Kruspe. Modern orchestral brass sections interpret the repertoire very much under the inﬂuence of recording techniques of the 1970s and 1980s, especially for Hollywood ﬁlm scores. Since plunging into period performance, I have had that sound world turned on its head. The narrow bore and small bell of the sackbut and classical trombone create a completely natural blend with voices, strings and winds. Here we become an organic extension of the orchestral palette,

14 AUSTRALIAN CHAMBER ORCHESTRA

rather than a big, bold, bright colour leaping out of the ‘painting’ – jumping up and down shouting ‘Look at me!’ This has inﬂuenced my approach even when playing this repertoire on modern trombone. Ros writes: Our original Kruspe tenor trombones are a work of art. If you look closely, you will see the hand-crafted snakes at both extremities, and also the leaf etchings on the bell kranz, or garland. Crafted in Erfurt, central Germany, at the turn of the 21st century, these trombones provide a timbre which is rich in overtones compared to a modern trombone, enabling the performer to attain a broader spectrum of tonal colours. NIGEL CROCKER © 2013

RICHARD TOGNETTI ao © Paul Henderson-Kelly

ARTISTIC DIRECTOR AUSTRALIAN CHAMBER ORCHESTRA Australian violinist, conductor and composer, Richard Tognetti has established an international reputation for his compelling performances and artistic individualism. He studied at the Sydney Conservatorium with Alice Waten, in his home town of Wollongong with William Primrose, and at the Berne Conservatory (Switzerland) with Igor Ozim, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he was appointed Leader of the Australian Chamber Orchestra (ACO) and subsequently became Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia.

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

Select Discography As soloist: BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surﬁca (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop.

Tognetti performs on period, modern and electric instruments. His numerous arrangements, compositions and transcriptions have expanded the chamber orchestra repertoire and been performed throughout the world. As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony Orchestra. Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Jonny Greenwood, Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Katie Noonan, Neil Finn, Tim Freedman, Bill Henson, Michael Leunig and Jon Frank. In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, co-created The Red Tree, inspired by illustrator Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa. As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor. AUSTRALIAN CHAMBER ORCHESTRA 15

STEVEN ISSERLIS CELLO Acclaimed worldwide for his technique and musicianship, British cellist Steven Isserlis enjoys a distinguished career as a soloist, chamber musician, educator and author. As a concerto soloist he appears regularly with the world’s leading orchestras and conductors, with recent engagements including: the Berlin Philharmonic and Alan Gilbert, the Philharmonic Orchestra and András Schiﬀ, The Cleveland Orchestra with Ton Koopman and the NHK Orchestra under Tadaadi Otaka.

“The music world — and music itself — is inﬁnitely richer for the presence of Steven Isserlis.” GRAMOPHONE MAGAZINE

As a chamber musician and recitalist he has devised and performed in programmes at many of the world’s most famous festivals and venues, including most recently the Wigmore Hall, the 92nd St Y in New York, and the festivals of Salzburg and Verbier. His upcoming series at the Wigmore Hall is titled In the Shadow of War (also the title of his latest disc for BIS). For these Steven is joined by a regular group of friends who include the violinists Joshua Bell, Pamela Frank and Janine Jansen and violist Tabea Zimmermann. Steven takes a strong interest in authentic performance and has played with many of the foremost period instrument orchestras. He has also worked with many composers on new works, including John Tavener’s The Protecting Veil, Wolfgang Rihm’s Cello Concerto in One Movement, Thomas Adès’s Lieux retrouvés for cello and piano, Stephen Hough’s Sonata for cello and piano left-hand, and works for solo cello by György Kurtág. His extensive and award-winning discography includes the complete Solo Cello Suites by J.S. Bach for Hyperion met with the highest critical acclaim, and was Gramophone’s Instrumental Disc of the Year and Critic’s Choice at the Classical Brits. Other recent releases include an all-Schumann disc, reVisions, a recording of works for cello and chamber orchestra; a recital disc with Thomas Adès, including the premier recording of the Lieux retrouvés; and the Dvořák Cello Concerto with the Mahler Chamber Orchestra and Daniel Harding. Steven Isserlis was awarded a CBE in 1998 in recognition of his services to music, and in 2000 he received the Schumann Prize of the City of Zwickau. In 2013, Steven was one of only two living cellists to be inducted into Gramophone’s Hall of Fame. He gives most of his concerts on the Marquis de Corberon (Nelsova) Stradivarius of 1726, kindly loaned to him by the Royal Academy of Music. stevenisserlis.com

16 AUSTRALIAN CHAMBER ORCHESTRA

AUSTRALIAN CHAMBER ORCHESTRA RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

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

Renowned for inspired programming and unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous crossartform projects and pieces specially commissioned for the ensemble. Founded in 1975, 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

MUSICIANS ON STAGE

Photos: Paul Henderson-Kelly, Helen White

RICHARD TOGNETTI AO§

HELENA RATHBONE*

SATU VÄNSKÄ≈

REBECCA CHAN

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

Principal Violin Chair sponsored by Kate & Daryl Dixon

Principal Violin Chair sponsored by Kay Bryan

Violin Chair sponsored by Ian Wallace & Kay Freedman

AIKO GOTO

MARK INGWERSEN

ILYA ISAKOVICH

CHRISTOPHER MOORE

Violin Chair sponsored by Anthony & Sharon Lee

Violin

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

Principal Viola Chair sponsored by peckvonhartel architects

ALEXANDRUMIHAI BOTA Viola Chair sponsored by Philip Bacon AM

TIMOVEIKKO VALVE ❖

MELISSA BARNARD

JULIAN THOMPSON #

Principal Cello Chair sponsored by Peter William Weiss ao

Cello Chair sponsored by The Bruce & Joy Reid Foundation

Cello Chair sponsored by The Clayton Family

Violin

CERIDWEN DAVIES AMANDA VERNER

Clarinet

ZOË BLACK VERONIQUE SERRET IKE SEE 1 DORETTA BALKIZAS ELIZABETH JONES KATHERINE LUKEY LACHLAN O’DONNELL LIISA PALLANDI HOLLY PICCOLI KAREN SEGAL 3 MAXIME

BIBEAU ✩

Principal Bass Chair sponsored by John Taberner & Grant Lang

Viola

CAROLINE HENBEST JACQUELINE CRONIN

Cello

DANIEL YEADON LEAH LYNN 2 Double Bass

CRAIG HILL 5 ASHLEY SUTHERLAND Bassoon

JANE GOWER GYÖRGYI FARKAS

OWEN LEE 4 DAVID MURRAY 2

Contrabassoon

Flute

Horn

GEORGES BARTHEL MARION RALINCOURT

PETER ERDEI REINHARD ZMÖLNIG JONAS RUDNER MICHAEL SÖLLNER

Oboe

JOSEP DOMENECH RODRIGO GUTIÉRREZ

DAVID CHATTERTON

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

✽ Helena Rathbone plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group.

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. ❖ Timo-Veikko Valve plays a 1729 Giuseppe Guarneri ﬁlius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter William Weiss ao. # Julian Thompson plays a 1721 Giuseppe Guarneri ﬁlius Andreæ cello kindly on loan from the Australia Council. ✩ Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from private Australian benefactors. 18 AUSTRALIAN CHAMBER ORCHESTRA

MUSICIANS ON STAGE Trumpet

Percussion

Players dressed by

DAVID ELTON 2 PETER MILLER 6

KEVIN MAN 8

AKIRA ISOGAWA

Trombone

NIGEL CROCKER ROS JORGENSEN Bass Trombone

BRETT PAGE 7 Tuba

EDWIN DIEFES 7 Principal Timpani

BRIAN NIXON Chair sponsored by Robert Albert ao & Libby Albert

1 Courtesy of Adelaide Symphony Orchestra 2 Courtesy of Sydney Symphony Orchestra 3 Courtesy of Amsterdam Sinfonietta 4 Courtesy of Cincinnati Symphony 5 Courtesy of Melbourne Symphony Orchestra 6 Courtesy of West Australian Symphony Orchestra 7 Courtesy of Australian Opera & Ballet Orchestra 8 Courtesy of Taikoz

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

Richard Tognetti ao Artistic Director

Janet Holmes à Court ac John Grill Heather Ridout ao

Andrew Stevens John Taberner Peter Yates am

ADMINISTRATION STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General 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 Corporate Relations Manager Alexandra Cameron-Fraser Public Aﬀairs Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Retha Howard Patrons & Foundations Manager Ali Brosnan Patrons & Foundations Executive Sally Crawford Development Coordinator

MARKETING Rosie Rothery Marketing Manager Amy Goodhew Marketing Coordinator Clare Morgan National Publicist Jack Saltmiras Digital Content & Publicity Coordinator 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

AUSTRALIAN CHAMBER ORCHESTRA 19

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

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

LLEWELLYN HALL School of Music Australian National University William Herbert Place (oﬀ Childers Street) Acton, Canberra VENUE HIRE INFORMATION Phone: +61 2 6125 2527 Fax: +61 2 6248 5288 Email: music.venues@anu.edu.au

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

AEG OGDEN (PERTH) PTY LTD

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

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

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

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

AEG OGDEN (PERTH) PTY LTD Chief Executive Rodney M Phillips THE PERTH THEATRE TRUST Chairman Dr Saliba Sassine St George’s Terrace, Perth PO Box Y3056, East St George’s Terrace, Perth WA 6832 Telephone: 08 9231 9900

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 Anne-Marie Heath General Manager

PO Box 3567, South Bank, Queensland 4101 Tel: (07) 3840 7444 Chair: Henry Smerdon am Deputy Chair: Rachel Hunter TRUSTEES Simon Gallaher, Helene George, Bill Grant oam, Sophie Mitchell, Paul Piticco, Mick Power am, Susan Street, Rhonda White EXECUTIVE STAFF Chief Executive: John Kotzas Director – Marketing: Leisa Bacon Director – Presenter Services: Ross Cunningham Director – Corporate Services: Kieron Roost Director – Patron Services: Tony Smith ACKNOWLEDGMENT The Queensland Performing Arts Trust is a Statutory Authority of the State of Queensland and is partially funded by the Queensland Government

CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Oﬃce 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com

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

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

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

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration: 02 9250 7111 Box Oﬃce: 02 9250 7777 Facsimile: 02 9250 7666 Website: sydneyoperahouse.com

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

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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. ACO–139 — 17173 — 1/191013

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

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti ao

Helena Rathbone

Satu Vänskä

Lead Violin

Principal Violin

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod

Kate & Daryl Dixon

Kay Bryan

Christopher Moore

Timo-Veikko Valve

Maxime Bibeau

Principal Viola

Principal Cello

Principal Double Bass

peckvonhartel architects

Peter William Weiss ao

John Taberner & Grant Lang

Alexandru-Mihai Bota

Anthony & Sharon Lee

Violin Chair Terry Campbell ao & Christine Campbell

Mark Ingwersen

Rebecca Chan

Melissa Barnard

Violin

Cello

Ian Wallace & Kay Freedman

The Bruce & Joy Reid Foundation

Ilya Isakovich

Nicole Divall

Julian Thompson

Violin

Viola

Cello

Australian Communities Foundation – Connie & Craig Kimberley Fund

Ian Lansdown

The Clayton Family

CORE CHAIRS Aiko Goto Violin

Viola

Philip Bacon am

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon

Mr R. Bruce Corlett am & Mrs Ann Corlett

Principal Timpani

Mr Robert Albert ao & Mrs Libby Albert

AUSTRALIAN CHAMBER ORCHESTRA 23

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

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

24 AUSTRALIAN CHAMBER ORCHESTRA

SOLO $5,000$9,999 Amanda Staﬀord

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

ACO SPECIAL COMMISSIONS The ACO pays tribute to our generous donors who have provided visionary support of the creative arts by collaborating with the ACO to commission new works in 2012 and 2013.

THE REEF LEAD PATRONS

PATRONS

Tony & Michelle Grist

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

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

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

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

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

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

AUSTRALIAN CHAMBER ORCHESTRA 25

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

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

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

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

INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2013. International Tour Patrons Catherine Holmes à Court-Mather International Tour Supporters Jan Bowen Jenny & Stephen Charles Suellen & Ron Enestrom Delysia Lawson Julia Ross

26 AUSTRALIAN CHAMBER ORCHESTRA

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

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

Tony O’Sullivan Head of Investment Banking Lazard Australia

Peter Shorthouse Client Advisor UBS Wealth Management

Heather Ridout ao Director Reserve Bank of Australia

John Taberner Consultant Herbert Smith Freehills

Margie Seale

Jennie Orchard

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

Debbie Brady Ben Brady Stephen Charles Christopher Menz

Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan SC

EVENT COMMITTEES Bowral

Brisbane

Sydney

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

Ross Clarke Steﬃ Harbert Elaine Millar Deborah Quinn

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

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

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

AUSTRALIAN CHAMBER ORCHESTRA 27

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 The Belalberi Foundation Guido & Michelle BelgiornoNettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Carapiet Foundation Mark Carnegie Stephen & Jenny Charles Darin Cooper Family Daryl & Kate Dixon 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 Louise & Martyn Myer Foundation Bruce Neill 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 (2)

DIRETTORE $5,000  $9,999 Geoﬀ Alder Brad Banducci Patricia Blau Marjorie Bull Joseph & Veronika Butta Terry Campbell ao & Christine Campbell The Clayton Family

28 AUSTRALIAN CHAMBER ORCHESTRA

Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Mr R. Bruce Corlett am & Mrs Ann Corlett Ellis Family Suellen & Ron Enestrom Bridget Faye am Ian & Caroline Frazer Maurice Green am & Christina Green Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith & Maureen Kerridge Lorraine Logan David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation David Mathlin Julianne Maxwell P J Miller Jan Minchin Marianna & Tony O’Sullivan John Rickard The Sandgropers Paul Schoﬀ & Stephanie Smee Tamas Szabo

ACO DONATIONS PROGRAM Cameron Williams Karen & Geoﬀ Wilson Peter Yates am & Susan Yates Carla Zampatti Foundation Anonymous (1)

MAESTRO $2,500  $4,999 Mrs Jane Allen Will & Dorothy Bailey Charitable Gift Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Bill & Marissa Best Mr Leigh Birtles Rosemary & Julian Block Dr David & Mrs Anne Bolzonello Ben & Debbie Brady Andrew Clouston Robert & Jeanette Corney Judy Crawford Kate Dixon Leigh Emmett Michael Fitzpatrick R Freemantle Ann Gamble Myer Colin Golvan sc Warren Green Nereda Hanlon & Michael Hanlon am Liz Harbison Mrs Yvonne Harvey & Dr John Harvey ao Peter & Helen Hearl Wendy Hughes Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins I Kallinikos Peter Lovell Macquarie Group Foundation Sandra & Michael Paul Endowment Elizabeth Pender Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard

Ruth Ritchie Susan & Gary Rothwell D N Sanders Cheryl Savage Brian Schwartz Jennifer Senior Greg Shalit & Miriam Faine Petrina Slaytor Philippa Stone Tom Thawley Ralph Ward-Ambler am & Barbara Ward-Ambler Drs Victor & Karen Wayne Anonymous (4)

VIRTUOSO $1,000  $2,499 Annette Adair Peter & Cathy Aird Antoinette Albert David & Rae Allen Andrew Andersons Australian Communities Foundation – Clare Murphy Fund Virginia Berger Linda & Graeme Beveridge Jessica Block In memory of Peter Boros Vicki Brooke Sally Bufé Rowan Bunning Neil Burley & Jane Munro Massel Australia Pty Ltd Bella Carnegie Sandra Cassell Julia Champtaloup & Andrew Rothery Elizabeth Cheeseman Elizabeth Chernov Stephen Chivers Caroline & Robert Clemente Angela & John Compton Bernadette Cooper Laurence G Cox ao & Julie Ann Cox Anne & David Craig Judy Croll Lindee & Hamish Dalziell Mrs June Danks

Michael & Wendy Davis Martin Dolan Anne & Thomas Dowling Dr William F Downey Michael Drew Emeritus Professor Dexter Dunphy am Peter Evans Julie Ewington Elizabeth Finnegan Stephen Fitzgerald Lynne Flynn Jane & Richard Freudenstein Justin & Anne Gardener Jaye Gardner Paul Gibson & Gabrielle Curtin Richard & Jay Griﬃn Griﬃths Architects Peter Halstead Lesley Harland Jennifer Hershon Reg Hobbs & Louise Carbines Michael Horsburgh am & Beverley Horsburgh Carrie & Stanley Howard Penelope Hughes Stephanie & Michael Hutchinson Brian Jones Bronwen L Jones Carolyn Kay & Simon Swaney Mrs Judy Lee Mr Michael Lee Mr John Leece am Sydney & Airdrie Lloyd Charlotte & Adrian Mackenzie Jane Mathews ao Janet P Matton Kevin & Deidre McCann Paul & Elizabeth McClintock Brian & Helen McFadyen Donald & Elizabeth McGauchie Jenny McGee J A McKernan Peter & Ruth McMullin Jillian & Robert Meyers Graeme L Morgan John Morgan Suzanne Morgan

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATIONS PROGRAM Jane Morley Marie Morton Nola Nettheim Graham North Elspeth & Brian Noxon Origin Foundation Brendan Ostwald Anne & Christopher Page Leslie Parsonage Rowland Paterson peckvonhartel architects David Penington ac Tom Pizzey Michael Power Mark Renehan Dr S M Richards am & Mrs M R Richards Warwick & Jeanette Richmond In Memory of Andrew Richmond Josephine Ridge Em. Prof. A. W. Roberts am Joan Rogers Peter J Ryan Manfred & Linda Salamon Jennifer Sanderson Garry E Scarf In memory of H. St. P. Scarlett Peter & Ofelia Scott Gideon Shaw Diana & Brian Snape am Maria Sola & Malcolm Douglas Ezekiel Solomon am Keith Spence Cisca Spencer Robert Stephens Professor Fiona Stewart Andrew Strauss John & Josephine Strutt Dr Charles Su & Dr Emily Lo Kyrenia & Rob Thomas Paul Tobin Peter Tonagh Venture Advisory Kay Vernon David Walsh Janie Wanless & Nev Wittey G C & R Weir Mrs M W Wells

Rachel Wiseman & Simon Moore Sir Robert Woods cbe Lee Wright Don & Mary Ann Yeats William Yuille Anonymous (18)

CONCERTINO $500  $999 A Ackermann Mrs Lenore Adamson in memory of Mr Ross Adamson Ruth Bell Max Benyon Tamara Best Brian & Helen Blythe Brian Bothwell Dr Sue Boyd Denise Braggett Diana Brookes Mrs Kay Bryan Arnaldo Buch Tim & Jacqueline Burke Lynda Campbell Helen & Ian Carrig Julie Carriol Kirsten Carriol Colleen & Michael Chesterman Richard & Elizabeth Chisholm Georg Chmiel Elizabeth Clayton ClearFresh Water Jilli Cobcroft Geoﬀ Cousins & Darleen Bungey Carol & Andrew Crawford Julie Hopson Professor John Daley & Dr Rebecca Coates Marie Dalziel Mari Davis Deﬁance Gallery David Dix In Memory of Raymond Dudley Anna Dunphy M T & R L Elford Carol Farlow Ian Fenwicke

30 AUSTRALIAN CHAMBER ORCHESTRA

Jean Finnigan & Peter Kerr Janet Fitzwater Michael Fogarty Nancy & Graham Fox Brian Goddard Steven Gregg Katrina Groshinski & John Lyons Annette Gross Dr Penny Herbert in memory of Dunstan Herbert Marian Hill Sue & David Hobbs Geoﬀ Hogbin How to Impact Pty Ltd Pam & Bill Hughes Dr & Mrs Michael Hunter Geoﬀ & Denise Illing Diane Ipkendanz Margaret & Vernon Ireland Philip & Sheila Jacobson Owen James Barry Johnson & Davina Johnson oam Caroline Jones Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso ao Danièle Kemp Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Greg Lindsay ao & Jenny Lindsay Andrew & Kate Lister Megan Lowe Robin & Peter Lumley Bronwyn & Andrew Lumsden James MacKean Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Ian & Pam McGaw H E McGlashan Colin McKeith Jeanne McMullin Joanna McNiven I Merrick Julie Moses Dr G Nelson

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

CONTINUO CIRCLE BEQUEST PROGRAM

LIFE PATRONS

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

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 10 October.

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

Mr Greg Ellis Chief Executive Oﬃcer REA Group

Mr Didier Mahout CEO Australia & NZ BNP Paribas

Dr Bob Every Chairman Wesfarmers

Mr David Mathlin Senior Principal Sinclair Knight Merz

Aurizon Holdings Limited

Mr Angelos Frangopoulos Chief Executive Oﬃcer Australian News Channel

Ms Julianne Maxwell

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

Mr Richard Freudenstein Chief Executive Oﬃcer FOXTEL

Mr Brad Banducci Director Woolworths Liquor Group

Mr Colin Golvan SC & Dr Deborah Golvan

Mr Jeﬀ Bond Chief Executive Oﬃcer Peter Lehmann Wines

Mr John Grill Chairman WorleyParsons

Mr John Borghetti Chief Executive Oﬃcer Virgin Australia

Mr Andrew & Mrs Hiroko Gwinnett

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

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

Mrs Janet Holmes à Court ac

Mr Jim Minto Managing Director TAL

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

Mr Alf Moufarrige Chief Executive Oﬃcer Servcorp

Ms Catherine Livingstone ao Chairman Telstra

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

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

Mr Neil Perry am Rockpool

Mr Andrew Low Chief Executive Oﬃcer RedBridge Grant Samuel

Ms Margie Seale & Mr David Hardy

Mr Steven Lowy am Lowy Family Group

Mr Glen Sealey General Manager Maserati Australia & New Zealand

32 AUSTRALIAN CHAMBER ORCHESTRA

Mr Mike Sangster Managing Director Total E&P Australia

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

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

FOUNDING PARTNER

FOUNDING PARTNER: ACO VIRTUAL

NATIONAL TOUR PARTNERS

OFFICIAL PARTNERS

PERTH SERIES PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

REGIONAL TOURING PARTNER

CONCERT AND SERIES PARTNERS

Peter William Weiss AO

Daryl Dixon

Warwick & Ann Johnson

EVENT PARTNERS

on george

AUSTRALIAN CHAMBER ORCHESTRA 33

ACO NEWS • OCTOBER 2013

news INTRODUCING OUR NEWEST RECRUIT Our Viola player Alexandru-Mihai Bota Having toured with us in Europe and Australia, we’re thrilled to welcome our newest player Alexandru-Mihai Bota ‘Sascha’ on stage for his ﬁrst main-stage national tour as ACO ripieno viola.

Alexandru is particularly interested in Baroque and chamber music and has been known to switch from viola to violin for his own arrangements. He also loves to play jazz and other experimental forms of improvised music.

Full biography available at aco.com.au/alexandru-mihai-bota

34 AUSTRALIAN CHAMBER ORCHESTRA

Romanian-born Alexandru has played the viola since the age of 12 studying in Romania, Spain and Germany and has worked with Benjamin Schmid, Jordi Savall, Veronika Kroener, György Kurtág and Sir John Eliot Gardiner.

INSIDE AN ACO2 WORKSHOP Emerging Artist Peter Clark’s report from Cairns After AcO2 acclimatised to the tropical humidity of Far North Queensland, we descended on one of Cairns’ (and Australia’s) most unique performing spaces: Tank Arts Centre. Tank Arts Centre comprises three large tanks situated in the rainforest. The tanks were constructed during WWII to store fuel for Australian Naval vessels, their secluded rainforest location keeping them safe from aerial attack. They were also the perfect environment for our Education Workshops. What I love most about AcO2 is that education forms the central pillar of the Orchestra. As young Emerging Artists, we learn by performing alongside our ACO mentors. Local school children then learn by playing alongside us in Educational Workshops that we run.

When we arrived, more than 30 young and eager string players were waiting for us inside one of the converted tanks, ready to begin rehearsing the Mozart and Grieg they had been preparing. We ﬁnished the day with a performance for family and friends. It is always so inspiring seeing the enthusiasm and love for music that these young musicians have. Not all of them may go on to become professional musicians, but studying an instrument and cultivating a love for playing, listening and appreciating music is so important. What a wonderful space to work in, and well done to all the students — never lose your energy and passion. Peter Clark © 2013

Emerging Artist Peter Clark working with school students at an Education Workshop in the Tank Arts Centre, Cairns.

YOUR SAY… Andreas Scholl Sings Vivaldi ‘Last night’s concert with Andreas Scholl was glorious! The ‘special surprise’ Arvo Pärt was indeed special.’ — Judy K. ‘Extraordinary concert; go if you can.’ — Elizabeth G.

‘Your playing was absolutely superb! So moving! So sensitive! So touching! Thank you, Helena, Rebecca, Christopher, Timo and Maxime!!!!!!’ — Margarita ‘The uninamity and subtlety of your performance was unsurpassed.’ — Jenny B.

Let us know what you thought about today’s concert at aco@aco.com.au. AUSTRALIAN CHAMBER ORCHESTRA 35

The healing power of music is embraced within our hospitals.

Proudly supporting

As a large organisation and a major employer, St John of God Health Care has an important responsibility to promote activities that serve to strengthen community life, including the arts. We harness music as a signiďŹ cant element of our holistic model of care, which focuses on enhancing the physical, intellectual, social and spiritual dimensions of all who come into our care.

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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