Haydn & Italian Cello program

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On behalf of Johnson Winter & Slattery, I welcome you to the ACO’s Haydn & Italian Cello program, featuring the Australian debut performance of outstanding Italian cellist Giovanni Sollima.

We are very proud of the company we keep as advisers to Australia’s major corporations on their business activities, and we are particularly proud of our close relationship with the brilliant ACO, not only as National Tour Partner on this wonderful cello program, but also as their legal advisers.

In the same way that the ACO is renowned for its excellence and individuality, our work is on landmark and transformational deals and disputes, so from the boardroom to the concert hall we are strong supporters of outstanding performance.

I very much hope you enjoy this performance.

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Jo h n s o n Wi n t e r & Sl a t t e r y l a w y e r s

JOHN KENCH CHAIRMAN JOHNSON WINTER & SLATTERY

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ABOUT THE MUSIC Alan J. Benson Artistic Administrator

Torniamo all antico, e sará un progresso (Let us return to the past, and it will be progress) — GIUSEPPE VERDI

The Italian peninsula is the musical point of departure on this program, with the cello as the instrumental focal point.

While Haydn, with his brilliant C major concerto, serves as the centrepiece composer in this concert, the program also serves as a would-be musical portrait of the cellist/composer Giovanni Sollima on the occasion of his Australian debut.

Richard Tognetti first became acquainted with Sollima in Slovenia, at Festival Maribor, where Richard serves as Artistic Director. Sollima comes to this tour of Australia having recently completed various projects ranging from the premiere of his new double cello concerto with Yo-Yo Ma and the Chicago Symphony, to serving as 2013’s Maestro Concertatore of La Notte della Taranta (The Night of the Tarantula) in Selento, southern Italy, a 4+ hour marathon music festival for an audience estimated at over 130,000.

The two concertos on this program were written within a decade of each other: Haydn’s was written in the 1760s for his friend, the principal cello of the newly formed Esterházy orchestra, while Boccherini’s was published in 1770 within the first few years of his settling near Madrid under patronage of Spanish royalty. In his day, Boccherini was mockingly referred to as ‘Haydn’s wife’, so it seems a humorous happenstance that in this program we can determine the effect an 18th century insult has on 21st century ears.

In much the same way that Respighi felt an affinity with the music and forms of the past (as we hear in his Ancient Airs and Dances), Giovanni Sollima also holds a particular fascination with history. He has penned works deriving inspiration from Dante, Berio, Caravaggio, Casanova, and in this evening’s program, presents an homage, or as Sollima describes it, a ‘micro-dramatization for a film or a story’ of Luigi Boccherini.

Written in 2005 for the Kronenburg Cello Festival, Sollima’s four movement L.B. Files takes the listener on a loose narrative journey of an imagined life of Boccherini, complete with an excerpt from Casanova’s diary on the nature of the fandango.

The program concludes with Verdi’s stirring, and only work for string quartet, written during ‘idle moments in Naples’ as the composer recounted. In this performance, the work is expanded for the forces of a full string orchestra, a performance practice that Verdi’s work first underwent in 1877 in London, and was also championed by Toscanini, who performed the work with the string section of the New York Philharmonic in Carnegie Hall in 1936.

AUSTRALIAN CHAMBER ORCHESTRA 1

HAYDN & ITALIAN CELLO RICHARD TOGNETTI Director & Violin GIOVANNI SOLLIMA Cello RESPIGHI

Ancient Airs and Dances: Suite No.3: Selections

BOCCHERINI

Cello Concerto No.3 in G major, G.480

Giovanni SOLLIMA

L.B. Files

INTERVAL HAYDN

Cello Concerto No.1 in C major, Hob.VIIb/1

VERDI (arr. string orchestra) String Quartet in E minor

Approximate durations (minutes): 19 – 19 – 16 – INTERVAL – 24 – 24 The concert will last approximately two hours and fifteen minutes including a 20-minute interval.

ADELAIDE

NEWCASTLE

SYDNEY

Adelaide Town Hall Tue 6 May, 8pm

Newcastle City Hall Mon 28 Apr, 7.30pm

Sydney Opera House Sun 13 Apr, 2pm

BRISBANE

MELBOURNE

City Recital Hall Angel Place Tue 29 Apr, 8pm Wed 30 Apr, 7pm Fri 2 May, 1.30pm Sat 3 May, 7pm

QPAC Concert Hall Mon 14 Apr, 8pm

CANBERRA

Canberra Llewellyn Hall Sat 12 Apr, 8pm

Hamer Hall Sun 4 May, 2.30pm Mon 5 May, 8pm

PERTH Perth Concert Hall Wed 16 Apr, 7.30pm

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

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

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ACO ON THE RADIO ABC CLASSIC FM: Haydn & Italian Cello 6 May, 8.30pm

UPCOMING TOUR Timeline 19 May – 4 Jun

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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.

Adelaide Tue 6 May, 8pm Jim Koehne Brisbane Mon 14 Apr, 8pm Gillian Wills Canberra Sat 12 Apr, 8pm Ken Healey am Newcastle Mon 28 Apr, 7.30pm Ken Healey am Melbourne Mon 5 May, 8pm Alastair McKean

Perth Wed 16 Apr, 7.30pm Claire Stokes Sydney (SOH) Sun 13 Apr, 2pm Ken Healey am Sydney (CRH) Tue 29 Apr, 8pm Ken Healey am Wed 30 Apr, 7pm Ken Healey am Fri 2 May, 1.30pm Francis Merson Sat 3 May, 7pm Francis Merson

MESSAGE FROM THE GENERAL MANAGER There are two debuts to celebrate during this national tour of Haydn and Italian Cello.

Giovanni Sollima is giving his first concerts in Australia on this tour, following his unforgettable performances at the Festival Maribor in 2012, when we first encountered him. Giovanni’s extraordinary musicianship combined with the élan of his cello playing make for thrilling musical experiences. We are all very excited to present him to Australian audiences for the first time.

The other debut is by our newest National Tour Partner, Johnson Winter & Slattery Lawyers. We warmly welcome Chairman John Kench and his skilled and expert colleagues to the ACO’s inner circle of corporate sponsors and we look forward to a long and mutually beneficial relationship with our new legal advisers.

Richard Tognetti and the musicians have just returned from a most unusual North American tour which commenced with a week-long residency at The Banff Centre in the Canadian Rockies – an inspirational arts campus which brings together creative artists from all disciplines to collaborate and make new work. As part of the residency, Richard and the ACO unveiled the first glimpses of a new film and live music project under the working title Mountain. To be filmed largely in the spectacular alpine setting of the Banff National Park, Mountain will be developed over the Canadian winters of 2014/15 and 2015/16 before being premiered in 2016. Mountain’s musical score will be an integral part of the creation of the film, at times guiding the scenario and at other times responding to it. It will explore the relationship between humanity and mountain, how landscapes shape cultures and societies, and humankind’s ability to sustain life in seemingly impossible conditions.

Following the Banff residency, the Orchestra performed an ACO Underground program in New York’s (Le) Poisson Rouge nightclub, led a professional development project for the Chicago Symphony Orchestra’s young professionals ensemble and performed a Shostakovich, Prokofiev and Britten program in the Chicago Symphony Orchestra’s prestigious series at Orchestra Hall.

TIMOTHY CALNIN

GENERAL MANAGER AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA 3

RESPIGHI

Ancient Airs and Dances: Suite No.3 (Composed 1932)

Ottorino RESPIGHI (b. Bologna, 1878 — d. Rome, 1936) Reared and schooled in Bologna, Respighi spent a short but formative time employed as a violist in St Petersburg, Russia, where he studied with Rimsky-Korsakov who played a major role in the development of his approach to orchestration. He is best known for his dazzlingly-orchestrated works celebrating Rome, where he spent the majority of his professional life composing and teaching.

I. Italiana (Anonymous: Italiana [Fine sec.XVI] – Andantino) II. Arie di corte (Jean-Baptiste Besard: Arie di corte [Sec.XVI] – Andante cantabile – Allegretto – Vivace – Slow with great expression – Allegro vivace – Vivacissimo – Andante cantabile) IV. Passacaglia (Lodovico Roncalli: Passacaglia [1692] – Maestoso – Vivace) BACKGROUND Although Respighi’s personal style developed over time into a distinctive voice, his works are notable for references to external inspirations. Most obviously these influences included sights and sounds of Rome – the Pines, Fountains and Festivals of Rome are three of his best-known works.

As a very young student in Bologna, Respighi had a professor who had a particular interest in musicology.

This gave him unusual exposure to pre-Classical works, and, as one writer has put it, gave him another item in his compositional toybox; more influences to play with in his own music.

For most of the 19th and some of the 20th centuries, the music of Bach, Vivaldi, Monteverdi and their contemporaries were almost unknown to the general concert-going public. Even well into the 1940s, music earlier than Haydn was the province of specialist scholars (unofficially and affectionately known as the ‘beards and sandals brigade’). A general interest in musical heritage developed in the years around 1900 – the work of Bartók, Vaughan Williams and others into their national folksongs are the most famous examples. But another aspect of this retrospection was the rediscovery of music which had been forgotten, dismissed as old fashioned, or inevitably discarded once the composer (who was usually also one of the performers) died.

Respighi’s three suites of Ancient Airs and Dances are a case in point. Inspired by his early studies, throughout his life he enjoyed browsing through the unregarded treasures in Italian libraries. The Ancient Airs and Dances are based on works from the 16th and 17th centuries which he came across and liked enough to want to bring them to life again.

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The three suites, written in 1917, 1924 and 1932 respectively, are all popular works in the orchestral repertoire. However, listening to them has become a slightly disconcerting experience. Our ears have grown used to the sounds of historically-informed performances, with their appropriate ornaments, clear, almost astringent textures and deftly articulated bowing. Respighi, being a child of the Romantic age, approached the ‘ancient’ works from his own richly lyrical perspective – heart-on-sleeve, in fact.

To hear pieces originally intended for harpsichords, lutes or viols presented in such a lyrical 19th-century way is arresting. Respighi did not alter the melodies, and almost all of the harmony is authentic – but the texture, colour, dynamics and articulation are all his own.

ABOUT THE MUSIC The Italiana which opens the Suite is an anonymous song from the 16th century. The second movement links a number of tunes associated with the composer Jean-Baptiste Besard. These love songs include the poignant ‘It is sad to be in love with you’ which opens and then ends the movement; and in the middle are ‘Farewell forever, shepherdess’; ‘Lovely eyes that see clearly’; ‘The little boat of love’; ‘What divinity touches my soul’ and ‘If it is for my innocence you love me’. The striking finale is based on a passacaglia (a type of complicated theme and variations) by Lodovico Roncalli (1692). Roncalli would probably never have imagined his music could sound like this, but surely he would have been delighted to think of a new audience enjoying it once more.

© Respighi Archive

K.P. KEMP © 2004

Further listening Respighi’s international acclaim came about as a result of the success of his vividly orchestrated tone poems celebrating Rome (Fountains of Rome, Pines of Rome, and Roman Festivals). These works, his ‘Roman Trilogy’, are essential listening for an introduction to Respighi, and the Orchestre symphonique de Montréal with Charles Dutoit offer a colourful, rousing recording (Decca).

Respighi leading a composition class at the Accademia di Santa Cecilia in Rome (1924).

AUSTRALIAN CHAMBER ORCHESTRA 5

BOCCHERINI

Cello Concerto No.3 in G major, G.480 (Composed 1770)

I. Allegro II. Adagio III. Allegro BACKGROUND

Luigi BOCCHERINI (b. Lucca, 1743 — d. Madrid, 1805) A cellist and composer, Boccherini was the principle representative of the Italianite school of composition during the Viennese classical era, securing royal patronage from not only the Hapsburgs, but also the courts of France, and most influentially on the composer, Spain. His chamber music output was voluminous, having penned over 100 string quintets, nearly 100 string quartets and over 100 other chamber works.

There is a portrait of Boccherini in the National Gallery of Victoria (the New Grove Dictionary says it is in Zürich – in fact, it is in Melbourne). The painting, once attributed to the famous Roman portraitist Pompeo Batoni, shows Boccherini playing his cello, supporting the instrument solely with his calves (the end-pin to rest it on the floor is a later invention), and holding the bow very loosely at its point of balance (not, as is customary today, near the nut). Boccherini was the most celebrated cellist of his day, and judging by his music he was a true virtuoso, especially striking for his handling of the cello’s high registers, for rapid bowing across the strings and for long passages in multiple stopping. A German magazine noted Boccherini’s ‘incomparable tone and expressive, singing melody’.

Luigi Boccherini was born, like Puccini a century later, in Lucca, Italy, studying there and in Rome. He made extensive tours playing solo, in chamber music, and in orchestras.

He visited Vienna, several German courts, and Paris.

Publishers vied for his compositions. By 1768, Boccherini was in Spain, where he was employed by several members of the royal family and at the courts at the Escorial and Aranjuez. It is now believed that he remained in Spain for the rest of his life. In 1786 he was appointed court composer to the cello-playing King Frederick William II of Prussia (for whom Mozart’s ‘Prussian’ quartets were written).

Boccherini did not, as was once believed, move to Berlin, but until the King’s death in 1797 sent him twelve works a year. Composing mostly quartets and quintets, he became possibly the most prolific composer of chamber music ever (there are 113 string quintets, where a second cello is added to the string quartet. One of these contains the celebrated ‘Boccherini minuet’, almost the only piece to keep his name alive until the 20th century). Interest in Boccherini’s music also continued to be high outside Spain, especially in Paris.

His patronage decreased in his last years, when he also suffered from illness – he made guitar arrangements of his more ambitious compositions to earn a living.

The charm and gentleness of much of Boccherini’s music led

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a contemporary to dub him ‘Haydn’s wife’. His style is usually elegant, sunny and direct, in contrast to the greater richness and complexity of the Viennese classical style. His gift is essentially lyrical, and the ‘singing’ style goes with a feeling for melodic detail.

A statue of Boccherini sits outside the Istitute Musicale Luigi Boccherini in the composer’s hometown of Lucca.

Further listening Bocherinni’s La musica notturna delle strade di Madrid (Night Music of the Streets of Madrid) is a fascinating example of the composer’s capacity for musical invention, with depictions of a church bell, street beggars, and even military night watchmen.

Cuarteto Casals with Eckart Runge (cello) have presented a lively recording of this work for the Harmonia Mundi label, and ACO’s Richard Tognetti presents a vibrant interpretation on the soundtrack to the film Master and Commander (Decca).

There are at least eleven cello concertos by Boccherini, and another whose attribution is more doubtful. But for a long time the only cello concerto by which he was known was the Concerto in B flat, a conflation published in 1895 by the German cellist Friedrich Grützmacher. The outer movements of this arrangement were taken from a concerto (G.482) and a sonata by Boccherini, with the solo and the orchestral parts extensively adapted, mainly in the harmony and scoring, but even in the cello figuration. The popularity of this ‘edition’ – effective on its own terms, long a standard repertoire piece, and still played – owed a lot to the beauty of its slow movement. Grützmacher took this from another Boccherini cello concerto: the one heard in this concert in its original form. The melancholy reverie of this minor-key slow movement has led the Boccherini authority and cataloguer of his works, Yves Gérard, to write of a ‘Rousseau-like sensibility’ – the individual soul lyrically evoking an unspoilt ‘nature’.

ABOUT THE MUSIC The present concerto was called Boccherini’s ‘Third Concerto’ when published in Paris as one of a group of four (1770-71). The light texture, the form, and the scoring for strings alone make it one of those of Boccherini’s cello concertos keeping an affinity to the Baroque, or at least preclassical style. The orchestral passages provide a framework for the soloist to gracefully make the difficult seem easy. The middle section of the first movement expands the expressive range, but not much. Boccherini’s interest in colour and texture is seen in the frequent presentation of the cello’s high-lying material harmonised – usually a third below – by the first violin. After the G minor slow movement which is the treasure of this concerto, comes a dance-like final movement (David Geringas’ cadenza on his recording finds an affinity with ‘Se vuol ballare’ – ‘so you want to dance’ – from Mozart’s Marriage of Figaro). The echo effects are a reminder that Boccherini was a compatriot and successor of Vivaldi. This movement is similar to the first, but there is one excursion into the minor and the cellist’s part is even more virtuosic.

DAVID GARRETT © 2008 AUSTRALIAN CHAMBER ORCHESTRA 7

© Gian Maria Musarra

GIOVANNI SOLLIMA

L.B. Files

(Composed 2007)

I. L.B. Concerto II. Igiul III. ‘Fandango del signore Bouqeriny’ IV. Boccherinero BACKGROUND

Giovanni SOLLIMA (b. Palermo, 1962) Cellist/Composer Giovanni Sollima has been labelled a post-minimalist composer.

While his music draws upon minimalist traditions in the vein of Philip Glass (with whom he performed in New York), it is infused with passion, warmth, and exuberance, with references to Mediterranean, middle eastern, and electronic music. Much of his work reflects an interest in history and historic figures.

Cellist Giovanni Sollima has long been interested in expanding the expressive and sonic possibilities of his instrument. For his four-movement Terra Suite, commissioned for a dance performance at the 2001 Venice Biennale, Sollima was recorded multitracking on multiple cellos, and in Lasse Gjertsen’s accompanying video, Sollima can be seen sprouting extra arms to play all the parts on one cello.

As a musician, Sollima resists easy categorisation. Although he performs the traditional cello repertoire, he also has invented his own instruments, and he once played an ice cello in a mountain-top igloo theatre. For his work Caravaggio, he reconstructed the tenor violin that is depicted in the great Italian’s paintings (the score itself is loosely based on the tiny scraps of music, thought to be by the Flemish composer Arcadelt, that can be seen in Caravaggio’s work).

He regularly collaborates with artists, choreographers, and theatre directors who are as restless and innovative as he is; as a film composer, he has written music for Wim Wenders’s

Giacomo Casanova by Anton Raphael Mengs

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Palermo Shooting and Peter Greenaway’s Vaux to the Sea and Nightwatching. But the cello itself has been at the heart of Sollima’s life since childhood. ‘The cello,’ he once said, ‘both as an instrument (including its case…) that sounds, and as an object irresistibly fascinating for me, attracted my attention immediately.’

The past, in particular the great Italian cultural heritage, is present in much of what Sollima does today. He has set texts

by Dante and Michelangelo to music; he has recorded a disc of eighteenth-century Neapolitan cello concertos; and he composed a cello concerto, Fecit Neap. 17, which references the Neapolitan tradition. ‘I feel the past as a magnetic centre that is sending out signals,’ he has said. © PHILLIP HUSCHER

ABOUT THE MUSIC The composer writes: I composed L.B. Files in 2005 and played it at the Kronberg Cello Festival, dedicated to Luigi Boccherini that year. I chose a simple narrative form, almost a microdramatization for a film or a story. The life of Boccherini, an Italian from Lucca who emigrated to Spain and ended his days in the most absolute poverty; I like his unrestrained curiosity and his ability to adopt and mix shapes, techniques and contrasting styles (from the Flamenco to the Zarzuela, from the Fandango to the harsh sounds ‘sul ponte’ to imitations of birds, etc).

L.B. Files is articulated in four movements, dancing (I have always seen him as a dancing cellist…) with a subtle eros (the Fandango is built on his original bass line, Giacomo Casanova tells of their meeting in his Memoir…yet can we be sure they actually met? I like to believe they did…).

In the last movement I imagine him returning after some hundreds of years from Senegal…

In the third movement, Sollima incorporates pre-recorded spoken text, with text drawn from Giacomo Casanova’s diary, in which he waxes poetically about the nature of the fandango: On ne saurait décrier le Fandango Chaque couple fait mille attitudes, mille gestes d’une lascivité dont rien n’approche.

One cannot describe the Fandango Each couple takes up a thousand attitudes, with a lasciviousness with which nothing can compare.

AUSTRALIAN CHAMBER ORCHESTRA 9

La se trouve l’expression de There is found the expression l’amour of love depuis sa naissance jusqu’ à from its beginning to its la fin, end, Depuis le soupir jusque l’extase. From the sigh to the ecstasy.

Il me paraissait impossible qu’ After dancing such a dance, après une danse pareille, it seemed to me impossible la danseuse pût rien refuser that a woman could refuse à son danseur”. anything to her partner.

– Giacomo Casanova (Madrid, 1767) In the fourth movement, Sollima quotes a melody sung by the late African musician, Gilbert Diop Abdourahmane: SANT Love travels so far away – Love comes in so many ways.

With your names we touch many hearts.

Bring many worlds together – that was once fallen apart.

May God bless you serigne Saliu M. Backe.

May God bless you Cheikh Bethio Thiume.

May God give you a very long and healthy life.

You are men that do what’s right.

In your eyes we see the light.

Fire in your mind so bright.

We pray with you for a world that’s right, day and night.

– Gilbert Diop Abdourahmane

Further listening On his recent recording titled Neapolitan Cello Concertos (Glossa), Sollima selected a handful of works that were penned by composers working in Naples in the 18th century, which was at that time a major centre of musical thought, training, and performance in Europe.

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HAYDN

Cello Concerto in C major, Hob.VIIb:1 (Composed 1761–65)

I. Moderato II. Adagio III. Allegro Molto BACKGROUND

Franz Joseph HAYDN (b. Rohrah, 1732 — d. Vienna, 1809) Haydn was hugely prolific and highly influential. His output encompassed almost every form of music, sometimes to an extreme degree (over 100 symphonies, over 60 string quartets). The link in the chain between Bach and Mozart, the Classical era would be unimaginable without him.

In 1761, at the age of 29, Haydn was appointed ViceKapellmeister at the court of Prince Esterházy in the small town of Eisenstadt. His musical duties there included the composition of instrumental music for the newly formed Esterházy orchestra. Haydn already knew many of the orchestral players from his earlier days in Vienna, and he promptly set out to write works that would exploit their talents. The first three symphonies that he wrote for his new employer – Nos. 6, 7 and 8 – gave prominent and extended solos to various players of the orchestra. His Cello Concerto in C major was also composed at around this time, and it was written to showcase the virtuosity of Joseph Weigl, the orchestra’s principal cellist. The composer and cellist were clearly close friends as well as colleagues, as Haydn was godfather to Weigl’s son.

The exact number of concertos that Haydn composed during his long career serving the Esterházy family is not certain. Many are now lost, though we know of their existence due to the composer noting them in his own catalogue of works. The Cello Concerto in C major was also presumed lost until the parts were discovered in the

Projected garden facade (not completed) for Schloss Esterházy, oil on canvas by Albert Christoph Dies, 1812.

AUSTRALIAN CHAMBER ORCHESTRA 11

Prague National Museum as recently as 1961. It was given an acclaimed 20th-century premiere in 1962 by the cellist Miloš Sádlo, with the Czechoslovak Radio Symphony Orchestra conducted by Sir Charles Mackerras. Since then it has become a cornerstone in the repertoire of most solo cellists.

The concertos that Haydn composed during his tenure at Eisenstadt were not intended for large fee-paying public audiences, but were rather conceived for smaller groups of listeners within the confines of the court society. Unlike many 18th-century composers, Haydn was not renowned as a performer himself, so close contact with the intended soloist during the composition of his concertos was paramount in achieving idiomatic virtuosity. ‘I was not a wizard on any instrument, but I knew the power and effect of them all,’ he explained toward the end of his life.

ABOUT THE MUSIC His thorough knowledge of the cello’s capabilities and range of expression is clearly evident throughout the C major Concerto. The famous finale contains extended periods of brilliant upper-register passagework that emphasise the physical and virtuosic nature of the cellist’s performance.

Contrastingly, the central slow movement has the character of an Italian operatic aria, complete with a sustained introductory note from the soloist that traditionally displays vocal, or in this case, bow, control. tutti: meaning all or together is used as a musical term, for the whole orchestra as opposed to the soloist. cadenza: an improvised or written-out ornamental passage performed by the soloist.

Like several of Haydn’s other early Esterházy concertos, the first movement is moderate in tempo. The opening tutti is broadly conceived, as are the overall sonata-form outlines, and the soloist is given space for a cadenza towards the movement’s end. The matching of the home key of C major with the cello’s lowest string maximises the instrument’s natural resonance and enhances the harmonic openness that characterises the entire concerto.

JAMES CUDDEFORD © 2013

Further listening The ACO and Richard Tognetti recorded the Haydn Concerto in C in 2003, featuring the talented cellist Daniel MüllerSchott (Orfeo).

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VERDI

String Quartet in E minor (Composed 1873)

I. Allegro II. Andantino III. Prestissimo IV. Scherzo Fuga – Allegro assai mosso BACKGROUND

Giuseppe VERDI (b. Roncole, near Busseto, 1813 — d. Milan, 1901) Verdi is not a composer typically associated with anything other than opera, and not without reason. His non-operatic vocal works are rare enough, and his instrumental music is rarer still. During his lifetime Verdi consented to the publication of only one instrumental work, the String Quartet in E minor, his sole composition in the genre.

Verdi’s Quartetto appeared during a sixteen-year period in which the internationally renowned composer offered no new operas to the public, between the premieres of Aida in 1871 and Otello in 1887. It was composed in early 1873 in Naples, where Verdi was overseeing a production of Aida at the Teatro di San Carlo, and was allegedly tossed off as an idle pastime.

Local musicians offered the quartet’s first performance as a surprise for a small gathering in a salon at Verdi’s hotel, with one music critic in attendance immediately hailing it as both a novelty and masterpiece: ‘Un Quartetto…di Verdi!’ as the review’s headline announced. The composer was more sanguine, noting for the record only that, ‘I don’t know whether it is beautiful or ugly. I only know that it is a quartet.’

Verdi at first regarded the quartet as a private matter and withheld it from publication and public performance for three years. This was not out of any apparent ambivalence as to its quality, but in part so as not to draw attention from his forthcoming Messa da Requiem (1874), whose success would prove that the Italian master could excel in a genre outside of opera. (German critic Hans von Bülow would famously refute these claims, dismissing the Requiem as merely an ‘opera in ecclesiastical robes.’) Although the very public and large-scale Requiem might seem the polar opposite of the modest quartet

The Teatro di San Carlo in Naples as depicted in the 1850s. Verdi penned his string quartet in Naples in 1873, where he was overseeing a production of his Aida at the San Carlo.

AUSTRALIAN CHAMBER ORCHESTRA 13

in almost every musical respect, they are in fact closely linked in Verdi’s compositional life. As a foray into non-operatic composition, the quartet, like the Requiem, raised sensitive issues of national and musical identity.

Verdi cited nationalist concerns as his reason for initially keeping the quartet from the wider public. The string quartet in Italy was ‘a plant out of its environment,’ he maintained, not because he doubted that such works could take root and flourish, however. Rather, he wanted native artists and institutions instead to cultivate what he regarded as the more important practice of sacred vocal polyphony in the tradition of Palestrina. In other words, Italians should stick to the voice and leave instrumental music to the Germans. It is our great fortune that in the case of his quartet, Verdi allowed himself one remarkable exception to this rule.

ABOUT THE MUSIC

chorale: a musical composition consisting of or resembling a harmonised version of a simple, stately hymn tune. bel canto: Italian for ‘beautiful song’, denotes a lyrical style of operatic singing using a full rich tone and smooth phrasing.

Further reading Such is the importance of Verdi’s contribution to Italian cultural heritage, that he has several organisations devoted to the study, dissemination, and preservation of his life and experience.

The Museo Nazionale Giuseppe Verdi is located in his birthplace of Busseto: museogiuseppeverdi.it Three critically-edited volumes of Verdi’s correspondence can be found at the Istituto di Studi Verdiani: studiverdiani.it 2013 was the bicentennial of Verdi’s birth, and an online portal was created at giuseppeverdi.it

Verdi’s quartet shows that his theatrical talents translated quite readily to instrumental writing. The piece at once demonstrates a comfort and confidence with the genre and also allows lyrical melodies to shine through at key moments.

The first movement is almost like an opera in miniature.

Its quiet, mysterious opening is followed by a bolder fuguelike section, but then immediately quietens down with a restrained passage featuring playful chromatic gestures from the cello. Especially evocative are two chorale-like episodes that offer meditative respites from the fast-moving plot. With a similar narrative quality, the second andantino movement is framed by passages of lilting music in a syncopated triple meter, with the second violin, viola, and cello plucking their lowest notes. Occasional chromatic effects lend the otherwise sweet melody a twinge of melancholy. In the middle, however, things are more unsettled, most notably in several passages of rapidly repeated sixteenth notes played across all four parts.

The prestissimo third movement is a fast-moving study in contrasts. The opening is thick with hard-driving staccatos and trills, with the section repeated as a da capo to close the movement. In between, however, Verdi gives the cello a soaring bel canto melody in a contrasting major key, with gentle pizzicato accompaniment from the upper voices.

The final scherzo – fugue is exactly what it purports to be, a playful contrapuntal whirlwind. With the exception of a few brief moments of repose, all four parts pull out all the stops to build toward a dramatic – one might even say operatic – conclusion.

JAMES STEICHEN © 2014

14 AUSTRALIAN CHAMBER ORCHESTRA

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ACO-national-concert-program-ad-July-2013-GPO-AD1.indd 1

6/15/2013 7:31:11 PM

I n s p I r e T h e n e x T g e n e r aT I o n of musIcIans I have a wonderful sense of pride that our National Education Programs have grown exponentially since they began eight years ago. Thanks to our patrons we are cultivating the musical development of young Australians.

We aim to ensure the next generation of our musicians are supported in their musical progression.

It is my vision to continue delivering these vastly important programs across the country, introducing more young people to the joys and benefits of music.

Please join us in supporting our National Education Programs.

richard Tognetti ao artistic Director ACO Academy student, ŠFiora Sacco

To donate please visit

aco.com.au/donate For more information please phone Ali Brosnan on (02) 8274 3830 or email patrons@aco.com.au

RICHARD TOGNETTI ao

ARTISTIC DIRECTOR & LEADER AUSTRALIAN CHAMBER ORCHESTRA © Paul Henderson-Kelly

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 Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia and Creative Associate of Classical Music for Melbourne Festival.

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.

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.”

THE DAILY TELEGRAPH (UK)

Select Discography As soloist: BACH, BEETHOVEN & BRAHMS ABC Classics 481 0679 BACH Sonatas for Violin and Keyboard ABC Classics 476 5942 2008 ARIA Award Winner BACH Violin Concertos ABC Classics 476 5691 2007 ARIA Award Winner BACH Solo Violin Sonatas and Partitas ABC Classics 476 8051 2006 ARIA Award Winner (All three releases available as a 5CD Box set: ABC Classics 476 6168) Musica Surfica (DVD) Best Feature, New York Surf Film Festival As director: GRIEG Music for String Orchestra BIS SACD-1877 Pipe Dreams Sharon Bezaly, Flute BIS CD-1789 All available from aco.com.au/shop.

As director or soloist, Tognetti has appeared with the Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra, YouTube Symphony Orchestra and the Australian symphony orchestras. He conducted Mozart’s Mitridate for the Sydney Festival and gave the Australian premiere of Ligeti’s Violin Concerto with the Sydney Symphony.

Tognetti has collaborated with colleagues from across various art forms and artistic styles, including Joseph Tawadros, Dawn Upshaw, James Crabb, Emmanuel Pahud, Jack Thompson, Katie Noonan, Neil Finn,Tim Freedman, Paul Capsis, Bill Henson and Michael Leunig.

In 2003, Tognetti was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World; violin tutor for its star, Russell Crowe; and can also be heard performing on the award-winning soundtrack. In 2005, he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes and, in 2008, created The Red Tree, inspired by illustrator Shaun Tan’s book.

He co-created and starred in the 2008 documentary film Musica Surfica, which has won best film awards at surf film festivals in the USA, Brazil, France and South Africa.

As well as directing numerous recordings by the ACO, Tognetti has recorded Bach’s solo violin repertoire for ABC Classics, winning three consecutive ARIA awards, and the Dvořák and Mozart Violin Concertos for BIS. A passionate advocate for music education, Tognetti established the ACO’s Education and Emerging Artists programs in 2005.

Richard Tognetti was appointed an Officer of the Order of Australia in 2010. He holds honorary doctorates from three Australian universities and was made a National Living Treasure in 1999. He performs on a 1743 Guarneri del Gesù violin, lent to him by an anonymous Australian private benefactor.

18 AUSTRALIAN CHAMBER ORCHESTRA

GIOVANNI SOLLIMA

© Gian Maria Musarra

CELLO

Born in Palermo, Italy, into a family of musicians, Giovanni Sollima studied cello with Giovanni Perriera and Antonio Janigro and composition with his father Eliodoro Sollima and Milko Kelemen.

During his international career as a cellist, he has collaborated with the likes of Claudio Abbado, Giuseppe Sinopoli, Jörg Demus, Martha Argerich, Katia and Marielle Labèque, Bruno Canino, DJ Scanner, Victoria Mullova, Riccardo Muti, Ruggero Raimondi, Patti Smith, Philip Glass and Yo-Yo Ma. Sollima has performed in many prestigious performance spaces, including Carnegie Hall, Brooklyn Academy of Music, Alice Tully Hall in New York’s Lincoln Centre, Wigmore and Queen Elizabeth Hall in London, Salle Gaveau in Paris, Muziekgebouw in Amsterdam, Tchaikovsky Hall in Moscow, Kunstfest in Weimar, La Scala in Milan and Santa Cecilia in Rome, as well as alternative venues, including the Knitting Factory in New York.

He has also performed at the Festivals of Kronberg, Kuopio, Istanbul, Tokyo, Venice, Ravenna, Spoleto and Maribor, and at the Shanghai Expo in 2010.

As a composer, Sollima has been captivated by every kind of language and has sought to create new blends among the most diverse genres by combining elements of classical and rock music, as well as of music from throughout the Mediterranean area.

He composes for acoustic and electric instruments, and others he has invented himself or which have been created for him.

He has also composed music for directors and choreographers including Peter Greenaway, Bob Wilson, Peter Stein, John Turturro, Karole Armitage and Carolyn Carlson. With the videographer Lasse Gjertsen he realised the music video Daydream.

Sollima’s notable recordings include Aquilarco, Works, We Were Trees (recorded in 2008 with the cellist Monika Leskovar and the Solistenensemble Kaleidoscop from Berlin), Astrolabioanima and Sonnets et Rondeaux.

In September 2009, he performed his new cello concerto Folktales – commissioned by the Budapest Festival Orchestra – in Budapest, Linz and Cologne. The Chicago Symphony Orchestra commissioned Sollima to write a rare double cello concerto, titled Antidotum Tarantulae XXI. Playing alongside his colleague Yo-Yo Ma the work premiered to great acclaim at Chicago’s Orchestra Hall in January this year.

Sollima teaches at the Romanini Foundation in Brescia and at the Accademia of Santa Cecilia in Rome where he was appointed Member of the Academy, the highest honour in Italy for a musician.

Giovanni Sollima plays a cello by Francesco Ruggeri made in Cremona in 1679.

AUSTRALIAN CHAMBER ORCHESTRA 19

AUSTRALIAN CHAMBER ORCHESTRA

RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEAD VIOLIN

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

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

Founded in 1975 by John Painter am, this string orchestra comprises leading Australian and international musicians. The Orchestra performs symphonic, chamber and electro-acoustic repertoire collaborating with an extraordinary range of artists from numerous artistic disciplines including renowned soloists Emmanuel Pahud, Steven Isserlis and Dawn Upshaw; singers Katie Noonan, Paul Capsis, and Teddy Tahu Rhodes; and such diverse artists as cinematographer Jon Frank, entertainer Barry Humphries, photographer Bill Henson, choreographer Rafael Bonachela and cartoonist Michael Leunig.

Australian violinist Richard Tognetti, who has been at the helm of the ACO since 1989, has expanded the Orchestra’s national program, spearheaded vast and regular international tours, injected unprecedented creativity and unique artistic style into the programming and transformed the group into the energetic standing ensemble (except for the cellists) for which it is internationally recognised.

Several of the ACO’s players perform on remarkable instruments.

Richard Tognetti plays the legendary 1743 Carrodus Guarneri del Gesù violin, on loan from a private benefactor; Helena Rathbone plays a 1759 Guadagnini violin owned by the Commonwealth Bank; Satu Vänskä plays a 1728/9 Stradivarius violin owned by the ACO Instrument Fund; Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss ao, and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor.

The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA 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

20 AUSTRALIAN CHAMBER ORCHESTRA

MUSICIANS ON STAGE

RICHARD TOGNETTI AO§

SATU VÄNSKÄ≈

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

Principal Violin Chair sponsored by Kay Bryan

ILYA ISAKOVICH

ALEXANDRU-MIHAI BOTA

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

Viola Chair sponsored by Philip Bacon AM

Photos: Paul Henderson-Kelly, Helen White

REBECCA CHAN

MARK INGWERSEN

Violin Chair sponsored by Ian Wallace & Kay Freedman

Violin

Viola Chair sponsored by Ian Lansdown

NICOLE DIVALL

TIMO-VEIKKO VALVE v Principal Cello Chair sponsored by Peter Weiss ao

Violin

Cello

CARISSA KLOPOUSHAK MALGORZATA LOBODA KATHERINE LUKEY

MICHAEL DAHLENBURG

•

• ACO Emerging Artist

Viola

JACQUELINE CRONIN

MELISSA BARNARD

Cello Chair sponsored by Bruce & Joy Reid Foundation

MAXIME BIBEAU I

Principal Bass Chair sponsored by John Taberner & Grant Lang

Players dressed by

AKIRA ISOGAWA

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

≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. v Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao.

I Maxime Bibeau plays a late-16th century Gasparo da Salò bass kindly on loan from private Australian benefactors.

AUSTRALIAN CHAMBER ORCHESTRA 21

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

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

Alexandra Cameron-Fraser Strategic Development Manager

EDUCATION

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

MARKETING

Derek Gilchrist Marketing Manager

Amy Goodhew Marketing Coordinator Mary Stielow National Publicist

Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti AO

FINANCE

Cathy Davey Chief Financial Officer

Jack Saltmiras Digital Content & Publicity Coordinator

ARTISTIC & OPERATIONS

Yvonne Morton Accountant

Dean Watson Customer Relations Manager

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 Cyrus Meurant Librarian

Bernard Rofe Assistant Librarian

Steve Davidson Corporate Services Manager

Shyleja Paul Assistant Accountant

Chris Griffith Box Office Manager

Deyel Dalziel-Charlier Box Office & CRM Database Assistant

DEVELOPMENT

Christina Holland Office Administrator

Tom Tansey Events Manager

INFORMATION SYSTEMS

Rebecca Noonan Development Manager

Tom Carrig Senior Development Executive Ali Brosnan Patrons & Foundations Executive

Sally Crawford Development Coordinator

AUSTRALIAN CHAMBER ORCHESTRA

Ken McSwain Systems & Technology Manager

Emmanuel Espinas Network Infrastructure Engineer ARCHIVES

John Harper Archivist

ABN 45 001 335 182

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

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

22 AUSTRALIAN CHAMBER ORCHESTRA

ACKNOWLEDGEMENTS GOVERNMENT SUPPORT

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

PO Box 7585 St Kilda Road, Melbourne VIC 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au VICTORIAN ARTS CENTRE TRUST Mr Tom Harley (President) Ms Deborah Beale Mr Sandy Clark Mr Julian Clarke Mr Jim Cousins ao Ms Dana Hlavacek Ms Catherine McClements Mr Graham Smorgon am Mr David Vigo EXECUTIVE GROUP Mr Ian Roberts Interim Chief Executive Ms Jodie Bennett Chief Operating Officer Ms Louise Georgeson Executive Development & Strategy Ms Sarah Hunt Executive Marketing & Programming Mr Kyle Johnston Executive Sales & Customer Services Mr Tony Murphy Acting Executive Facilities DONOR ACKNOWLEDGMENT Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne.

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.

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

AEG OGDEN (PERTH) PTY LTD PERTH CONCERT HALL General Manager Andrew Bolt Deputy General Manager Helen Stewart Technical Manager Peter Robins Event Coordinator Penelope Briffa Perth Concert Hall is managed by AEG Ogden (Perth) Pty Ltd Venue Manager for the Perth Theatre Trust Venues.

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

AUSTRALIAN CHAMBER ORCHESTRA 23

ACKNOWLEDGEMENTS VENUE SUPPORT

A City of Sydney Venue

Clover Moore Lord Mayor PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au Chair: Chris Freeman am Deputy Chair: Rhonda White TRUSTEES Simon Gallaher Sophie Mitchell Mick Power am Maggi Sietsma am EXECUTIVE STAFF Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins 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

Managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD Christopher Rix Founder Anne-Marie Heath General Manager CITY RECITAL HALL ANGEL PLACE 2 –12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Administration 02 9231 9000 Box Office 02 8256 2222 or 1300 797 118 Facsimile 02 9233 6652 Website www.cityrecitalhall.com

SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) Mr Wayne Blair, Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby

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, Marketing Anna Reid

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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ACO–142 — 17274 — 1/120414

24 AUSTRALIAN CHAMBER ORCHESTRA

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

MEDICI PATRON MRS AMINA BELGIORNO-NETTIS

PRINCIPAL CHAIRS Richard Tognetti ao Lead Violin

Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Christopher Moore

Principal Viola

peckvonhartel architects

Helena Rathbone

Principal Violin

Kate & Daryl Dixon

Timo-Veikko Valve

Satu Vänskä

Principal Violin

Kay Bryan

Maxime Bibeau

Principal Cello

Principal Double Bass

Violin Chair Terry Campbell ao & Christine Campbell

Viola

Rebecca Chan

Melissa Barnard

Ian Wallace & Kay Freedman

The Bruce & Joy Reid Foundation

Peter Weiss ao

John Taberner & Grant Lang

CORE CHAIRS Aiko Goto Violin

Anthony & Sharon Lee Foundation Mark Ingwersen

Alexandru-Mihai Bota

Philip Bacon am

Violin

Violin

Ilya Isakovich

Nicole Divall

Julian Thompson

Australian Communities Foundation – Connie & Craig Kimberley Fund

Ian Lansdown

The Clayton Family

Violin

Viola

Cello

Cello

GUEST CHAIRS

FRIENDS OF MEDICI

Brian Nixon

Mr R. Bruce Corlett am & Mrs Ann Corlett

Principal Timpani

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

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

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

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

LEADER $500,000–$999,999 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

26 AUSTRALIAN CHAMBER ORCHESTRA

ENSEMBLE $10,000–$24,999

Leslie & Ginny Green

SOLO $5,000–$9,999

Amanda Stafford

PATRONS

June & Jim Armitage Leith & Darrel Conybeare John Landers & Linda Sweeny Bronwyn & Andrew Lumsden Ian & Pam McGaw Patricia McGregor Alison Reeve Angela Roberts Robyn Tamke Anonymous (2)

ACO RECORDING PROJECTS & SPECIAL COMMISSIONS FOUR SEASONS RECORDING PROJECT

Patrons Mr Robert Albert ao & Mrs Libby Albert Anthony & Sharon Lee Foundation Strauss Family

SPECIAL COMMISSIONS

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 Alison Reeve Dr Suzanne Trist Margot Woods & Arn Sprogis Team Schmoopy Anonymous (1)

INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2014.

International Tour Patrons Catherine Holmes à Court-Mather

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

MELBOURNE HEBREW CONGREGATION PATRONS Lead Patrons

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

AUSTRALIAN CHAMBER ORCHESTRA 27

ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director Reserve Bank of Australia Guido BelgiornoNettis am Chairman ACO & Executive Director Transfield Holdings

Bill Best

Leigh Birtles Executive Director UBS Wealth Management

Ian Davis Managing Director Telstra Television

Maggie Drummond

Tony Gill

Jennie Orchard

Tony O’Sullivan Margie Seale

Peter Shorthouse Client Advisor UBS Wealth Management

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 Sydney

Lillian Armitage Vanessa Barry Margie Blok Liz Cacciottolo Dee de Bruyn Judy Anne Edwards Sandra Ferman Elizabeth Harbison Bee Hopkins Prue MacLeod

Julianne Maxwell Julie McCourt Elizabeth McDonald Julia Pincus Sandra Royle Nicola Sinclair John Taberner (Chair) Liz Williams Judi Wolf

Brisbane

Ross Clarke Steffi Harbert Elaine Millar Deborah Quinn

DISABILITY ADVISORY COMMITTEE Amanda Tink Independent Consultant Amanda Tink Consultancy Morwenna Collett Program Manager Arts Funding (Music) Australia Council for the Arts

28 AUSTRALIAN CHAMBER ORCHESTRA

Mark Stanbridge Partner Ashurst

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 Belgiorno-Nettis Liz Cacciottolo & Walter Lewin John & Janet Calvert-Jones Carapiet Foundation Mark Carnegie Stephen & Jenny Charles Darin Cooper Family Daryl & Kate Dixon Geoff & Dawn Dixon Ian & Caroline Frazer Chris & Tony Froggatt Daniel & Helen Gauchat John Grill & Rosie Williams Catherine Holmes à Court-Mather 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 Mark & Anne Robertson Margie Seale & David Hardy Tony Shepherd ao Beverley Smith John Taberner & Grant Lang The Hon Malcolm Turnbull MP & Ms Lucy Turnbull ao John & Myriam Wylie E Xipell Anonymous (3)

DIRETTORE $5,000 – $9,999

Geoff Alder Brad Banducci Bill & Marissa Best Patricia Blau Marjorie Bull Joseph & Veronika Butta Terry Campbell ao & Christine Campbell

The Clayton Family Andrew Clouston Victor & Chrissy Comino Leith & Darrel Conybeare Peter & Tracey Cooper Mr R. Bruce Corlett am and Mrs Ann Corlett Ellis Family Suellen & Ron Enestrom Bridget Faye am Michael Firmin Jan Freemantle Maurice Green am & Christina Green Tony & Michelle Grist Liz Harbison Annie Hawker Rosemary Holden Bee Hopkins Warwick & Ann Johnson Julie Kantor Keith & Maureen Kerridge Lorraine Logan Macquarie Group Foundation David Maloney & Erin Flaherty The Alexandra & Lloyd Martin Family Foundation David Mathlin

Julianne Maxwell P J Miller Jan Minchin Jacqui & John Mullen Marianna & Tony O’Sullivan Elizabeth Pender John Rickard The Sandgropers Paul Schoff & Stephanie Smee Emma Stevens Jon & Caro Stewart Anthony Strachan Tamas Szabo Shemara Wikramanayake Cameron Williams Karen & Geoff Wilson Peter Yates am & Susan Yates Carla Zampatti Foundation Anonymous (1)

MAESTRO $2,500 – $4,999

Mrs Jane Allen Atlas D’Aloisio Foundation Will & Dorothy Bailey Charitable Gift Doug & Alison Battersby The Beeren Foundation

AUSTRALIAN CHAMBER ORCHESTRA 29

ACO DONATIONS PROGRAM Berg Family Foundation Andrew Best Linda & Graeme Beveridge Leigh & Christina Birtles Rosemary & Julian Block Dr David & Mrs Anne Bolzonello Ben & Debbie Brady Gilbert Burton Caroline & Robert Clemente Robert & Jeanette Corney Judy Crawford Kate Dixon Leigh Emmett Geoff Weir Michael Fitzpatrick Ann Gamble Myer Colin Golvan sc Ross Grant Warren Green Nereda Hanlon & Michael Hanlon am Mrs Yvonne Harvey & Dr John Harvey ao Peter & Helen Hearl Wendy Hughes Graeme Hunt Glen Hunter & Anthony Niardone Vanessa Jenkins I Kallinikos Peter Lovell Jane Morley Sandra & Michael Paul Endowment Justin Punch Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Ruth Ritchie Susan & Gary Rothwell D N Sanders Cheryl Savage Chris & Ian Schlipalius 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

The WeirAnderson Foundation Ivan Wheen Anonymous (4)

VIRTUOSO $1,000 – $2,499

Annette Adair Mrs Lenore Adamson in memory of Mr Ross Adamson Peter & Cathy Aird Antoinette Albert David & Rae Allen Andrew Andersons Australian Communities Foundation – Clare Murphy Fund Ruth Bell Virginia Berger 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 Angela & John Compton Martyn Cook Antiques 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

30 AUSTRALIAN CHAMBER ORCHESTRA

Lynne Flynn Jane & Richard Freudenstein Justin & Anne Gardener In memory of Fiona Gardiner-Hill Jaye Gardner Paul Gibson & Gabrielle Curtin Thomas Goudkamp 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 Dee Johnson Brian Jones Bronwen L Jones Carolyn Kay & Simon Swaney Mrs Judy Lee Mr Michael Lee Mr John Leece am Michael Lin Sydney & Airdrie Lloyd Trevor Loewensohn Robin & Peter Lumley Charlotte & Adrian Mackenzie Sydney Airport Jane Mathews ao Janet P Matton Karissa Mayo Kevin & Deidre McCann Paul & Elizabeth McClintock Brian & Helen McFadyen Donald & Elizabeth McGauchie Ian & Pam McGaw Jenny McGee J A McKernan Peter & Ruth McMullin Jillian & Robert Meyers Graeme L Morgan John Morgan Roslyn Morgan Suzanne Morgan Marie Morton Nola Nettheim

Graham North Elspeth & Brian Noxon Origin Foundation Brendan Ostwald Anne & Christopher Page Leslie Parsonage Rowland Paterson peckvonhartel architects David Penington ac Tom Pizzey Michael Power Mark Renehan Dr S M Richards am & Mrs M R Richards Warwick & Jeanette Richmond In Memory of Andrew Richmond Josephine Ridge Em. Prof.

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

ACO DONATIONS PROGRAM Lee Wright Don & Mary Ann Yeats William Yuille Brian Zulaikha Anonymous (18)

Janet Fitzwater Michael Fogarty Nancy & Graham Fox Brian Goddard Victoria Greene Steven Gregg CONCERTINO Katrina Groshinski & $500 – $999 John Lyons Annette Gross A Ackermann Susan Harte Max Benyon Marian Hill Brian Bothwell Sue & David Hobbs Dr Sue Boyd Geoff Hogbin Denise Braggett How to Impact Pty Ltd Diana Brookes Pam & Bill Hughes Jasmine Brunner Dr & Mrs Michael Mrs Kay Bryan Hunter Arnaldo Buch Geoff & Denise Illing Tim & Jacqueline Burke Diane Ipkendanz Lynda Campbell Margaret & Vernon Helen & Ian Carrig Ireland Julie Carriol Owen James Kirsten Carriol Caroline Jones Scott Charlton Geoff Joyce Colleen & Michael Mrs Angela Karpin Chesterman Bruce & Natalie Kellett Richard & Elizabeth Professor Anne Kelso ao Chisholm Danièle Kemp Georg Chmiel Josephine Key & Elizabeth Clayton Ian Breden ClearFresh Water TFW See & Lee Jilli Cobcroft Chartered Accountants Geoff Cousins & Greg Lindsay ao & Darleen Bungey Jenny Lindsay Carol & Andrew Crawford Andrew & Kate Lister Julie Hopson Megan Lowe Professor John Daley & Bronwyn & Andrew Dr Rebecca Coates Lumsden Marie Dalziel James MacKean Mari Davis Peter Marshall Defiance Gallery Ian & Linda Martin David Dix Dr & Mrs Donald In Memory of Maxwell Raymond Dudley Philip Maxwell & Anna Dunphy Jane Tham M T & R L Elford H E McGlashan Carol Farlow Colin McKeith Ian Fenwicke Jeanne McMullin Jean Finnegan & Joanna McNiven Peter Kerr Sheila Fitzpatrick I Merrick in memory of Simon Morris & Michael Danos Sonia Wechsler

Julie Moses Dr G Nelson Jenny Nichol J Norman Richard & Amanda O’Brien Robin Offler Lisa Paulsen Deborah Pearson Robin & Guy Pease Kevin Phillips Rosie & Robert Pilat The Hon C W Pincus qc Ian Pryer Dr Anoop Rastogi Ruth Redpath Chris Roberts Team Schmoopy Lucille Seale 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 Sarah Tobin Matthew Toohey Sarah Jane & David Vaux Evan Williams am Ed Wittig Sue Wooller & Ron Wooller Rebecca Zoppetti Laubi Anonymous (19)

CONTINUO CIRCLE BEQUEST PROGRAM

The late Charles Ross Adamson The late Kerstin Lillemor Andersen Steven Bardy Dave Beswick

Ruth Bell Sandra Cassell The late Mrs Moya Crane Mrs Sandra Dent Leigh Emmett The late Colin Enderby Peter Evans Carol Farlow Ms Charlene France Suzanne Gleeson Lachie Hill The late John Nigel Holman Penelope Hughes Estate of Pauline Marie Johnston The late Mr Geoff Lee am oam Mrs Judy Lee The late Shirley Miller Selwyn M Owen The late Richard Ponder Ian & Joan Scott 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 Weiss ao

Patrons list is current as of 11 March 2014.

CONTRIBUTIONS

If you would like to consider making a donation or bequest to the ACO, or would like to direct your support in other ways, please contact Ali Brosnan on 02 8274 3830 or at Ali.Brosnan@aco.com.au.

AUSTRALIAN CHAMBER ORCHESTRA 31

ACO PARTNERS 2014 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

Rowena Danziger am & Kenneth G. Coles am Dr Bob Every Chairman Wesfarmers

Mr David Mathlin Ms Julianne Maxwell Mr Michael Maxwell

Aurizon Holdings Limited

Mr Donald Mr Angelos Frangopoulos McGauchie ao Chairman Chief Executive Officer Nufarm Limited Australian News Channel

Mr Philip Bacon am Director Philip Bacon Galleries

Mr Richard Freudenstein Chief Executive Officer FOXTEL

Mr David Baffsky ao

Ms Ann Gamble Myer

Mr Brad Banducci Director Woolworths Liquor Group

Mr Daniel Gauchat Principal The Adelante Group

Mrs Eva Besen ao Mr Marc Besen ao

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

Mrs Janet Holmes à Court ac

Mr Hall Cannon Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux Mr Michael & Mrs Helen Carapiet

Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Mr John Kench Chairman Johnson Winter & Slattery

Mr Stephen & Mrs Jenny Charles

Ms Catherine Livingstone ao Chairman Telstra

Mr Georg Chmiel Chief Executive Officer LJ Hooker

Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel

Mr Julian Clarke Chief Executive Officer News Limited

Mr Steven Lowy am Lowy Family Group

Mr & Mrs Robin Crawford

Mr Didier Mahout CEO Australia & NZ BNP Paribas

32 AUSTRALIAN CHAMBER ORCHESTRA

Ms Naomi Milgrom ao Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Officer Servcorp Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mr Neil Perry am Rockpool REA Group Mr Mark Robertson oam & Mrs Anne Robertson Mr Mike Sangster Managing Director Total E&P Australia Ms Margie Seale & Mr David Hardy Mr Glen Sealey General Manager Maserati Australia & New Zealand Mr Tony Shepherd ao President Business Council of Australia

Mr Ray Shorrocks Head of Corporate Finance, Sydney Patersons Securities Mr Andrew Stevens Managing Director IBM Australia & New Zealand Ms Anne Sullivan CEO Georg Jensen 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 Mr David & Mrs Julia Turner Ms Vanessa Wallace & Mr Alan Liddle Mr Peter Yates am Chairman, Royal Institution of Australia Director, AIA Ltd Mr Peter Young am & Ms Susan Young

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 AND WA REGIONAL TOUR PARTNER

ASSOCIATE PARTNER ACO VIRTUAL

CONCERT AND SERIES PARTNERS

EVENT PARTNERS

AUSTRALIAN CHAMBER ORCHESTRA 33

news ACO NEWS

• APRIL 2014

EDUCATION NEWS 2014 has started with a bang for the ACO Education Department, with String Workshops in Picton and Melbourne. The secondary students of the Victorian State Schools’ Spectacular String Ensemble enjoyed a day with a quartet of ACO musicians who helped them prepare for their performance at the Spectacular later in the year (pictured below).

Photographs: Phillippa Martin

We held the inaugural ACO Composition Workshop for secondary school students

and teachers at our ACO Studios. An ACO quartet and didgeridoo player William Barton facilitated this workshop with Education Coordinator Pru Borgert to develop skills for the students’ HSC compositions, which focused on indigenous themes in music composition.

We have launched our 2014 teacher professional development programs, where we give teachers with no musical background the tools to teach music in the classroom.

Primary and secondary school teachers travelled to ACO Studio for our Project Based Learning Workshop, where teachers could engage with a leading orchestra, to help develop and enhance their music lessons.  ACO Viola, Alexandru-Mihai Bota with students performing in the Victorian State Schools’ Spectacular.  ACO Education Coordinator Pru Borgert (left) at our Project Based Learning Workshop.  Teacher Professional Development workshop at ACO Studios.

34 AUSTRALIAN CHAMBER ORCHESTRA

MELBOURNE HEBREW CONGREGATION PERFORMANCE That afternoon, Gandel Philanthropy made it possible for two ACO violinists, Mark Ingwersen and Lachlan O’Donnell, to perform a special private concert for the residents of the Emmy Monash Aged Care Facility. ‘We are very grateful to both Gandel Philanthropy and the ACO, for working together to bring these magnificent concerts to our residents, in their very own lounge room,’ said Maureen Shulsinger, the Facility’s Community and Volunteer Liaison Manager.

The generosity of all of our Patrons will also make it possible for us to stage a workshop for talented young Jewish musicians later this year.

Photographs: Jack Saltmiras

On Tuesday, 25 February, the ACO performed for the first time at the Melbourne Hebrew Congregation, Toorak Road. Helena Rathbone, Principal Violin, led a captivating program featuring works by Mozart, Vivaldi, Weill and Elgar, ending with a most moving performance of Ravel’s Kaddish. Our heartfelt thanks are due to Gandel Philanthropy, The Pratt Foundation, Mr and Mrs Marc Besen ao and Mrs Eva Besen ao, the Sam and Minnie Smorgon Family and the Eddie and Helen Kutner Family, as well as Dr Victor Wayne, President of the Synagogue and his wife Dr Karen Wayne, for their generous support of the Orchestra in this memorable concert.

Mr John Gandel ao, Helena Rathbone, Principal Violin, and Mrs Pauline Gandel.

Above, left: Mrs Eva Besen ao and Mr Marc Besen ao.

Above, right: Mrs Jeanne Pratt ac.

Left: Dr Victor Wayne, President MHC, and Dr Karen Wayne.

Far left: Eddie and Helen Kutner and family.

Mark Ingwersen at the Emmy Monash Aged Care Facility.

ACO performing in the Synagogue.

AUSTRALIAN CHAMBER ORCHESTRA 35

YOUR SAY…

Dawn Upshaw, Elgar & Grieg

“This is a great program, loved the Adams and the Grieg, fascinated by the poems with the lovely Dawn Upshaw and a dramatic finish from Elgar! Well done ACO and guests.” — J. King “Thank you ACO and Ms Upshaw for one of your ‘best-ever’ concerts. And a big thank you for the prompt delivery of the Winter Morning Walks CD which arrived today. About to put it in the player…”

— J. W. Dixon “The glorious concert I attended tonight in Perth will remain in my mind forever. Apart from going backstage and meeting Dawn Upshaw and giving her a hug and a kiss for the wonderfully gifted and beautiful person

she is, it was also great to be able to tell a few of the musicians, in passing, how superb the performance was. The ensemble’s artistry is mind-blowing. I didn’t want the performance to end. I said to Helena Rathbone, and a couple of the girls and guys, how our lives are enriched by their individual musicianship and the ensemble’s virtuosity. Thank you so much everyone.

Sincerest ‘Best Wishes’.” — P. Prothero “For any of you who haven’t seen Dawn Upshaw sing, or sing Winter Morning Walks, use the opportunity before this tour ends to see a work of art that reminded me that there is immense beauty in cruel world.”

— T. White

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

Flowers . weddings . events . Corporate poHo, 117 Macleay street, potts point nsw | phone 02 9331 4333 | www.poho.com.au

“Probably the finest string ensemble on the planet.”

THE TELEGRAPH, UK

2014 Season Star soprano Dawn Upshaw Mahler Symphony No.4 A collaboration with Bell Shakespeare Sibelius Symphony No.6 Haydn Cello Concerto in C Beethoven Symphony No.1 and more…

SEASON DETAILS AT ACO.COM.AU

FREE CD GIVEAWAY Request a 2014 brochure at aco.com.au using code word RING and receive a free ACO CD.

SUBSCRIPTIONS NOW ON SALE Single tickets and choose-your-own packages available from 5 Dec 2013

SATU VÄNSKÄ

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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.

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