VIR1349_ACO
The romance is back
Proud Principal Partner of the Australian Chamber Orchestra.
NATIONAL TOUR PARTNER
Transfield Holdings’ support for the Arts began in the sixties, through my father’s great love of the visual arts. My brothers and I grew up in an environment where art and artists were just part of our lives. As I look back, that ‘art-influenced’ existence has greatly enriched my family and my life beyond description. My personal passion within the Arts was more directed to music after I learnt to play the classical guitar at school. The opportunity to join the Board of the Australian Chamber Orchestra began my love affair with the company. Therefore, it only seemed proper that Transfield also began a partnership with the ACO. Transfield Holdings could then extend the ACO’s reach to our stakeholders, friends and customers in a truly remarkable way. In the intervening years we have witnessed Richard Tognetti and this company of gifted musicians and collaborators continue to push the boundaries of creativity. In doing so, the ACO has thrilled audiences all over the world. Transfield is proud to be the National Tour Partner of the ACO’s Piano Quintets tour, and I regard it as a privilege to be the Orchestra’s Chairman.
NATIONAL TOUR PARTNER
GUIDO BELGIORNO-NETTIS am EXECUTIVE DIRECTOR, TRANSFIELD HOLDINGS CHAIRMAN, AUSTRALIAN CHAMBER ORCHESTRA AUSTRALIAN CHAMBER ORCHESTRA 1
Where art, philanthropy and finance meet… The ACO is delighted to announce the latest acquisition by the ACO Instrument Fund, a rare 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, played by Rebecca Chan. This beautiful violin joins the first magnificent instrument of the Fund, the 1728/29 Stradivari violin, played by Principal Violin, Satu Vänskä. The ACO Instrument Fund is an unregistered Australian unit trust for wholesale investors only, which invites investors and patrons to participate in the ownership of a bank of fine instruments. To find out more about the ACO Instrument Fund, please contact instrumentfund@aco.com.au
Piano Quintets: Intimacy and Power by ROBERT MURRAY
Witold Lutosławski
Dmitri Shostakovich
This program contrasts two of the greatest piano quintets in the repertoire: one beloved and one revered. Antonín Dvořák’s Piano Quintet in A major, Op.81 is one of chamber music’s smash hits. Blending Brahmsian gravitas with Bohemian joie de vivre in perfect balance, the quintet is a cornerstone of the Romantic repertoire for piano and string quartet. Dmitri Shostakovich’s Quintet, Op.57, was composed only 50 years later, but it comes from a different world: a place shattered by revolution and oppression and shadowed by inevitable war. The piano quintet has been a vehicle for composers to explore the full possibilities of the combination of strings and piano. Pioneered by Robert Schumann, it quickly became the essential Romantic form, capable of both chamber-like intimacy and symphonic power. This contrast between private and public expression is movingly exploited in Shostakovich’s quintet where austere Baroque forms collide with circus music. Dvořák, too, no slouch when it came to both symphonic music and chamber works, uses the quintet to showcase five soloists with singing melodies and dazzling displays of ensemble unity. In keeping with the Central and Eastern European bias of the program, we begin with a virtuoso prelude for Satu Vänskä and guest pianist Paavali Jumppanen. Subito by Polish composer Witold Lutosławski is a tiny tour de force of mood and texture, compressing a concert’s-worth of drama into five surprising minutes.
Dvorˇák with his family and friends in New York, 1893
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PIANO QUINTETS PAAVALI JUMPPANEN Piano SATU VÄNSKÄ Violin REBECCA CHAN Violin CHRISTOPHER MOORE Viola TIMO-VEIKKO VALVE Cello LUTOSŁAWSKI
Subito for violin and piano
SHOSTAKOVICH
Piano Quintet in G minor, Op.57
I. Prelude: Lento II. Fugue: Adagio III. Scherzo: Allegretto IV. Intermezzo: Lento V. Finale: Allegretto
INTERVAL
DVOŘÁK
Piano Quintet No.2 in A major, Op.81
I. Allegro, ma non tanto II. Dumka: Andante con moto III. Scherzo (Furiant): Molto vivace IV. Finale: Allegro
Approximate durations (minutes): 5 – 30 – INTERVAL – 37 The concert will last approximately one hour and forty minutes including a 20-minute interval.
ADELAIDE
Adelaide Town Hall Tue 22 Jul 8pm Pre-concert talk by Anthony Peluso
CANBERRA
Llewellyn Hall Sat 19 Jul 8pm
Pre-concert talk by Ken Healey am
MELBOURNE
Recital Centre Mon 21 Jul 8pm
NEWCASTLE
City Hall Thu 17 Jul 7.30pm Pre-concert talk by Ken Healey am
PERTH
Concert Hall Wed 23 Jul 7.30pm Pre-concert talk by James Ledger
SYDNEY
City Recital Hall Angel Place Fri 11 Jul 1.30pm, Sat 12 Jul 7pm, Tue 15 Jul 8pm, Wed 16 Jul 7pm Pre-concert talk by Ken Healey am
WOLLONGONG
Town Hall Thu 10 Jul 7.30pm Pre-concert talk by Ken Healey am
Pre-concert talk by Caroline Almonte The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. AUSTRALIAN CHAMBER ORCHESTRA 5
TIMOTHY CALNIN General Manager Australian Chamber Orchestra
MESSAGE FROM THE GENERAL MANAGER
© Jack Saltmiras
It would be hard to imagine a greater contrast between the last ACO concert, which featured more than 55 musicians performing symphonies by Sibelius and Mahler, and this return to the heartland of chamber music featuring piano quintets by Dvořák and Shostakovich.
Christopher Moore playing the 1610 Maggini viola
During the recent Sibelius and Mahler concerts, we unveiled the latest superb instrument to be purchased for the ACO by the ACO Instrument Fund. In an extraordinary development, another remarkable instrument has arrived into the hands of an ACO musician, this time thanks to the vision and generosity of one of our most supportive private donors. Principal Viola Chris Moore is playing on a stunning 1610 Giovanni Paolo Maggini viola, which is on loan to the ACO from an anonymous benefactor. All four of the stringed instruments featured in this concert come from that unique period of Italian history in the 17th and 18th Centuries when the skilled craftsmen of Brescia and Cremona graduated into the ranks of genius. Satu Vänksä is playing a 1728/29 Stradivari violin and Rebecca Chan is playing a 1714 Joseph Guarneri violin (both on loan from the ACO Instrument Fund), Chris Moore is playing the 1610 Maggini viola and Timo-Veikko Valve is performing on the 1729 Joseph Guarneri cello (generously on loan to the ACO from Peter Weiss). Transfield Holdings has been a major sponsor of the ACO since 2000, enabling us to take great music to audiences all over the country and we are most grateful for their support of this national tour which takes in Adelaide, Canberra, Melbourne, Newcastle, Perth, Sydney and Wollongong. On the subject of partnerships, we were thrilled to discover that, on a recent and rare free afternoon in their hectic schedules, Richard and Satu got married in a very chic private ceremony in Palm Beach. On behalf of the whole ACO, I warmly congratulate them both. While Satu, Bec, Chris and Tipi are touring with guest pianist Paavali Jumppanen, the other musicians of the ACO have been in Melbourne, leading the ACO Academy which brings together 20 of the country’s top secondary school-aged string players from all over Australia for an intensive week of music-making and a concert at the Melbourne Recital Centre, under the direction of Aiko Goto.
AUSTRALIAN CHAMBER ORCHESTRA 7
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Piano Quintets Thu 24 Jul, 8pm Intimate Letters Fri 29 Aug, 1.30pm Tognetti in Recital Sat 6 Sep, 8pm
UPCOMING TOUR Intimate Letters 18 Aug – 2 Sep
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LUTOSŁAWSKI Subito for violin and piano (Composed 1992)
Witold LUTOSŁAWSKI (b. Warsaw 1913 — d. Warsaw 1994) Lutosławski is one of the most individual and compelling compositional voices of the second half of last century. In its development, his work tellingly reflects both the musical and political upheavals experienced in the central decades of this most turbulent century — and all pursued with an integrity, warmth, seriousness and expressive clarity that were strikingly present into a noble, spirited old age.
Polish composer Witold Lutosławski was one of the 20th century’s most distinctive voices. He lived though the Nazi and then the Soviet occupations of Poland, surviving in the first instance as a cabaret pianist, in the second as a composer and arranger of the folk music deemed acceptable by the authorities. His breakthrough work of the first period was the dazzling Concerto for Orchestra (1954). A thawing of the political climate allowed Lutosławski to experiment with more the avantgarde techniques that they were now able to absorb from the west. Lutosławski developed his signature method of ‘controlled aleatorism’, determining the overall texture, structure and tonality of the music but leaving the precise choice of notes to the musicians (and not really to ‘chance’ at all as aleatory usually implies). His works are distinguished by brilliant orchestral colours, a strong sense of drama and profound humanism. ‘Subito’ is Italian for ‘suddenly’, an instruction that composers use to indicate an instant change in dynamic (loudness or softness), or tempo (speed). In this brief showpiece for violin and piano, Lutosławski explores mercurially shifting textures, harmonies and melodic shapes both to demonstrate the skill of the violinist and to articulate a rigorous but organic formal plan. Subito was commissioned in 1992 by the International Violin Competition of Indianapolis, hence its function as an unabashed display piece. But its impeccable construction and visceral impact has earned it a place in the concert hall. It is one of several significant late violin works, many of which were dedicated to Anne-Sophie Mutter and is characteristic of this period of Lutosławski’s career in its use of a an interlinking ‘chain’ form, weaving together overlapping strands of contrasting musical material. The piece’s opening paragraph – a bold chromatic plunge by the violin ending in a sonorous piano chord, then several bars of fragmentary scurrying – becomes a refrain in a kind of rondo, punctuating the work four times. In fact, these gestures are the seeds of much of the music that follows in episodes that grow out of them. The first of these is a forceful legato melody in the violin over dissonant broken chords in the piano. When the refrain returns it is slightly abridged, interrupted by another violin AUSTRALIAN CHAMBER ORCHESTRA 9
flight, this time over harmonies related to the piano’s initial chord (which is ‘symmetrical’ – the intervals played by the right hand are mirrored by those in the left hand). When it is heard the third time, the refrain is even shorter, almost parenthetical, and the intervening episode is longer and more elaborate. The last episode is the weightiest, touching on and expanding several ideas heard earlier, especially the violin’s slithering chromatic gesture and the rippling piano chords. Lutosławski builds tension throughout this climactic and extremely virtuosic episode by deferring the refrain for as long as possible before it explodes suddenly – inevitably but still surprisingly – out of silence to drop the curtain on the piece.
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SHOSTAKOVICH Piano Quintet in G minor, Op.57 (Composed 1940)
I. Prelude: Lento II. Fugue: Adagio III. Scherzo: Allegretto IV. Intermezzo: Lento V. Finale: Allegretto
Dmitri SHOSTAKOVICH (b. St Petersburg 1906 — d. Moscow 1975) One of Russia’s pre-eminent composers, the life and music of Dmitri Shostakovich are inextricably entwined with the Soviet era and debate continues to rage over the extra-musical nature of his musical work. His 15 symphonies and string quartets are among the major 20th-century musical statements, reflective of his society and time.
From 1934 to 1940, Joseph Stalin instituted a series of murderous ‘purges’ of the Communist Party and widespread surveillance of the population. At the height of the purge, in 1938, half a million Russians were shot and seven million were interred in Gulags (it is estimated that at one point one in ten adults were imprisoned). Artists were not immune: writers and poets who fell afoul of officialdom disappeared. In 1936, Dmitri Shostakovich was rebuked for his seamy opera, Lady Macbeth of the Mtsensk District. He rehabilitated himself with his Fifth Symphony, where he adopted a simpler musical language and suggested (or went along with some apparatchik’s suggestion) that it depicted a man’s journey from individualism to enlightened Communism. Its première in Leningrad was a success that saved his career and perhaps his life. More privately, he composed his First String Quartet, Op.49, which also turned away from his earlier satirical and dissonant style. He described the quartet as ‘spring-like’ suggestive of his rebirth: as composer who would (at least publically) espouse the party line but who might still speak his mind sotto voce. This ambivalence would colour many of his later works. In the first part of 1940, Shostakovich was immersed in a project to re-orchestrate Modest Mussorgsky’s 1873 opera, Boris Godunov. It is an epic panorama of 16th Century Russia, centered on conflict between the guiltridden regicide, Tsar Boris, and his rival the False Dmitri (a pretender who masquerades as the rightful heir to the throne). With its moments of confident official splendor that give way to interior anguish and doubt, the opera must have resonated with Shostakovich and the opera’s audience living in the immediate aftermath of Stalin’s terror when the contrast between the acceptable public and the private self had never been more psychotically riven. The story is partially seen through the eyes of a ‘holy fool’, a yurodivy, an innocent everyman not bound by the social conventions which might cause us to dissemble to those in power. AUSTRALIAN CHAMBER ORCHESTRA 11
Shostakovich described his work on Boris Godunov as a ‘tête-a-tête with a musically like-minded man’. With Mussorgsky’s music still in his mind, Shostakovich began composing his quintet in the summer of 1940 at the request of the Leningrad-based Glazunov Quartet. Shostakovich was apparently motivated to include the piano part (which he would perform) by a desire to tour with the ensemble. While he performed it with several ensembles in Russia, Shostakovich was never to take the work abroad. The Quintet is something of an exception in Shostakovich’s chamber music output. Instead of the almost claustrophobic intimacy of his fifteen string quartets, the quintet has a more extrovert quality – it is a ‘public’ piece. The quintet is usually understood and performed as pure abstraction, signaled by the blandly Classical titles of its movements, but its proximity to the Mussorgsky project, the strangely listless Sixth Symphony and the likelihood of immanent war suggests that there were external forces influencing its composition. Shostakovich drew parallels with Russia’s current situation and Boris Godunov’s: ‘I was caught up in Mussorgsky’s certainty that the contradictions between the rulers and the oppressed people were insoluable, which meant that the people had to suffer cruelly without end, and become ever more embittered... Chaos and state collapse lay ahead,
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as prophesied by the last two scenes of the opera. I expected it to happen in 1939.’ It begins with a grandiose quasi-Baroque Prelude introduced by the piano that sets the scene for a tragedy. The dialogue between strings and piano unfolds without haste but is tautly constructed around a wavering threenote motif that permeates and unifies the work. Critic Ian MacDonald describes the Prelude as ‘as jeremiad of a modern Mussorgskyian yurodivy, foretelling weeping and gnashing of teeth’. The subject of the following Fugue is evocative of the wandering ‘Dmitri’ motif heard in the Prologue of Boris Godunov, a hesitant gesture in the denatured sound of a muted violin. The longest of the five movements, the fugue is the work’s centre of gravity, an expression of endless suffering comparable with the Largo of the Fifth Symphony in its pathos. At the end the clockwork mechanism powering the fugue grinds to a quiet halt. The perverse Scherzo that follows rejects the intricate contrapuntal sublimity of the earlier movements, deforming their thematic material into a vulgar, exhilarating waltz. The Intermezzo offers a return to the lyrical pathos of the Prelude, but here it is subverted by a menacing walking bass, relentlessly propelling the music forward to its uneasy, irresolute conclusion. The Finale opens with a soothing gesture of conciliation before shifting gears into a heroic mood, though the piano fanfares here are reminiscent of the music heard in Russian circuses to announce the entry of the clowns – mere fools without the insight of the yurodivy, whose premonitions Shostakovich briefly recollects in music from the earlier movements. The movement closes with the return of the trite opening material, retreating from the profound questions posed earlier into infantile delusion. Shostakovich resisted over-‘interpreted’ performances of the quintet. The cellist of Glazunov Quartet recalled, ‘We, the string players, wanted to ‘sing’ to play with more emotion. Shostakovich accentuated the constructive motor elements and achieved his effect through clarity and flow of the music.’ No doubt Shostakovich was driving his colleagues to a more deadpan, distanced affect. The Quintet was an immediate success and Shostakovich was awarded the Stalin Prize. He donated prize money, 100,000 rubles, to the poor of Leningrad. In June 1941, Germany invaded and Russia was at war with their former ‘allies’.
AUSTRALIAN CHAMBER ORCHESTRA 13
DVOŘÁK Piano Quintet in A major, Op.81 (Composed 1887)
I. Allegro, ma non tanto II. Dumka: Andante con moto III. Scherzo (Furiant): Molto vivace IV. Finale: Allegro
ˇÁK Antonín DVOR (b. Nelahozeves, near Kralupy 1841 — d. Prague 1904) Antonín Dvoˇrák is perhaps the best-known Czech composer of the 19th century, and is highly regarded for his symphonic works, chamber music, oratorios, and songs. Dvoˇrák is identified with the musical nationalism movement in early 19th century Europe, and though his music appears uncomplicated and spontaneous, it belies an underlying rigour, complexity, and richness of writing.
Czech composer Antonín Dvořák has been somewhat typecast as ‘exotic’, a regional phenomenon imported into concert halls to add some folksy colour. He was in fact one of the most cosmopolitan and certainly one of the besttravelled composers of his age, visiting not only European centres but also America, which was still a frontier of high art even in the 1890s (he also spent time in an actual frontier town, the Czech community of Spillville, Iowa). In the 19th century, critics tended to emphasise Dvořák’s musical differences rather than the way he fitted into the mainstream of central European musical culture. With the benefit of hindsight, it’s easier to see how he incorporated both the established traditions (his symphonies owe a lot to Schubert, his chamber music is indebted to Brahms) as well as Czech music, forming a unique hybrid, or rather, like every composer, forming a personal musical culture. Dvořák, however, traded on his novel national brand. He had to: as a ‘peripheral’ figure (Czech-speaking, but an Austrian subject) the quickest way to success was by donning ‘native’ costume. His first breakout success was a set of Slavonic Dances for two pianos modelled on Brahms’ Hungarian Dances. Once he was accepted into the club (with the imprimatur of his mentor, Brahms) and as he matured as a composer, he increasingly rejected the Germanic hegemony. The American works in particular –
Dvorˇák at Spillville, Iowa
AUSTRALIAN CHAMBER ORCHESTRA 15
a string quartet, and the Ninth Symphony – have a freshness and a freedom from Romantic received ideas that is perfectly fitting to their origins in a ‘new world’. The Piano Quintet in A, Op.81 was Dvořák’s second attempt at the genre. His first, also in A major, never satisfied him. Composed in the early 1870s before Dvořák had found his voice or his fame, it is a pleasant but fairly anonymous piece of mid-century Romanticism, made slightly unusual by its three-movement format (instead of the conventional four). In the late 1880s, by this time an established composer, Dvořák tried to dust off the quintet but was unable to improve it. He abandoned it and began afresh, writing his second quintet between August and October 1887. The result is one of the best-loved works in the chamber music repertoire, and its charms speak for themselves. While Dvořák was sometimes regarded as a naive person, works like the piano quintet demonstrate that his apparently ‘artless’ clarity of expression disguises great sophistication. The first movement, marked Allegro ma non tanto (‘not too fast’), begins with pastoral cello solo with a lullaby piano accompaniment but the mood quickly turns stormy with the entry of the rest of the strings. Over the course of an extended and wide-ranging developmental section, the lyrical and dramatic themes are brought into dynamic interplay. The second movement, Andante con moto (moderate ‘with movement’), is a ‘dumka’, a form based on the Slavic ballad (narrative song), which typically, as here, alternates tempo and mood from introverted melancholy to sprightly joy. The piano’s dreamy wavering ornamental figure eventually spreads to the strings. The third movement is the traditional scherzo, here cast as a Furiant (Molto vivace, ‘very vivacious’), a Czech folk dance given a rhythmic kick by the use of crossrhythms, clashing patterns of two and three beats per bar. The finale, Allegro con fuoco, (‘fast, fiery’), is a rustic rondo, alternating vigorous folk fiddling with more refined episodes, including moment of quiet, prayerful beauty, before gathering steam for a virtuoso gallop to the finish.
ALL NOTES BY ROBERT MURRAY © 2014
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RICHARD TOGNETTI ao
ARTISTIC DIRECTOR & LEADER AUSTRALIAN CHAMBER ORCHESTRA
“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
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. 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.
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PAAVALI JUMPPANEN
PIANO
Finnish pianist Paavali Jumppanen is an exciting and a versatile performer, who is equally at home on stage as a soloist and as a chamber musician. His vast repertoire spans much of the classical piano literature, from Bach to the avant-garde. In recent years he has dedicated much of his time into performing the complete Beethoven Piano Sonatas.
‘…a rare wedding of intellectual penetration, coloristic imagination, and sheer virtuoso firepower.’ BOSTON GLOBE
He has recently completed recording the complete Piano Sonatas by Beethoven. The first part of these recordings was released on the label Ondine in February 2014 to great critical acclaim. He also spent the 2011–12 season in residence at Harvard University conducting a research project on the Viennese Classical Period. During the 2010–11 season, Jumppanen performed the complete Piano Sonatas by Mozart at the Isabella Stewart Gardner Museum in Boston. In 2007, the Swiss recording label Claves released the complete Sonatas for Violin and Piano by Beethoven performed by Jumppanen and violinist Corey Cerovsek. The recording received the Midem Prize of Cannes in February 2008 for best chamber music disc of the year. During the 2013–14 season he appears with the Lahti Symphony Orchestra, performing the five Piano Concertos by Beethoven. In addition he will perform with the Helsinki and Turku Philharmonic orchestras in Finland, and return to the Isabella Stewart Gardner Museum in Boston to begin a two-year project of performing works by Schumann and Stockhausen. He will also perform recitals in Germany, Switzerland, France, and Italy. His New York debut in 2001 at the 92nd Street Y garnered rave reviews, and since then Jumppanen has toured extensively in the US, as well as the prominent concert halls of Europe. He has performed with many of the most prestigious European orchestras, such as the Oslo Philharmonic and the BBC Symphony Orchestra in London. He also toured Australia on a number of occasions performing with the Melbourne and West Australia symphonies, as well as solo recitals in capital cities, and in 2013 was engaged by the Australian National Academy of Music for an intensive residency.
Select Discography BOULEZ: The Three Piano Sonatas Deutsche Grammophon 477 5328 BEETHOVEN: Piano Sonatas Opp.2, 101 & 106 ‘Hammerklavier’ Ondine 1248-2D BEETHOVEN: The Ten Violin Sonatas Claves 50 2610/12 RAUTAVAARA: Works for Violin and Piano Ondine 1177-2
Paavali Jumppanen frequently programs the classics of the avant-garde as well as contemporary works, and regularly commissions works from Finnish composers. Deutsche Grammophon released in 2005 his recording of the complete Piano Sonatas of Pierre Boulez, which earned the praise of The Guardian. Having worked with Pierre Boulez himself, Jumppanen has become a celebrated advocate of Boulez’s music. He also frequently performs the large cycle for solo piano, Vingt regards sur l’Enfant-Jésus by Olivier Messiaen. His performance of the work at the Gardner Museum in Boston in 2010 was selected as one of the top ten performances of the year by the Boston Globe. AUSTRALIAN CHAMBER ORCHESTRA 19
AUSTRALIAN CHAMBER ORCHESTRA
RICHARD TOGNETTI, ARTISTIC DIRECTOR & LEADER 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 and Rebecca Chan plays the 1714 Guarneri ex Isolde Menges, both violins owned by the ACO Instrument Fund; Christopher Moore plays a 1610 Maggini viola, on loan from an anonymous benefactor; TimoVeikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello on loan from Peter Weiss ao, and Maxime Bibeau plays a late-16th century Gasparo da Salò bass on loan from a private Australian benefactor. The ACO has made many award-winning recordings and has a current recording contract with leading classical music label BIS. Highlights include Tognetti’s three-time ARIA 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 Australian Chamber Orchestra is supported by the NSW Government through Arts NSW.
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. aco.com.au
20 AUSTRALIAN CHAMBER ORCHESTRA
MUSICIANS ON STAGE
SATU VÄNSKÄ≈
Photos: Helen White
REBECCA CHAN ✿
Principal Violin
Violin
Chair sponsored by Kay Bryan
Chair sponsored by Ian Wallace & Kay Freedman
CHRISTOPHER MOORE✜
TIMO-VEIKKO VALVE v
Principal Viola
Principal Cello
Chair sponsored by peckvonhartel architects
Chair sponsored by Peter Weiss ao
Players dressed by
AKIRA ISOGAWA
≈ Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. ✿ Rebecca Chan plays a 1714 Giuseppe Guarneri filius Andræ violin kindly on loan from the
ACO Instrument Fund.
✜ Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, on loan from an anonymous benefactor; 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.
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 ao Heather Ridout ao
Andrew Stevens John Taberner Peter Yates am
Richard Tognetti ao Artistic Director
ADMINISTRATION STAFF EXECUTIVE OFFICE
EDUCATION
MARKETING
Timothy Calnin General Manager
Phillippa Martin ACO2 & ACO VIRTUAL Manager
Derek Gilchrist Marketing Manager
Jessica Block Deputy General Manager
Vicki Norton Education Manager
Amy Goodhew Marketing Coordinator
Alexandra Cameron-Fraser Strategic Development Manager
Sarah Conolan Education Coordinator
Mary Stielow National Publicist
FINANCE
Jack Saltmiras Digital Content & Publicity Coordinator
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 Danielle Asciak Travel Coordinators Bernard Rofe Librarian Cyrus Meurant Assistant Librarian
Cathy Davey Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant Shyleja Paul Assistant Accountant DEVELOPMENT Rebecca Noonan Development Manager Jill Colvin Philanthropy Manager Penelope Loane Investor Relations Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Ali Brosnan Patrons & Foundations Executive
Hilary Shrubb Publications Editor Chris Griffith Box Office Manager Dean Watson Customer Relations Manager Deyel Dalziel-Charlier 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
Sally Crawford Development Coordinator
AUSTRALIAN CHAMBER ORCHESTRA
ABN 45 001 335 182
Australian Chamber Orchestra Pty Ltd is a not for profit company registered in NSW.
In Person: Opera Quays, 2 East Circular Quay, Sydney NSW 2000 By Mail: PO Box R21, Royal Exchange NSW 1225 Telephone: (02) 8274 3800 Facsimile: (02) 8274 3801 Box Office: 1800 444 444 Email: aco@aco.com.au Website: aco.com.au
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 Telephone: +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 PO Box 3567, South Bank, Queensland 4101 Telephone: 07 3840 7444 Website: 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 The Honourable Ian Walker mp Minister for Science, Information Technology, Innovation and the Arts Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby 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.
CITY RECITAL HALL ANGEL PLACE General Manager Anne-Marie Heath City Recital Hall Angel Place is managed by PEGASUS VENUE MANAGEMENT (AP) PTY LTD 2–12 Angel Place, Sydney, Australia GPO Box 3339, Sydney, NSW 2001 Telephone: 02 9231 9000 Box Office: 02 8256 2222 Fax: 02 9233 6652 Website: www.cityrecitalhall.com 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 SYDNEY OPERA HOUSE TRUST Mr John Symond am (Chair) 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 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
This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published. Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021 Chairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl PO Box 410, Paddington NSW 2021 Editorial Director Jocelyn Nebenzahl Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 Manager — Production — Classical Music Alan Ziegler E-mail: admin@playbill.com.au Website: www.playbill.com.au OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333. 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–145 — 17343 — 1/100714
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 Andrew & Andrea Roberts 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
Peter Weiss ao
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
Ian Wallace & Kay Freedman 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 Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to violinist Rebecca Chan. The ACO pays tribute to its Founding Patrons of the Fund.
BOARD MEMBERS Bill Best (Chairman) Jessica Block Chris Froggatt 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 Anonymous
SONATA $25,000 – $49,999 ENSEMBLE $10,000 – $24,999
Leslie & Ginny Green
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
SOLO $5,000 – $9,999
Amanda Stafford
PATRON $500 – $4,999
Elizabeth Pender
PATRONS
June & Jim Armitage Leith & Darrel Conybeare John Landers & Linda Sweeny Luana & Kelvin King 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 Peter & Cathy Aird Gerard Byrne & Donna O’Sullivan Dr Jane Cook & Ms Sara Poguet Mirek Generowicz Peter & Valerie Gerrand Gin Graham Anthony & Conny Harris Andrew & Fiona Johnston
Tony Jones & Julian Liga 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 Supporters Linda & Graeme Beveridge Jan Bowen Delysia Lawson
Ian & Pam McGaw Mike Thompson
MELBOURNE HEBREW CONGREGATION PATRONS Lead Patrons
Patrons Marc Besen ao & Eva Besen ao The Eddie & Helen Kutner Family The Graham & Minnie Smorgon Family
THE GREAT SYNAGOGUE PATRONS Corporate Partners
Patrons
Adina Apartment Hotels Meriton Group
David & Helen Baffsky Leslie & Ginny Green The Narev Family
Greg & Kathy Shand Peter Weiss ao
AUSTRALIAN CHAMBER ORCHESTRA 27
ACO COMMITTEES SYDNEY DEVELOPMENT COMMITTEE Heather Ridout ao (Chair) Director Reserve Bank of Australia
Guido Belgiorno-Nettis 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
Stephen Charles
Christopher Menz
Paul Cochrane Investment Advisor Bell Potter Securities Colin Golvan qc
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 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+
Bruce & Jenny Lane Prudence MacLeod Alf Moufarrige Louise & Martyn Myer Foundation Mr Robert Albert ao & Jennie & Ivor Orchard Mrs Libby Albert Alex & Pam Reisner Australian Communities Mark & Anne Robertson Foundation – Ballandry Margie Seale & David Fund Hardy Daria & Michael Ball Tony Shepherd ao Steven Bardy & Andrew John Taberner & Patterson Grant Lang The Belalberi Foundation The Hon Malcolm Guido & Michelle Turnbull mp & Belgiorno-Nettis Ms Lucy Turnbull ao Liz Cacciottolo & Westpac Group Walter Lewin E Xipell John & Janet Calvert-Jones Peter Young am & Mark Carnegie Susan Young Stephen & Jenny Charles Anonymous (3) Darin Cooper Family Daryl & Kate Dixon DIRETTORE Chris & Tony Froggatt $5,000 – $9,999 Daniel & Helen Gauchat Geoff Alder Andrea Govaert & Bill & Marissa Best Wik Farwerck Marjorie Bull Dr Edward C. Gray Joseph & Veronika Butta John Grill ao & John & Lynnly Chalk Rosie Williams Stephen & Jenny Charles Catherine Elizabeth Chernov Holmes à Court-Mather Andrew Clouston Angus & Sarah James Victor & Chrissy Comino PJ Jopling am qc Mr R. Bruce Corlett am Miss Nancy Kimpton & Mrs Ann Corlett
Ellis Family Bridget Faye am Michael Firmin Ian & Caroline Frazer David Friedlander Maurice Green am & Christina Green Tony & Michelle Grist Annie Hawker Keith & Maureen Kerridge Lorraine Logan Macquarie Group Foundation David Maloney & Erin Flaherty David Mathlin P J Miller Jacqui & John Mullen Bruce Neill Willy & Mimi Packer Elizabeth Pender Bruce & Joy Reid Trust John Rickard The Sandgropers Paul Schoff & Stephanie Smee Joyce Sproat & Janet Cooke Emma Stevens Jon & Caro Stewart Anthony Strachan Tamas Szabo Leslie C Thiess Geoff Weir Shemara Wikramanayake Cameron Williams
Peter Yates am & Susan Yates Carla Zampatti Foundation Anonymous (3)
MAESTRO $2,500 – $4,999
David & Rae Allen Atlas D’Aloisio Foundation Will & Dorothy Bailey Charitable Gift Adrienne Basser Brad Banducci Doug & Alison Battersby The Beeren Foundation Berg Family Foundation Andrew Best Patricia Blau Rosemary & Julian Block Gilbert Burton Terry Campbell ao & Christine Campbell Arthur & Prue Charles Caroline & Robert Clemente Robert & Jeanette Corney Judy Crawford Peter Curry Rowena Danziger am & Ken Coles am Dee de Bruyn Elizabeth Dibbs & David Tudehope Kate Dixon
AUSTRALIAN CHAMBER ORCHESTRA 29
ACO DONATIONS PROGRAM Leigh Emmett Suellen & Ron Enestrom Colin Golvan qc Tom Goudkamp oam Ross Grant Warren Green Nereda Hanlon & Michael Hanlon am Liz Harbison Mrs Yvonne Harvey & Dr John Harvey ao Peter & Helen Hearl Kimberley Holden Wendy Hughes Glen Hunter & Anthony Niardone I Kallinikos Carolyn Kay & Simon Swaney John Kench Julia Pincus & Ian Learmonth Peter Lovell The Alexandra & Lloyd Martin Family Foundation Peter Mason am & Kate Mason Jan Minchin Jane Morley Sandra & Michael Paul Endowment peckvonhartel architects Justin Punch Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard Chris Roberts Susan & Gary Rothwell D N Sanders Chris & Ian Schlipalius Jennifer Senior Greg Shalit & Miriam Faine Petrina Slaytor Andrew Strauss David Thomas oam Peter Tonagh Ralph Ward-Ambler am & Barbara WardAmbler Drs Victor & Karen Wayne The WeirAnderson Foundation Ivan Wheen Anonymous (5)
VIRTUOSO $1,000 – $2,499
Peter Evans Julie Ewington Ian Fenwicke & Annette Adair Prof. Neville Wills Michael & Margaret Jane & Richard Ahrens Freudenstein Mrs Lenore Adamson Justin & Anne Gardener in memory of In memory of Fiona Mr Ross Adamson Gardiner-Hill Peter & Cathy Aird Paul Gibson & Gabrielle Antoinette Albert Curtin Mrs Jane Allen Kathryn Greiner ao Andrew Andersons Australian Communities Griffiths Architects Peter Halstead Foundation – Clare Lesley Harland Murphy Fund Jennifer Hershon Philip Bacon am Reg Hobbs & Louise Samantha Baillieu Carbines Ruth Bell Michael Horsburgh am & Justice Annabelle Beverley Horsburgh Bennett ao Carrie & Stanley Howard Virginia Berger In memory of Peter Boros Penelope Hughes Stephanie & Michael Brian Bothwell Hutchinson Jan Bowen Dee Johnson Vicki Brooke Brian Jones Diana Brookes Bronwen L Jones Mrs Kay Bryan Mrs Judy Lee Sally Bufé Mr Michael Lee Rowan Bunning Neil Burley & Jane Munro Mr John Leece am Michael Lin Ray Carless & Jill Keyte Sydney & Airdrie Lloyd Bella Carnegie Trevor Loewensohn James Carnegie Robin & Peter Lumley Sandra Cassell Mr and Mrs Greg & Julia Champtaloup & Jan Marsh Andrew Rothery Massel Australia Pty Ltd Elizabeth Cheeseman Jane Mathews ao K. Chisholm Angela & John Compton Janet P Matton Julianne Maxwell Martyn Cook Antiques Karissa Mayo Alan Fraser Cooper Kevin & Deidre McCann P Cornwell & C Rice Geoff Cousins & Darleen Paul & Elizabeth McClintock Bungey Brian & Helen McFadyen Laurence G Cox ao & Donald & Elizabeth Julie Ann Cox McGauchie Anne & David Craig Ian & Pam McGaw Judy Croll J A McKernan Judith Crompton Peter & Ruth McMullin Mrs June Danks Michael & Wendy Davis Jillian & Robert Meyers Graeme L Morgan Martin Dolan Anne & Thomas Dowling John Morgan Roslyn Morgan Dr William F Downey Suzanne Morgan Michael Drew Marie Morton Emeritus Professor Nola Nettheim Dexter Dunphy am
30 AUSTRALIAN CHAMBER ORCHESTRA
Elspeth & Brian Noxon Paul O’Donnell Ilse O’Reilly Origin Foundation Brendan Ostwald Anne & Christopher Page David Penington ac Matthew Playfair 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 Peter J Ryan Jennifer Sanderson In memory of H. St. P. Scarlett Gideon Shaw Diana & Brian Snape am Maria Sola Ezekiel Solomon am Keith Spence Cisca Spencer John & Josephine Strutt Sydney Airport Dr Charles Su & Dr Emily Lo Robert & Kyrenia Thomas Anne Tonkin Ngaire Turner Venture Advisory Kay Vernon David Walsh Marion W Wells Barbara Wilby Evan Williams am Sir Robert Woods cbe Lee Wright Don & Mary Ann Yeats William Yuille Rebecca Zoppetti Laubi Brian Zulaikha Anonymous (18)
CONCERTINO $500 – $999
A Ackermann Robin Beech Max Benyon Leigh & Christina Birtles Dr David & Mrs Anne Bolzonello
ACO DONATIONS PROGRAM Dr Sue Boyd Denise Braggett Diana Brookes Jasmine Brunner Arnaldo Buch Tim & Jacqueline Burke Lynda Campbell Helen & Ian Carrig Roslyn Carter J.M. Carvell Scott Charlton Colleen & Michael Chesterman Richard & Elizabeth Chisholm Stephen Chivers Georg Chmiel Elizabeth Clayton ClearFresh Water Jilli Cobcroft Warren Coli Carol & Andrew Crawford C Critchley & D Siddle Julie Hopson Professor John Daley & Dr Rebecca Coates Marie Dalziel Lindee & Hamish Dalziell Mari Davis Defiance Gallery David Dix The Hon. Catherine Branson & Dr Alan Down In Memory of Raymond Dudley Emeritus Professor Dexter Dunphy am M T & R L Elford Christine Evans Carol Farlow Elizabeth Finnegan Jean Finnegan & Peter Kerr Sheila Fitzpatrick in memory of Michael Danos Michael Fogarty Nancy & Graham Fox Brian Goddard Victoria Greene Katrina Groshinski & John Lyons
Annette Gross Susan Harte Kingsley Herbert Marian Hill Sue & David Hobbs Geoff Hogbin How to Impact Pty Ltd Pam & Bill Hughes Geoff & Denise Illing Margaret & Vernon Ireland Dr Anne James & Dr Cary James Owen James Barry Johnson & Davina Johnson oam Caroline Jones Geoff Joyce Mrs Angela Karpin Bruce & Natalie Kellett Professor Anne Kelso ao Josephine Key & Ian Breden TFW See & Lee Chartered Accountants Greg Lindsay ao & Jenny Lindsay Andrew & Kate Lister Megan Lowe James MacKean Peter Marshall Ian & Linda Martin Dr & Mrs Donald Maxwell Philip Maxwell & Jane Tham Jenny McGee H E McGlashan Jeanne McMullin I Merrick Louise Miller John Mitchell Simon Morris & Sonia Wechsler Julie Moses Dr G Nelson Jenny Nichol J Norman Graham North Richard & Amanda O’Brien
Robin Offler Leslie Parsonage Lisa Paulsen Deborah Pearson Robin & Guy Pease Kevin Phillips Rosie & Robert Pilat The Hon C W Pincus qc Michael Power Ian Pryer Dr Anoop Rastogi Ruth Redpath Team Schmoopy Manfred & Linda Salamon Garry E Scarf Lucille Seale Andrew & Rhonda Shelton Anne Shipton Roger & Ann SmithJohnstone Alida Stanley & Harley Wright Professor Fiona Stewart Mrs Judy Ann Stewart Geoffrey Stirton & Patricia Lowe In memory of Dr Aubrey Sweet Barrie & Jillian Thompson Matthew Toohey Sarah Jane & David Vaux Nev & Janie Wittey G C & R Weir Evan Williams am Ed Wittig Sue Wooller & Ron Wooller Anonymous (23)
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 13 June 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
Dr Bob Every Chairman Wesfarmers
Mr Andrew Low Chief Executive Officer RedBridge Grant Samuel
Ms Tracey Fellows Chief Executive Officer REA Group
Mr Steven Lowy am Lowy Family Group
Aurizon Holdings Limited Mr Angelos Frangopoulos Mr Philip Bacon am Chief Executive Officer Director Australian News Channel Philip Bacon Galleries Mr David Baffsky ao Mr Brad Banducci Director Woolworths Liquor Group Mr Marc Besen ao & Mrs Eva Besen ao Mr Jeff Bond Chief Executive Officer Peter Lehmann Wines
Ms Julianne Maxwell
Ms Ann Gamble Myer
Mr Donald McGauchie ao Chairman Nufarm Limited
Mr Daniel Gauchat Principal The Adelante Group Mr Colin Golvan qc & Dr Deborah Golvan Mr John Grill ao Chairman WorleyParsons
Mr Michael & Mrs Helen Carapiet
Mr Grant Harrod Chief Executive Officer LJ Hooker
Mr Stephen & Mrs Jenny Charles Mr Julian Clarke Chief Executive Officer News Limited
Mr David Mathlin
Mr Richard Freudenstein Chief Executive Officer FOXTEL
Mr John Borghetti Chief Executive Officer Virgin Australia
Mr Jim Carreker Regional Delegate, Australia, New Zealand & South Pacific Relais & Châteaux
Mr Didier Mahout CEO Australia & NZ BNP Paribas
Mrs Janet Holmes à Court ac Mr & Mrs Simon & Katrina Holmes à Court Observant Pty Limited Mr John Kench Chairman Johnson Winter & Slattery
Mr & Mrs Robin Crawford Ms Catherine Livingstone ao Chairman Rowena Danziger am & Telstra Kenneth G. Coles am 32 AUSTRALIAN CHAMBER ORCHESTRA
Mr Michael Maxwell
Mr David Mendelson Managing Director Total E&P Australia Ms Naomi Milgrom ao Ms Jan Minchin Director Tolarno Galleries Mr Jim Minto Managing Director TAL Mr Alf Moufarrige Chief Executive Officer Servcorp
Mr Glen Sealey General Manager Maserati Australia & New Zealand Mr Tony Shepherd ao Mr Andrew Stevens Managing Director IBM Australia & New Zealand Ms Anne Sullivan Chief Executive Officer 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 Robert Peck am & Mr Peter Yates am Ms Yvonne von Hartel am Chairman, Royal peckvonhartel architects Institution of Australia Director, AIAA Ltd Mr Mark Robertson oam & Mrs Anne Robertson Mr Peter Young am & Mrs Susan Young Ms Margie Seale & Mr David Hardy
ACO CORPORATE PARTNERS The ACO would like to thank its corporate partners for their generous support.
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AUSTRALIAN CHAMBER ORCHESTRA 33
news ACO NEWS
• JULY 2014
EDUCATION NEWS
Strings in schools, MOVE workshops and ACO Academy
June was a busy month for ACO Education, with String Workshops in Adelaide and Melbourne and a visit to the Matraville Soldiers’ Settlement School with the Australian Children’s Music Foundation to perform a concert and participate in music classes. We also invited school students to attend one of our rehearsals and made a trip to work with our adopted string ensemble, the Picton Strings.
Our ACO Academy is in Melbourne this year for the first time, with their final concert being held at the Melbourne Recital Centre on 12 July, featuring talented young violinist, Grace Clifford. ACO Academy brings together top secondary school string students from around Australia for an immersive week of music with ACO musicians.
Photos: © Fiora Sacco
Moving into July, we have held the first of our 2014 MOVE workshop series at the ACO studios,
working with adolescents with disability. Participants create an original dance work through exercises and tasks designed to develop movement responses to live music.
ACO musicians at Matraville Soldiers’ Settlement School as part of our partnership with the Australian Children’s Music Foundation’s Education Program.
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PARTNER PROFILE
Theme & Variations Piano Services
Theme & Variations are the exclusive agents for Steinway & Sons in NSW and Queensland. What is it that makes a Steinway piano so special? Theme & Variations Piano Services and the ACO have a longstanding partnership dating back to 2001. Ara Vartoukian and his dedicated team of technicians do a wonderful job maintaining and preparing the Steinway & Sons model D concert grand and the wonderful Boston upright on loan at our Sydney studio, as well as pianos on our tours. We caught up with Nyree and Ara, founders of the business, at their showroom in Willoughby, NSW.
Theme & Variations Piano Services celebrates 30 years next year. What’s the secret of your success? Our passion for pianos! We love finding the right piano for each customer and seeing the joy it brings them. We pride ourselves on building fantastic relationships with our customers and providing the best possible technical support.
How often does a piano need to be tuned? For concert instruments, our technicians do a full tune before the rehearsal period, then tune the piano again before each concert, sometimes even during the interval of the performance. For us, the piano needs to be at its absolute best at every performance.
The sound is beyond compare. Each piano a work of art in its own right; a three-year journey that begins with the selection and seasoning of the woods and concludes with a handcrafting process of up to a year.
Aside from supporting the ACO, what other work do you do in the community? We’re passionate about supporting the arts and community organisations where we can, and have always offered practice facilities, performance opportunities and moral support to gifted young pianists. In 2011 we set up the Theme & Variations Foundation to encourage and support exceptional young Australian pianists who do not have the financial resources or the opportunity to fully develop their talent.
What’s your favourite piece of music? Anyone who knows Ara, and whose piano he has serviced, will know that his signature piece is Monti’s Csárdás. My favourite is Rachmaninov’s Vocalise, especially when played by my close friend Alexander Gavrylyuk. www.themeandvariations.com.au AUSTRALIAN CHAMBER ORCHESTRA 35
DONOR PROFILE Bridget Faye am Western Australian Education Donor and Subscriber, Bridget Faye am, has been a keen supporter of the ACO for many years. Bridget is a much valued patron of our National Education Program, which seeks to advance the music education of young people across Australia through workshops, regional concert touring and other initiatives. On her decision to support the ACO’s education initiatives, Bridget says — ‘the education program and ACO visits beyond the capital cities are wonderful outreach to the wider community and this commitment to those who are usually out of reach is commendable… ACO concerts, recordings and workshops can bring music of outstanding quality into everyone’s lives.’ Bridget enjoys attending ACO concerts and has been a committed subscriber for many years. On first hearing the ACO perform Bridget says — ‘I was so enthralled by their playing that I’ve been a subscriber ever since. Each member of the orchestra is a superb musician and their obvious delight in playing together results in magical and exciting
Bridget Faye am (centre) with ACO musicians Aiko Goto and Helena Rathbone.
music…the ACO presents pieces with gifted energy and enormous enthusiasm’. Bridget also enjoys attending the ACO’s annual concerts at the stunning Vasse Felix Winery in Margaret River each December. We thank Bridget most warmly for her wonderful support of the ACO. If you would like more information on the ACO’s donation programs, please contact Jill Colvin, Philanthropy Manager, at jill.colvin@aco.com.au
YOUR SAY… Mahler 4 & Sibelius 6 ‘Fabulous concert! I enjoyed every minute of the music this afternoon.’ — Elizabeth R.
‘Oboist and flautist sections were just brilliant.’ — Vera T.
‘Our National Treasures.’ — Sue C.
‘Absolutely fabulous performance and so well paired with the Sibelius!’ — Penny D.
‘Tognetti forever!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!’ — Naomi G.
Let us know what you thought about today’s concert on Facebook, Twitter or email aco@aco.com.au
36 AUSTRALIAN CHAMBER ORCHESTRA
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The ACO trusts its events to Katering - why don’t you? Providing a complete service in hospitality: one call • one contact • one manager to organise the entire event From weddings, birthdays and corporate functions to intimate dinner parties at home ACO Chairman’s Council Cocktail Party
info@katering.com.au (02) 9319 2700 www.katering.com.au
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