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ME S S AGE F ROM T HE CH A IR M A N The Australian Chamber Orchestra is extremely proud to welcome the Basel Chamber Orchestra for its very first appearances in Australia. For those of us who live in the world of chamber orchestras, the Basel Chamber Orchestra is one of the most important institutions in our world for its remarkable contribution to the expansion of the repertoire. This was especially true under the leadership and vision of its founder, the great Swiss conductor and philanthropist Paul Sacher. It is thanks to Sacher’s commitment to the repertoire of chamber orchestras that we have some of the greatest music written for our ensemble, by such 20th-century legends as Igor Stravinsky, Richard Strauss, Witold Lutosławski and especially Béla Bartók, who wrote the Divertimento for Strings and Music for Strings, Percussion and Celesta for Sacher and his Orchestra. The Basel Chamber Orchestra’s appearances in Australia this month are the antipodean side of an international exchange which will see the ACO performing in Switzerland in July next year. Thanks to this collaboration, Richard Tognetti and the ACO will give concerts in the prestigious Yehudi Menuhin Festival in Gstaad – a festival made even more significant by the 2016 celebration of Menuhin’s birth. These Swiss concerts form the foundation stone of the ACO’s extensive July/August tour which will include performances in some of the most significant music festivals in Europe and North America. While our guest orchestra, the Basel Chamber Orchestra, performs in the ACO’s subscription seasons in Brisbane, Canberra, Melbourne and Sydney, the ACO is returning from an extraordinary week-long residency in Hong Kong which included performances in partnership with the Sydney Dance Company, ACO Underground (at the funky new Hong Kong creative hub PMQ), an installation of ACO VIRTUAL and a side-by-side workshop with students of the Hong Kong Academy for Performing Arts on Shostakovich’s Chamber Symphony.
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S OL G A BE T TA BASEL CHAMBER ORCHESTR A Yuki Kasai Director and Violin Sol Gabetta Cello
Program 1 (22, 25, 27, 29 November) FAURÉ (arr. Herzog) Après un rêve, Op.7 No.1, for cello and small orchestra SAINT-SAËNS (arr. Walter) Cello Concerto No.1 in A minor, Op.33 INTERVAL HEINZ HOLLIGER Meta Arca BARTÓK Divertimento for Strings Approximate durations (minutes): 4 – 22 – INTERVAL – 9 – 23 The concert will last approximately one hour and 30 minutes, including a 20-minute interval.
Program 2 (23 November) BOCCHERINI Cello Concerto No.10 in D major, G.483 HAYDN Symphony No.59 in A major ‘Fire’ INTERVAL PĒTERIS VASKS Cello Concerto No.2 ‘Presence’ Approximate durations (minutes): 18 – 22 – INTERVAL – 34 The concert will last approximately one hour and 40 minutes, including a 20-minute interval.
The Australian Chamber Orchestra reserves the right to alter scheduled artists and programs as necessary. 11
A BOU T T HE MUSIC PROGR AM ONE (22, 25, 27, 29 November)
‘Time and place’ might be a good subtext for the first program in this tour by the Basel Chamber Orchestra. The music of Fauré and Saint-Saëns is expressive of a certain French sensibility of the 1870s; Swiss identity is one of Heinz Holliger’s concerns though he profits more from contemporary music’s technical experimentation; Bartók, the Hungarian composer of the Divertimento looked to the music of his own region, Eastern Europe, as a means to modernise Western classical music in the 20th century. APRÈS UN RÊVE, OP. 7 NO.1, FOR CELLO AND SMALL ORCHESTRA arr. Thomas Herzog (Composed 1877) GABRIEL FAURÉ Born Pamiers 1845. Died Paris 1924.
PICTURED: Gabriel Fauré, 1875.
Fauré and Saint-Saëns knew each other well. Saint-Saëns had become Fauré’s piano teacher in 1861, and had mentored Fauré’s path into Paris society, introducing him, for example, to the salon of Pauline Viardot in 1872. Though Fauré’s harmonic language would pave the way for later French composers such as Debussy and Ravel, Fauré and Saint-Saëns shared a similar harmonic sensibility – an eschewal of the German chromatic intensification of cadence – in the 1870s when this work was composed. Après un rêve started life as a song. Its text comes from a Tuscan poem translated by Romain Bussine, a member of Viardot’s circle. 12
It describes a flight with a lover ‘towards the light’. But this sensation is a dream and, on waking, the subject longs to return to the consolations of ‘mysterious night’. The music reflects the text’s arc. Its long cantilena emerging from pulsing or throbbing C minor chords ‘unfolds organically from beginning to end’, according to Fauré expert Graham Johnson, and climaxes and returns to that C minor pulse. No small part of the song’s intoxicating effect is the effectiveness of its harmony (that wonderful ninth chord so soon after the opening!). Tuscan folk poetry was particularly enjoyed by Pauline Viardot. As well, she loved Schumann and that might explain the similarity of Fauré’s repeated chords to Schumann’s accompaniment for ‘Ich grolle nicht’. Performance of this song tonight in an instrumental arrangement proves that the song’s cumulative power lies in its melody. Lack of literary merit in the text may explain why the novelist Marcel Proust, an admirer of other Fauré songs, considered this one ‘a dud’. But Pablo Casals’ cello version became a hit in 1910 and the song has been popular in various arrangements ever since.
CELLO CONCERTO NO.1 IN A MINOR, OP.33 arr. David Walter (Composed 1872) I. Allegro non troppo – II. Allegretto con moto – III. Tempo primo CAMILLE SAINT-SAËNS Born Paris 1835. Died Algiers 1921. Unpretentiously beguiling, tightly constructed, and subtly orchestrated, this concerto reveals many of Saint-Saëns’ most endearing qualities as a composer. Its composition was one of the activities Saint-Saëns threw himself into following the death of his beloved great-aunt in January 1872. At the same time – as ‘Phémius’ – he began writing a newspaper column promoting French music (composers such as Rameau, Gounod and Bizet) as a way of bolstering French national pride after losing the FrancoPrussian War. The concerto was first performed on 19 January 1873 by the Paris Conservatoire Orchestra with its principal cellist Auguste Tolbecque as soloist. Saint-Saëns’ biographer James Harding says, it ‘gives the instrument an excellent opportunity to display its resources without straining after needless virtuosity.’ The work begins with one sharp chord from the orchestra, immediately ushering in a swirling theme from the solo cello, which will form the main thematic material for the movement. This material is repeated, varied, played on the woodwinds behind long notes on the solo cello and extended. Eventually the cello 13
. . . it ‘gives the instrument an excellent opportunity to display its resources without straining after needless virtuosity.’ JAMES HARDING
PICTURED: Camille Saint-Saëns.
plays an attractive romantic melody that is dovetailed into cadential material by the swirling theme in the accompaniment. A new sequence continues to work on the swirling figure, first making use of the half-tone rise and fall of its tailpiece. A developmental extension of the romantic melody leads us imperceptibly into the minuet-like second movement. Saint-Saëns’ structural fluency has been revealed by the clever way in which this movement was introduced, almost as if it were merely another phase of the first movement. (This work will sound as if three movements have been rolled into one.) A dance-like figure is transformed into an orchestral accompaniment for a ruminative cello melody. There is a slightly darker, more lilting middle section, followed by cadenza-like runs in the cello solo which lead to a reprise of the dancing figure over a cello trill. The movement winds down, and then the cello line forms the link to the final, and longest, movement. The oboe retrieves the first movement’s swirling figure. After a dramatic development, the cello finally takes back the swirling figure. The cello now introduces a new aria-like theme, built on the rise-and-fall idea of the opening melody. Now, at last, the cello part begins to become more virtuosic, and in the slower section ends up in the instrumental stratosphere, with high harmonics. The music resumes speed after a reprise of the aria-like melody, and with an exciting pick-up, the movement and the concerto come to a close.
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META ARCA (Composed 2012) HEINZ HOLLIGER Born Langenthal 1939. The Swiss musician Heinz Holliger has been known for five decades as an oboist. As critic Tom Huizenga, reviewing a Bach recording in 2011, said, ‘They say the cello can pull at the heartstrings . . . but you should hear what Heinz Holliger can do with an oboe.’
PICTURED: Heinz Holliger.
But Holliger is also an important composer. He studied composition with Pierre Boulez (in Berne) and with Sándor Veress, a pupil of Bartók who had migrated to Switzerland in 1949. Holliger’s own works express a concern with Swiss identity, the past (Schumann is an important anchor for this thought), and also a desire to push the technical envelope. Works contemplating the frontiers of existence might push the music to the edge of the physically possible. There is a distillation of expression to its essentials that may remind the listener of Anton von Webern or even, in stage-works, the playwright Samuel Beckett. Since the 1980s, Holliger has moved away from thoughtful pre-composition to more direct expression. But as critic Paul Griffiths has said, ‘Mr. Holliger’s music profits from his practical and imaginative experience of what were once marginal effects.’ Meta arca was written for another Swiss chamber orchestra, the Camerata Bern. A mini concerto for violin and 13 or 15 string instruments, it makes great use of the possibilities of sound emission in string technique – harmonics, alla chitarra (played in the manner of a guitar), the thumb beating against the body of the instrument . . . Where is the unity? The universe that contains this music is huge. One is reminded that Holliger admires Schumann’s ‘labyrinthine imagination’ and unending ‘associative thinking process’. On the other hand the work is sequential in the sense of being six tone-portraits in a row of former concertmasters of the Berne orchestra. Their names are given in the score: Alexander van Wijnkoop Thomas Fůri Ana Chumachenko Thomas Zehetmair Erich Höbarth Antje Weithaas
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DIVERTIMENTO FOR STRINGS (Composed 1939) I. Allegro non troppo II. Molto adagio III. Allegro assai BÉLA BARTÓK Born Nagyszentmiklós 1881. Died New York 1945.
PICTURED: Béla Bartók.
Paul Sacher, founder of an earlier incarnation of the Basel Chamber Orchestra, played an important role in commissioning music in the 20th century. Bartók had already written him the Music for Strings, Percussion and Celeste and the Sonata for Two Pianos and Percussion when, in November 1938, Sacher asked Bartók for another work for his Basel orchestra. Times were difficult. In Budapest, Bartók felt uneasy about the European political situation. But he confirmed his acceptance in March 1939. One might expect music of this period to be unrelievedly harrowing or gloomy. But Bartók would end up writing a Divertimento, a musical form that in the 18th century denoted musical entertainment. He wrote to Sacher on 1 June: ‘. . . my idea is a kind of concerto grosso alternating with concertino’ – that is with a solo group of instruments who appear against a background of the rest of the ensemble. He asked Sacher ‘whether you have the right people for the solo-string quartet in your orchestra.’ He would bring to the work the expertise in string technique he had honed in string quartets from No.3 on. Bartók was clearly thinking of very traditional Western forms. His early career had seen an immersion in the folk music of Eastern Europe (and Central Asia and North Africa). Now he was seeking to blend Eastern melos and Western traditional forms, not only 16
“. . . my idea is a kind of concerto grosso alternating with concertino . . .” BARTÓK
PICTURED: Béla Bartók using a gramophone to record folk songs sung by peasants in what is now Slovakia.
‘because of the geographical position of [my] country ...’ but, also, because it was a demonstration of ‘universal brotherhood’. The Divertimento contains many of the recognisable features of the synthesis that has come to be considered typical of the mature Bartók. The first movement may begin with what sounds like Eastern European asymmetrical dance rhythms (the dance in mind was the verbunkos, a Hungarian recruiting dance), but Western contrapuntal techniques, particularly canon and other types of imitation, soon arise as the means of developing the material which,
in typical Bartók fashion, grows while remaining recognisable in its broader shape. The sombre, muted atmosphere of the Second movement has been likened by some to funeral music. The tremolos and ‘shrieks’ are similar to sound bursts to be heard in music Bartók elsewhere associated with night-time, but it is also hard to ignore a presentiment of war. The third movement could be considered a rondo but Bartók’s creative instincts are too organic to allow for straightforward ‘repetition’ of the recurring sections. A ‘polka’ toward the end shows how far he can extend his material. Bartók completed this work in 15 days as a guest at the Sachers’ house at Saanen (Bern canton) in August. The atmosphere was exceptionally genial. He said he felt like ‘a musician of olden times, the invited guest of a patron of the arts’. But the GermanRussian Non-Aggression Pact was announced while he was part way through his next commission, the Sixth String Quartet, and he hurriedly returned to Budapest. In the next harrowing months, Bartók’s attention was on ‘a race against time’ to get works published before communications between Hungary and Britain were broken off. On 16 December his mother died. Bartók kept working, virtually without respite, until April when he boarded a boat for New York, where plans would be made for a return to the US that would become permanent. 17
PROGR AM T WO (23 November)
The music in this concert has been composed away from what would once have been considered the major centres of Western music. Boccherini spent much of his working life in Spain. Haydn was forced to become innovative while serving at remote Esterházy family estates. Pēteris Vasks is from Latvia and only recently has our orchestral repertoire been enriched by music from the Baltic States. CELLO CONCERTO NO.10 IN D, G.483 (Composed 1782) I. Allegro moderato II. Andante lentarello III. Allegro e con moto LUIGI BOCCHERINI Born Lucca 1743. Died Madrid 1805.
PICTURED: Pencil drawing of Luigi Boccherini by Etienne Mazas after a portrait bust.
Born in Lucca, Italy, Boccherini was first taught by his father who assumed the customary initial responsibility for his son’s musical education. Neither the Italian cities nor Vienna, where Boccherini had gone in 1758, could offer a cello virtuoso of the time the means to make a living purely as a soloist. So Boccherini went to Paris (in 1767). There he made a fateful decision. At the end of six months, instead of going to England as intended, he went to Madrid, where he was to remain under the patronage of the Infante Luis Antonio for the rest of Don Luis’ life, living with him even in ‘exile’ at Arenas de San Pedro, a little town in the Gredos mountains (no-one could tell Haydn in Esterhaza where it was). There, and in Candeleda, Boccherini wrote many of his most famous works. Like Heinz Holliger (heard in Basel’s first program), Boccherini was an expert on his chosen instrument, but his chosen instrument is more important in his compositional output. Tonight’s cello concerto is one of 11 Boccherini wrote for the instrument. The broad orchestral opening promises a work on a grand scale. An interesting feature established from the outset of the soloist’s exposition is a dialogic relationship, even cameraderie, between the solo cello and the two oboes, echoed to a lesser extent by the 18
“. . . when Boccherini is at his best, there is a force of serious expression . . .” THOMAS TWINING
two horns, of the ensemble. One of music history’s great melodists, Boccherini’s skill in this regard is on display in the Andante lentarello. The plaintive melody of the opening is first announced by orchestral strings. That Boccherini refreshingly explores subtly-shifting relationships between the instruments is highlighted by the way the solo cellist’s entry in this movement is so cunningly surreptitious, concealed underneath the winds’ repetition of the strings’ melody. Horn calls, echoed this time by oboes, break the atmosphere of dignified ceremonial dance for a vigorous Allegro finale. ‘Haydn’s wife’ is what Boccherini was called by one 18th-century musician, referring disparagingly perhaps to the charm and gentleness of his style. In 1783 both composers were the subject of a debate between two musical enthusiasts. ‘. . . when Boccherini is at his best, there is a force of serious expression, a pathos, that is not so much Haydn’s forté . . .’ wrote Thomas Twining, son of the famous tea merchant, to music historian Charles Burney in July. Burney replied on 6 Sep: ‘I love Boccherini . . . but I think I shall live to make you eat your words about his pathetic being superior to Haydn’s . . .’ In October, Twining shot back: . . . eat my words? . . . I think I am yet upon firm ground; for I do not say . . . that Haydn was never pathetic . . . but only that, in his general cast & manner, Boccherini is a more serious, earnest composer . . .’ He went on: ‘I am so far from meaning to disparage Haydn, that were I obliged to give up him, or Boccherini, I do believe I shou’d turn to Haydn in preference. His wonderful variety, & intarissable fancy wd turn the scale.’
SYMPHONY NO.59 IN A MAJOR ‘FIRE’ (Composed 1769) I. Presto II. Andante più tosto Allegretto III. Menuetto e Trio IV. Allegro assai JOSEPH HAYDN Born Rohrau 1732. Died Vienna 1809. ‘Intarissable’? It means ‘inexhaustible’. And what a stunningly appropriate word to describe Haydn’s compositional imagination! It’s certainly on show in this work. The Symphony No.59 is a superb product of that period in Haydn’s composing career known as Sturm und Drang, a term used to describe a German literary movement in the 18th century in which extremes of emotion and drama (‘storm and stress’) were given free reign in accordance with a subjective emotionality that bucked the era’s rationalism.
PICTURED: Joseph Haydn.
But perhaps Haydn’s innovative musical thinking stemmed less from adherence to literary movements than from a desire not to be hobbled by isolation. Haydn had been recruited as a musician by the noble Esterházy family in 1761 and become their kapellmeister 19
in 1766, two or three years before the composition of this symphony. As kapellmeister he was responsible for all the musical activity on the Esterházy estates, from composing an endless stream of symphonies and church and chamber music, to running the Orchestra and managing the opera house at Eszterháza. No doubt this was the job of a lifetime for a composer who sought continually to perfect his art, but the remoteness of the Esterházy estates, especially Eszterháza carved out of the Hungarian marshlands must have niggled sometimes. This work may also have later been used as incidental music for a play, Feuerbrunst. Haydn was certainly writing, rehearsing and supervising a lot of opera at Eszterháza at this time. Whether that experience also explains the almost theatrical daring of this work, the Symphony No.59 is a typical example of Haydn’s middle-period symphonies with their unexpected turns of harmony or structure, range of contrasting gesture and breathless tempos.
PICTURED: Schloss Esterházy [detail] by Albert Christoph Dies.
Like many another Haydn symphony, this piece gives the lie to any idea that form is ever a rigid paradigm. The first movement is recognisably a classical sonata, but the return of the opening material in the development section is actually a feint. Development resumes until the recapitulation proper, which in itself is a variation of the opening music. The movement ends not with a bang, but with a tapering-off (if not a whimper), proving large-scale consequences for the strange sort of dissipation of energy characteristic of the very opening. The second movement has a formal dance-like aspect, dour if you consider the minor mode, but just when you think its repeats are straightforward there are surprises – a late turn to the major that blooms with the addition of horns and oboes, a sudden militant tattoo on the horns . . . The surprise in the minuet and trio is the evocation of the same melody that began the slow movement. It has been noted that the finale (Allegro assai) carries the listener along at such breakneck speed that one almost doesn’t notice the absence of tunes. Even in this, not one of Haydn’s best known works, you see the fertile genius at work.
CELLO CONCERTO NO.2 ‘PRESENCE’ (Composed 2012) I. Cadenza – Andante cantabile II. Allegro moderato III. Adagio PĒTERIS VASKS Born Aizpute 1946. According to US radio presenter Daniel Stephen Johnson, ‘the rough outlines of Pēteris Vasks’ work and career might have a familiar ring to them: born in Soviet Latvia, Vasks endured government repression not only for his aesthetics but for his Christian faith, and emerged in the late 1970s with a pared-down compositional style 20
heavily influenced by sacred themes.’ Endurance of the human spirit against the brutality of a monolithic oppressor might describe the Symphony No.1; later works sometimes put us in mind of the sacred music of Estonian Arvo Pärt. Vasks’ later works are concerned with broader questions of the soul (he is the son of a clergyman). Some works are offered almost as artefacts of faith that we can escape the self-annihilation inherent in our hostile relationship with nature. The following statement of Vasks’ can be found on his publisher Schott’s website: Most people today no longer possess beliefs, love and ideals. The spiritual dimension has been lost. My intention is to provide food for the soul and this is what I preach in my works. Vasks has written a number of works for string ensemble, exploring different timbres and tunings, but this is his first for cello and string orchestra alone (his first cello concerto was for solo cello and large orchestra). The Concerto No.2 was commissioned by this program’s soloist, Sol Gabetta who premiered the work with the Amsterdam Sinfonietta and its conductor, Candida Thompson on 25 October 2012. PICTURED: Pēteris Vasks.
We shall see now whether, in Tom Huizenga’s words referred to earlier, ‘the cello can pull at the heartstrings . . .’ Certainly it is an appropriate instrument to carry the singing style through which Vasks admits he expresses his ideals. The concerto begins with the merest material, a low C played col legno (with the wood of the bow) by the soloist. Gradually, principally through tonal alteration, the solo music increases in expression to form a lengthy cadenza. No mere technical display, this cadenza is more like a long rumination – as the soloist’s wide-ranging melody moves in and out of a double-stopped chordal texture. The rest of the strings now enter for the Andante cantabile and Vasks gives full rein to his undulating lyricism. An almost violent rhythmic dance begins the second movement. The soloist beats out a repeated note across two strings before sparring with the orchestra. There are several obvious markers defining the form – a lugubrious 5/4 waltz that sounds like an urgent changing of the gears, returns of the more lyrical Andante music. These also frame a second, chromatically and technically more intense cadenza. The works ends with a 12-minute slow movement, with echoes of the first movement. Where a build-up in intensity in the second movement might have called forth the lugubrious waltz, Vasks just ‘ups’ the pitch of lyrical outpouring here. How much further can it go? What does the subtitle mean in the context of such an intense piece? How seriously do we take Vasks’ spiritual side? Perhaps the hymn-like surprise at the end is a clue. This piece is a world away from the other contemporary music on this tour. But both Holliger and Vasks show us poles of contemporary thought in the midst of repertoire which over the Basel orchestra’s two programs has given us a whole geography of chamber music. Gordon Kalton Williams © 2015 21
S OL G A BE T TA CELLO
Sol Gabetta achieved international acclaim upon winning the Crédit Suisse Young Artist Award in 2004 and making her debut with the Wiener Philharmoniker and Valery Gergiev. Born in Argentina, Gabetta won her first competition at the age of 10, soon followed by the Natalia Gutman Award as well as commendations at Moscow’s Tchaikovsky Competition and the ARD International Music Competition in Munich. A Grammy Award nominee, she received the Gramophone Young Artist of the Year Award in 2010 and the Würth-Preis of the Jeunesses Musicales in 2012.
Photo by Marco Borggreve
Following her highly acclaimed debuts with the Berliner Philharmoniker and Sir Simon Rattle at the Baden-Baden Easter Festival in 2014 and at Mostly Mozart in New York in August 2015, this season sees Gabetta debut with Los Angeles Philharmonic Orchestra and Houston Symphony. She will also perform with Tonhalle-Orchester Zürich and St Petersburg Philharmonic and will tour with Orchestre de Paris, Il Giardino Armonico, the Rotterdam Philharmonic Orchestra and the Dresdner Philharmonie with whom she is Artist in Residence this season. Brussels’ Palais des Beaux Arts will also welcome her as their resident artist. To conclude 2015/16, Gabetta will join the Royal Concertgebouw Orchestra Amsterdam on a European Tour with performances at Lucerne Festival, Grafenegg Festival as well as Salzburger Festspiele. Sol Gabetta maintains an intensive chamber music activity, performing worldwide in venues such as Wigmore Hall in London, Palau de la Música Catalana in Barcelona and the Théâtre des Champs-Élysées in Paris, with distinguished partners including Patricia Kopatchinskaja and Bertrand Chamayou. Her passion for chamber music is evident in the Festival ‘Solsberg’ which she founded in Switzerland.
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Y UK I K A S A I DIREC TOR AND VIOLIN
Yuki Kasai was born in Basel in 1979 and began violin lessons at the age of five. She was a student of Rafael Oleg at the Basel Music Academy and was a post-graduate student of Antje Weithaas at the Hanns Eisler Academy of Music in Berlin. Other important influences were violinist Sandor Zöldy, along with chamber music lessons with Gerard Wyss and Hatto Beyerle, and masterclasses with Lorand Fenyves and Ferenc Rados.
Photo by Giorgia Bertazzi
Yuki Kasai has received many prizes, including the Hans Huber Foundation Basel (2002) and the Migros-Kulturprozent Scholarship (2003 and 2004). In 2002 she was a prize winner of the 8th International Mozart Competition in Salzburg. Standing in for the regular violinist of the Trio Castell, in 2004 she won the chamber music competition at the Alice Samter Foundation. A passionate chamber musician, Yuki Kasai has appeared at many music festivals, including Mecklenburg-Vorpommern; Rheingau; Ultraschall Festival for New Music in Berlin; Forget in Quebec; Sommets Musicaux de Gstaad; International Musicians Seminar, Prussia Cove. She has appeared in concerts at the Wigmore Hall, performing with such musicians as Stephen Isserlis, Pekka Kuusisto and Joshua Bell. With the Italian bassoonist Sergio Azzolini, who introduced her to the variety and vivacity of performing Baroque music on period instruments, she has appeared in concerts in Germany, Switzerland and Italy. In 2006, Yuki Kasai was appointed Leader of the Kammerakademie Potsdam and the Ensemble Oriol Berlin. She also regularly plays with the Chamber Orchestra of Europe and is often Guest Leader of the Deutsche Kammerphilharmonie Bremen, the Ensemble Resonanz in Hamburg and Camerata Bern. She has been leader of the Basel Chamber Orchestra since 2011.
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B A SEL CH A MBER ORCHE S T R A
Photo by Christian Flierl
In the 30 years of its existence, the Basel Chamber Orchestra – in 2015 receiving its 3rd ECHO Klassik award – has developed into one of the leading chamber orchestras on the international music scene. Nowadays invitations to the most important concert arenas and festivals of the European classical music scene are just as much part of the schedule as the orchestra’s own subscription concerts in Basel. Diverse CD recordings with famous labels like Sony, Deutsche Harmonia Mundi, Warner Classics and OehmsClassics are evidence of the excellent quality of the orchestra. The Basel Chamber Orchestra has a predilection for playing under the musical direction of its own concertmaster. The orchestra’s collaboration with its principal guest conductor Giovanni Antonini is especially fruitful. The highpoint of its collaboration with Antonini is the Beethoven Cycle. Symphonies 1–8 have already been recorded by Sony; the recording of Symphonies 3 and 4 received the Ensemble of the Year 2008 award at the ECHO Klassik Awards. Between now and 2032, the Basel Chamber Orchestra under Giovanni Antonini’s direction, together with the Italian ensemble
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“One of the most exciting formations to be touring on the international orchestra scene.” FONO FORUM
‘Il Giardino Armonico’, will take turns at performing all of Joseph Haydn’s 107 symphonies and recording them on CD. In addition, the Orchestra has a close relationship with conductors such as Trevor Pinnock, Heinz Holliger, Paul Goodwin and Mario Venzago. The list of soloists who have performed together with the orchestra is renowned: Emmanuel Pahud, Sol Gabetta, Andreas Scholl, Kristian Bezuidenhout, Matthias Goerne, Sabine Meyer, Angela Hewitt, Renaud Capuçon, Thomas Zehetmair, Sandrine Piau and many more. The 2015/2016 season kicked off with performances of A Midsummer Night’s Dream under the baton of Trevor Pinnock, with Klaus Maria Brandauer as guest narrator, amongst other places at the Dresden Frauenkirche and the Lucerne Festival. The orchestra will go on concert tours with Sir András Schiff and Heinz Holliger to the renowned George Enescu Festival in Bucharest and with Daniel Hope to South America. Since 2013 Clariant International Ltd. has been presenting sponsor of the Basel Chamber Orchestra.
The Basel Chamber Orchestra is supported by Pro Helvetia, the Swiss Arts Council. 25
MUSICI A NS ON S TA GE BASEL CH A MBER ORCHE S TR A Concertmaster and Leader Yuki Kasai Violin 1 Mirjam Steymans-Brenner Matthias Müller Barbara Bolliger Yukiko Tezuka Betina Pasteknik Violin 2 Anna Faber Valentina Giusti Tamàs Vásárhelyi Cordelia Fankhauser Vincent Durand Viola Mariana Doughty Bodo Friedrich Robert Woodward Anne-Françoise Guezingar
26
Cello Martin Zeller Georg Dettweiler Hristo Kouzmanov Double Bass Sophie Luecke Kristof Attila Zambo Oboe Matthias Arter Mirjam Hüttner Horn Konstantin Timokhine Mark Gebhart
ACO BEHIND T HE S CENE S BOARD
EDUCATION
MARKETING
Guido Belgiorno-Nettis am Chairman
Phillippa Martin Ac O 2 & ACO VIRTUAL Manager
Derek Gilchrist Marketing Manager
Angus James Deputy
Zoe Arthur Acting Education Manager
Mary Stielow National Publicist
Bill Best John Borghetti Liz Cacciottolo Judith Crompton John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo
Caitlin Gilmour Education Assistant
Hilary Shrubb Publications Editor
FINANCE
Leo Messias Marketing Coordinator
Richard Tognetti ao Artistic Director
Maria Pastroudis Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant
Cristina Maldonaldo Communications Coordinator Chris Griffith Box Office Manager Dean Watson Customer Relations Manager
ADMINISTRATIVE STAFF
Shyleja Paul Assistant Accountant
EXECUTIVE OFFICE
DEVELOPMENT
Deyel Dalziel-Charlier Box Office & CRM Database Assistant
Jessica Block Deputy General Manager
Rebecca Noonan Development Manager
Christina Holland Office Administrator
Alexandra Cameron-Fraser Strategic Development Manager
Jill Colvin Philanthropy Manager
Robin Hall Subscriptions Coordinator
Helen Maxwell Executive Assistant to Mr Tognetti ao
Penelope Loane Investor Relations Manager
INFORMATION SYSTEMS
ARTISTIC & OPERATIONS
Tom Tansey Events Manager
Luke Shaw Head of Operations & Artistic Planning Anna Melville Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant
Tom Carrig Senior Development Executive Ali Brosnan Patrons Manager Sally Crawford Development Coordinator
Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer 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 Box Office 1800 444 444 Email aco@aco.com.au Web aco.com.au
27
V ENUE SUPP OR T
QUEENSLAND PERFORMING ARTS CENTRE
AUSTRALIAN NATIONAL UNIVERSITY
Cultural Precinct,
Llewellyn Hall School of Music
Cnr Grey & Melbourne Street, South Bank QLD 4101 PO Box 3567, South Bank QLD 4101 Telephone (07) 3840 7444 Box Office 131 246 Web qpac.com.au
William Herbert Place (off Childers Street), Acton, Canberra VENUE HIRE INFORMATION Telephone (02) 6125 2527 Email music.venues@anu.edu.au
Christopher Freeman am Chair John Kotzas Chief Executive
ARTS CENTRE MELBOURNE
SYDNEY OPERA HOUSE
PO Box 7585, St Kilda Road,
Bennelong Point,
Melbourne VIC 8004
GPO Box 4274, Sydney NSW 2001
Telephone (03) 9281 8000
Telephone (02) 9250 7111
Box Office 1300 182 183
Box Office (02) 9250 7777
Web artscentremelbourne.com.au
Tom Harley President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer
infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer
In case of emergencies . . . Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.
28
S OL G A BE T TA
BASEL CHAMBER ORCHESTR A TOUR DATES & PRE-CONCERT TALKS
Pre-concert talks take place 45 minutes before the start of every concert.
Sun 22 Nov, 2.30pm Melbourne Arts Centre Pre-concert talk by Caroline Almonte
Fri 27 Nov, 8pm Canberra Llewellyn Hall Pre-concert talk by Ken Healey am
Mon 23 Nov, 8pm Melbourne Arts Centre Pre-concert talk by Caroline Almonte
Sun 29 Nov, 2pm Sydney Opera House Pre-concert talk by Ken Healey am
Wed 25 Nov, 8pm Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills
The foyer fanfare for this concert is Skyscrapers, composed by John Rotar (age 19) from the University of Queensland. This is a youth creativity project by the Sydney Opera House and Artology.
Pre-concert speakers are subject to change.
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.
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Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at print@playbill.com.au for a quote on your printing work.
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–1510 — 17676 — 1/221115 29
ACO MEDICI PROGR A M 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
CORE CHAIRS
GUEST CHAIRS
The late AMINA BELGIORNO-NETTIS
VIOLIN
Brian Nixon Principal Timpani
PRINCIPAL CHAIRS
Glenn Christensen Terry Campbell ao & Christine Campbell
Richard Tognetti ao Artistic Director & Lead Violin
Aiko Goto Anthony & Sharon Lee Foundation
Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts
Mark Ingwersen Ian Wallace & Kay Freedman
Helena Rathbone Principal Violin
Liisa Pallandi The Melbourne Medical Syndicate
Kate & Daryl Dixon
Ike See Di Jameson
Satu Vänskä Principal Violin Kay Bryan Christopher Moore Principal Viola peckvonhartel architects Timo-Veikko Valve Principal Cello Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation
Ilya Isakovich The Humanity Foundation
VIOLA Alexandru-Mihai Bota Philip Bacon am Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Clayton Family
ACO L IF E PAT RONS IBM
Mr Martin Dickson am & Mrs Susie Dickson
Mr Robert Albert ao & Mrs Libby Albert
Dr John Harvey ao
Mr Guido Belgiorno-Nettis am
Mrs Alexandra Martin
Mrs Barbara Blackman ao
Mrs Faye Parker
Mrs Roxane Clayton
Mr John Taberner & Mr Grant Lang
Mr David Constable am
Mr Peter Weiss ao
30
Mr Robert Albert ao & Mrs Libby Albert FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett
ACO BEQ UE S T PAT RONS For more information on making a bequest, please call Jill Colvin, Philanthropy Manager, on 02 8274 3835. The late Charles Ross Adamson
Peter Evans
The late Josephine Paech
The late Kerstin Lillemor Andersen
Carol Farlow
The late Richard Ponder
The late Mrs Sybil Baer
Suzanne Gleeson
Ian & Joan Scott
Steven Bardy
Lachie Hill
The late Mr Geoffrey Francis Scharer
Dave Beswick
The late John Nigel Holman
The Estate of Scott Spencer
Ruth Bell
Penelope Hughes
Leslie C Thiess
The Estate of Prof Janet Carr
The late Dr S W Jeffrey am
G.C. & R. Weir
Sandra Cassell
Estate of Pauline Marie Johnston
Margaret & Ron Wright
The late Mrs Moya Crane
The late Mr Geoff Lee am oam
Mark Young
Mrs Sandra Dent
Mrs Judy Lee
Anonymous (12)
Leigh Emmett
The late Shirley Miller
The late Colin Enderby
Selwyn M Owen
ACO GENER A L PUR P O SE PAT RONS ACO General Purpose Patrons support the ACO’s general operating costs. Their contributions enhance both our artistic vitality and ongoing sustainability. For more information, please call Ali Brosnan, Patrons Manager on 02 8274 3830 Andrew Andersons
Michael Horsburgh am & Beverley Horsburgh Dr Jason Wenderoth
John & Lynnly Chalk
Penelope Hughes
Brian Zulaikha
Dr Jane Cook
Mike & Stephanie Hutchinson
Anonymous (2)
Paul & Roslyn Espie
Professor Anne Kelso ao
Jennifer Hershon
Douglas & Elisabeth Scott
Peter & Edwina Holbeach
Jeanne-Claude Strong
ACO NE X T ACO Next is an exciting new philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering a unique musical and networking experience. For more information, please call Ali Brosnan, Patrons Manager, on 02 8274 3830. MEMBERS Clare Ainsworth Herschell
Royston Lim
Jessica Read
Justine Clarke
William Manning
Louise & Andrew Sharpe
Este Darin-Cooper & Chris Burgess
Rachael McVean
Emile & Caroline Sherman
Catherine & Sean Denney
Barry Mowzsowski
Michael Southwell
Alexandra Gill
Paris Neilson & Todd Buncombe
Karen & Peter Tompkins
Rebecca Gilsenan & Grant Marjoribanks
James Ostroburski
Joanna Walton & Alex Phoon
Adrian Giuffre & Monica Ion
Nicole Pedler
Nina Walton & Zeb Rice
Aaron Levine
Michael Radovnikovic
Peter Wilson & James Emmett 31
ACO T RUS T S & F OUNDAT IONS
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
ACO INS T RUMEN T F UND 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. The Fund’s second asset is the 1714 Joseph Guarneri filius Andreæ violin, the ‘ex Isolde Menges’, now on loan to Violinist Mark Ingwersen. For more information, please call Penelope Loane, Investor Relations Manager on 02 8274 3878. Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman) Jessica Block
SONATA $25,000 – $49,999
INVESTORS
ENSEMBLE $10,000 – $24,999
Stephen & Sophie Allen
Lesley & Ginny Green
John & Deborah Balderstone
Peter J Boxall ao & Karen Chester
Guido & Michelle Belgiorno-Nettis Bill Best
John Leece am
SOLO $5,000 – $9,999
Andrew Stevens
PATRON $500 – $4,999
Sam Burshtein & Galina Kaseko
John Taberner
Michael Bennett & Patti Simpson
Carla Zampatti Foundation
Leith & Darrel Conybeare
Sally Collier
Dr Jane Cook
Michael Cowen & Sharon Nathani
VISIONARY $1m+
Geoff & Denise Illing
Marco D’Orsogna
Peter Weiss ao
Luana & Kelvin King
Garry & Susan Farrell
Jane Kunstler
Gammell Family
John Landers & Linda Sweeny
Edward Gilmartin
Genevieve Lansell
Tom & Julie Goudkamp
Bronwyn & Andrew Lumsden
Philip Hartog
Patricia McGregor
Brendan Hopkins
OCTET $100,000 – $199,999
Trevor Parkin
Angus & Sarah James
John Taberner
Elizabeth Pender
Daniel and Jacqueline Phillips
Robyn Tamke
Ryan Cooper Family Foundation
Anonymous (2)
Andrew & Philippa Stevens
PATRONS
LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 The late Amina Belgiorno-Nettis Naomi Milgrom ao
QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous
32
Benjamin Brady
Dr Lesley Treleaven Ian Wallace & Kay Freedman
ACO SPECI A L C OMMIS SIONS & SPECI A L PRO JE C T S SPECIAL COMMISSIONS PATRONS Peter & Cathy Aird
THE REEF NEW YORK PRODUCERS’ SYNDICATE
Gerard Byrne & Donna O’Sullivan
Executive Producers
Philip Bacon ao
Mirek Generowicz
Tony & Michelle Grist
Kay Bryan
Peter & Valerie Gerrand
Lead Producers
Dr Ian Frazer ac & Mrs Caroline Frazer
G Graham
Jon & Caro Stewart Foundation
Dr Edward Gray
Anthony & Conny Harris Rohan Haslam John Griffiths & Beth Jackson Andrew & Fiona Johnston Lionel & Judy King David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Augusta Supple Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1) INTERNATIONAL TOUR PATRONS The ACO would like to pay tribute to the following donors who support our international touring activities in 2015: Linda & Graeme Beveridge
Major Producers Danielle & Daniel Besen Foundation
ACO ACADEMY BRISBANE LEAD PATRONS
Wayne Kratzmann Bruce & Jocelyn Wolfe
Janet Holmes à Court ac
PATRONS
Charlie & Olivia Lanchester
Andrew Clouston
Producers Richard Caldwell Warren & Linda Coli Graham & Treffina Dowland Steve Duchen & Polly Hemphill Wendy Edwards Gilbert George Tony & Camilla Gill
Michael Forrest & Angie Ryan Ian & Cass George Professor Peter Høj Helen McVay Shay O’Hara-Smith Brendan Ostwald Marie-Louise Theile Beverley Trivett
Max Gundy (board member ACO US) & Shelagh Gundy
MELBOURNE HEBREW CONGREGATION PATRONS
Patrick Loftus-Hills (board member ACO US) & Konnin Tam Sally & Steve Paridis (board members ACO US)
LEAD PATRONS
Peter & Victoria Shorthouse Alden Toevs & Judi Wolf Major Partner
PATRONS
Jan Bowen
Marc Besen ac & Eva Besen ao
Bee & Brendan Hopkins
Leo & Mina Fink Fund
Delysia Lawson Mike Thompson
Drs Victor & Karen Wayne Corporate Partner Manikay Partners
EMANUEL SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group LEAD PATRON The Narev Family PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
33
ACO N AT ION A L EDUC AT ION PROGR A M The ACO pays tribute to all of our generous donors who have contributed to our National Education Program, which focuses on the development of young Australian musicians. This initiative is 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. If you would like to make 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 ali.brosnan@aco.com.au Donor list current as at 9 October 2015 PATRONS
Jim & Averill Minto
Tony & Michelle Grist
Marc Besen ac & Eva Besen ao
Louise & Martyn Myer Foundation
Liz Harbison
Janet Holmes à Court ac
Jennie & Ivor Orchard
Kerry Harmanis
Bruce & Joy Reid Trust
Annie Hawker
Mark & Anne Robertson
Fraser Hopkins
Margie Seale & David Hardy
Dr Wendy Hughes
Tony Shepherd ao
I Kallinikos
Peter & Victoria Shorthouse
Keith & Maureen Kerridge
Anthony Strachan
Mrs Judy Lee
John Taberner & Grant Lang
Lorraine Logan
Leslie C. Thiess
Macquarie Group Foundation
Alden Toevs & Judi Wolf
David Maloney & Erin Flaherty
The Hon Malcolm Turnbull mp
Julianne Maxwell
EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation – Annamila Fund Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson The Belalberi Foundation Guido Belgiorno-Nettis am Luca Belgiorno-Nettis am Andre Biet Leigh & Christina Birtles Liz Cacciottolo & Walter Lewin Rod Cameron & Margaret Gibbs
& Ms Lucy Turnbull ao
Pam & Ian McDougall
David & Julia Turner
Brian & Helen McFadyen
E Xipell
P J Miller
Peter Yates am & Susan Yates
The Myer Foundation
Peter Young am & Susan Young
peckvonhartel architects
Anonymous (2)
Elizabeth Pender John Rickard
Mark Carnegie
DIRETTORE $5,000 – $9,999
Stephen & Jenny Charles
The Abercrombie Family Foundation
The Cooper Foundation
Geoff Ainsworth & Jo Featherstone
Rowena Danziger am & Ken Coles am
Geoff Alder
Irina Kuzminsky & Mark Delaney
Bill & Marissa Best
Ann Gamble Myer
Veronika & Joseph Butta
Daniel & Helen Gauchat
Elizabeth Chernov
Andrea Govaert & Wik Farwerck
Clockwork Theatre Inc
Dr Edward C. Gray
Victor & Chrissy Comino
Kimberley Holden
Leith & Darrel Conybeare
Angus & Sarah James
David Craig
PJ Jopling am qc
Liz Dibbs
Miss Nancy Kimpton
Ellis Family
Bruce & Jenny Lane
Bridget Faye am
MAESTRO $2,500 – $4,999
Prudence MacLeod
Ian & Caroline Frazer
Michael Ahrens
Anthony & Suzanne Maple-Brown
Chris & Tony Froggatt
David & Rae Allen
Alf Moufarrige
Kay Giorgetta
Ralph Ashton
34
Andrew Roberts Paul Schoff & Stephanie Smee Greg Shalit & Miriam Faine Jann Skinner Joyce Sproat & Janet Cooke Jon & Caro Stewart Mary-Anne Sutherland John Vallance & Sydney Grammar School Westpac Group Shemara Wikramanayake Cameron Williams Anonymous (8)
Will & Dorothy Bailey Charitable Gift
Annette Adair
Gail Harris
Doug & Alison Battersby
Lind Addy
Bettina Hemmes
The Beeren Foundation
Samantha & Aris Allegos
Michael Horsburgh am & Beverley Horsburgh
Berg Family Foundation
Jane Allen
Monique D’Arcy Irvine & Anthony Hourigan
Jenny Bryant
Matt Allen
Merilyn & David Howorth
Neil & Jane Burley
Lyn Baker & John Bevan
Penelope Hughes
Gilbert Burton
Adrienne Basser
Launa & Howard Inman
Kathryn Chiba
Barry Batson
Colin Isaac & Jenni Seton
Caroline & Robert Clemente
Ruth Bell
Phillip Isaacs oam
Alan Fraser Cooper
David & Anne Bolzonello
Will & Chrissie Jephcott
Robert & Jeanette Corney
Brian Bothwell
Brian Jones
Kate & Daryl Dixon
Michael & Tina Brand
Bronwen L Jones
Anne & Thomas Dowling
Vicki Brooke
Josephine Key & Ian Breden
Suellen & Ron Enestrom
Diana Brookes
In memory of Graham Lang
Euroz Securities Limited
Dr Catherine Brown-Watt psm
Airdrie Lloyd
Jane & Richard Freudenstein
Jasmine Brunner
Robin & Peter Lumley
John Gandel ao & Pauline Gandel
Sally Bufé
Diana Lungren
Megan Grace
Gerard Byrne & Donna O’Sullivan
Magellan Logistics Pty Ltd
Warren Green
Ivan Camens
Greg & Jan Marsh
Nereda Hanlon & Michael Hanlon am
Terry Campbell ao & Christine Campbell
Janet Matton
Ray Carless & Jill Keyte
Kevin & Deidre McCann
Roslyn Carter
Ian & Pam McGaw
Andrew Chamberlain
J A McKernan
Julia Champtaloup & Andrew Rothery
Diana McLaurin
Patrick Charles
Phil & Helen Meddings
Angela and John Compton
Roslyn Morgan
Laurie & Julie Ann Cox
Suzanne Morgan
Carol & Andrew Crawford
Glenn Murcutt ao
Judith Crompton
Baillieu Myer ac
J & P Curotta
Dennis & Fairlie Nassau
Ian Davis
Nola Nettheim
Michael & Wendy Davis
Anthony Niardone
Stephen Davis
Paul O’Donnell
Defiance Gallery
Ilse O’Reilly
Martin Dolan
James Ostroburski & Leo Ostroburski
Dr William F Downey
Anne & Christopher Page
Emeritus Professor Dexter Dunphy am
Prof David Penington ac
Leigh Emmett
G. V. Pincus
Peter Evans
Lady Primrose Potter ac
Julie Ewington
Beverley Price
Elizabeth Finnegan
Mark Renehan
Bill Fleming
Mrs Tiffany Rensen
Reg Hobbs & Louise Carbines Gavin & Christine Holman Simon & Katrina Holmes à Court Mark Johnson Ros Johnson John Karkar qc The Alexandra & Lloyd Martin Family Foundation Peter Mason am & Kate Mason Paul & Elizabeth McClintock Jane Morley Sandra & Michael Paul Endowment Patricia H Reid Endowment Pty Ltd Ralph & Ruth Renard The Sandgropers D N Sanders Jennifer Senior & Jenny McGee Petrina Slaytor John & Josephine Strutt Ralph Ward-Ambler am & Barbara Ward-Ambler Simon Whiston Anna & Mark Yates Anonymous (3)
Elizabeth Flynn
Dr S M Richards am & Mrs M R Richards
Don & Marie Forrest
Warwick & Jeanette Richmond
Anne & Justin Gardener
In memory of Andrew Richmond
VIRTUOSO $1,000 – $2,499
Kerry Gardner
Josephine Ridge
Jennifer Aaron
Matthew Gilmour
Roadshow Entertainment
AJ Ackermann
Colin Golvan qc
Em. Prof. A. W. Roberts am
Aberfoyle Partners
Fay Grear
J. Sanderson
Alceon Group
In memory of José Gutierrez
In memory of H. St. P. Scarlett 35
Lucille Seale
Stephen Chivers
Ms Sarah R Lambert
Gideon & Barbara Shaw
Olivier Chretien
Prof Kerry A Landman
Dr Margaret Sheridan
ClearFresh Water
Philip Lawe Davies
Diana & Brian Snape am
Paul Cochrane
TFW See & Lee Chartered Accountants
Maria Sola
Warren & Linda Coli
Wayne & Irene Lemish
Dr P & Mrs D Southwell-Keely
Sally Collier
David & Sandy Libling
Keith Spence
P. Cornwall & C. Rice
Dimitra Loupasakis
Ross Steele am
Annabel Crabb
Megan Lowe
Geoffrey Stirton & Patricia Lowe
Sam Crawford Architects
Dr & Mrs Donald Maxwell
Dr Charles Su & Dr Emily Lo
Marie Dalziel
H E McGlashan
Tamas & Joanna Szabo
Jill Davies
Suzanne Mellor
Victoria Taylor
Mari Davis
Tempe Merewether
Jane Tham & Philip Maxwell
Kath & Geoff Donohue
Cameron Moore & Cate Nagy
Robert & Kyrenia Thomas
In memory of Raymond Dudley
Simon Morris & Sonia Wechsler
Anne Tonkin
Margaret Dunstan
Elizabeth Manning Murphy
Matthew Toohey
M T & R L Elford
Dr G Nelson
Angus Trumble
Christine Evans
J Norman
Ngaire Turner
Penelope & Susan Field
Graham North
Kay Vernon
Jean Finnegan & Peter Kerr
Robin Offler
Rebecca & Neil Warburton
Michael Fogarty
Deborah Pearson
John Wardle
Brian Goddard
Robin Pease
Marion W Wells
Eddy Goldsmith & Jennifer Feller
Michael Peck
Gillian Woodhouse
George H. Golvan qc & Naomi Golvan
Kevin Phillips
Harley Wright & Alida Stanley
Arnoud Govaert
Bernard Hanlon & Rhana Pike
Don & Mary Ann Yeats am
Grandfather’s Axe
Rosie Pilat
William Yuille
Katrina Groshinski & John Lyons
Michael Power
Rebecca Zoppetti Laubi
Annette Gross
Beverly & Ian Pryer
Anonymous (20)
Lesley Harland
Angela Roberts
Alan Hauserman & Janet Nash
GM & BC Robins
Gaye Headlam
Robin Rowe
Mrs C A Allfrey
Kingsley Herbert
Mrs J Royle
Elsa Atkin am
Dr Penny Herbert in memory of
Garry Scarf & Morgie Blaxill
CONCERTINO $500 – $999
Rita Avdiev
Dunstan Herbert
Boris & Jane Schlensky
A. & M. Barnes
Lachie Hill
Tessa Barnett
Marian Hill
John C Sheahan qc
Robin Beech
Sue & David Hobbs
Andrew & Rhonda Shelton
Elizabeth Bolton
Geoff Hogbin
Sherborne Consulting
In memory of Peter Boros
Prof Angela Hull ao
Florine Simon
C Bower
Dr & Mrs Michael Hunter
Mary Stephen
Denise Braggett
Mary Ibrahim
Professor Fiona Stweart
Mrs Pat Burke
Dr Vernon & Mrs Margaret Ireland
Judy Ann Stewart
Hugh Burton-Taylor
Owen James
In memory of Dr Aubrey Sweet
Heather Carmody
Barry Johnson & Davina Johnson oam
Barbara Symons
J. M. Carvell
Caroline Jones
Gabrielle Tagg
Nada Chami
Mrs Angela Karpin
Arlene Tansey
Fred & Angela Chaney
Bruce & Natalie Kellett
David & Judy Taylor
Fred & Jody Chaney
Graham Kemp & Heather Nobbs
G C & R Weir
Dr Roger Chen
Jacqueline & Anthony Kerwick
Sally Willis
Colleen & Michael Chesterman
Karin Kobelentz & Miguel Wustermann
Brian Zulaikha
Richard & Elizabeth Chisholm
Wendy Kozica & David O’Callaghan qc
Anonymous (24)
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Berek Segan obe am & Marysia Segan
ACO CH A IR M A N’S COUNCIL The Chairman’s Council is a limited membership association which supports the ACO’s international touring program and enjoys private events in the company of Richard Tognetti and the Orchestra. Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra & Executive Director, Transfield Holdings Aurizon Holdings Limited Mr Philip Bacon am Director, Philip Bacon Galleries Mr David Baffsky ao Mr Marc Besen ac & Mrs Eva Besen ao Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Matt Byrne Director, ROVA Media Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Dr Bob Every ao Chairman, Wesfarmers Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel Network
Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel Mr Richard Freudenstein Chief Executive Officer, FOXTEL Ms Ann Gamble Myer Mr Daniel Gauchat Principal, The Adelante Group Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas Mr John Grill ao Chairman, WorleyParsons Mr Grant Harrod Chief Executive Officer, LJ Hooker Mr Richard Herring Chief Executive Officer, APN Outdoor Mrs Janet Holmes à Court ac
Ms Naomi Milgrom ao Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige Chief Executive Officer, Servcorp Ms Gretel Packer Mr Robert Peck am & Ms Yvonne von Hartel am peckvonhartel architects Mr Mark Robertson oam & Mrs Anne Robertson Ms Margie Seale & Mr David Hardy Mr Glen Sealey General Manager, Maserati Australia & New Zealand Mr Tony Shepherd ao Ms Anne Sullivan Chief Executive Officer, Georg Jensen
Mr Simon & Mrs Katrina Holmes à Court Observant
Mr Paul Sumner Chief Executive Officer, Mossgreen Pty Ltd
Mr John Kench Chairman, Johnson Winter & Slattery
Mr Mitsuyuki (Mike) Takada Managing Director & CEO, Mitsubishi Australia Ltd
Ms Catherine Livingstone ao Chairman, Telstra
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Mr Andrew Low
Mr David & Mrs Julia Turner
Mr David Mathlin
Ms Vanessa Wallace & Mr Alan Liddle
Ms Julianne Maxwell
Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
Mr Michael Maxwell Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank
Mr Peter Young am & Mrs Susan Young
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ACO GOV ER NMEN T PA R T NER S THE ACO THANKS ITS GOVERNMENT PARTNERS FOR THEIR GENEROUS SUPPORT
The ACO is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
The ACO is supported by the NSW Government through Arts NSW.
QUEENSLAND REGIONAL TOURING PARTNER
The ACO’s Queensland regional touring is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.
ACO COMMI T T EE S SYDNEY DEVELOPMENT COMMITTEE
MELBOURNE DEVELOPMENT COUNCIL
EVENT COMMITTEES
Heather Ridout ao (Chair) Director, Reserve Bank of Australia
Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
SYDNEY
Debbie Brady
Sandra Ferman
Paul Cochrane Investment Advisor, Bell Potter Securities
Fay Geddes
Ann Gamble-Myer
Lisa Kench
Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill Andrea Govaert John Kench Chairman, Johnson Winter & Slattery Jennie Orchard Tony O’Sullivan Peter Shorthouse UBS Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton
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Colin Golvan qc
John Taberner (Chair) Lillian Armitage Judy Anne Edwards
Julie Goudkamp Elizabeth Harbison Julianne Maxwell Elizabeth McDonald
Shelley Meagher Director, Do it on the Roof
Catherine Powell
James Ostroburski Director, Grimsey Wealth
Liz Williams
Joanna Szabo Simon Thornton Partner, McKinsey & Co.
Nicola Sinclair Lynne Testoni Judi Wolf BRISBANE Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer Cass George
DISABILITY ADVISORY COMMITTEE
Edward Gray
Amanda Tink Independent Consultant, Amanda Tink Consultancy
Wayne Kratzmann
Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
Marie-Lousie Theile
Helen McVay Shay O’Hara-Smith Beverley Trivett Bruce and Jocelyn Wolfe
ACO PA R T NER S WE THANK OUR PARTNERS FOR THEIR GENEROUS SUPPORT PRINCIPAL PARTNER
FOUNDING PARTNER
NATIONAL TOUR PARTNERS
FOUNDING PARTNER: ACO VIRTUAL
OFFICIAL PARTNERS
CONCERT AND SERIES PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
PERTH SERIES AND WA REGIONAL TOUR PARTNER
EVENT PARTNERS
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AC O NE W S ACO NE X T COCK TAIL PART Y On Tuesday, 13 October we were thrilled to hold our first special private performance for members of ACO Next, our new program especially geared for young philanthropists and music lovers. Forty guests were treated to an intimate performance by 11 ACO musicians, led by Richard Tognetti, in the home of ACO supporters Beau Neilson and Jeffrey Simpson. The music was intense and exhilarating, and included the second movement of Schubert’s Death and the Maiden as well as a very energetic set of excerpts from Project Rameau. Following the performance, guests remained to mingle with Richard and the musicians. PICTURED: BELOW: Monica Ion and Adrian Giuffre. BELOW RIGHT: Nicole Pedler and Este Darin-Cooper. BOTTOM: The ACO Photos by Fiora Sacco
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Our thanks to Beau and Jeffrey for so generously opening up their extraordinary home for such a wonderful event. ACO Next members directly support ACO Collective and our Emerging Artists’ Program. To find out more about joining, or to find out how to give a membership as a gift, please contact Ali Brosnan, Patrons Manager on 02 8274 3830 or ali.brosnan@aco.com.au
PICTURED: ABOVE: Todd Buscombe, Paris Neilson and Peter Wilson. RIGHT: Catherine Denney, Aaron Levine and Royston Lim. Photos by Fiora Sacco
PICTURED: LEFT: Philip Georgiou, Ian Belgiorno-Zegna, Beau Neilson and Richard Tognetti. Photo by Fiora Sacco
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AC O NE W S ACO AT EMANUEL SY NAGOGUE On Monday, 19 October 2015, the ACO performed at Emanuel Synagogue in Woollahra for the first time. Led by Ilya Isakovich, ACO violinist, talented young string players from Emanuel School played Bartók’s Romanian Folk Dances alongside ACO musicians at the start of the concert. Then Richard Tognetti ao took the stage, to lead a beautiful program featuring works by CPE Bach, Schubert and Tchaikovsky, finishing with a haunting rendition of Ravel’s Kaddish. The audience was thrilled to hear the Orchestra in such elegant, intimate surroundings and the applause was rapturous and prolonged. The ACO’s appearance was made possible through the generous support of Lead Patron: The Narev Family, Corporate Partners: Adina Apartment Hotels and Meriton Group and Patrons: David Gonski ac, Leslie and Ginny Green, The Sherman Foundation and Justin Phillips and Louise Thurgood-Phillips. At David Gonski’s particular request, the concert was dedicated to the wonderful work of Rabbi Kamins over more than 27 years and Rabbi Ninio for more than 17 years, both for the Synagogue and the broader community. All ticket income from the concert went to Emanuel Synagogue, for its far-reaching community programs. We thank our Patrons and the Synagogue most warmly for their generous support of the first of what we hope will be many concerts in the years to come – we are already working on a date for 2016!
PICTURED: ABOVE TOP LEFT: Allan Vidor. ABOVE TOP RIGHT: Rabbi Jacqueline Ninio. ABOVE MIDDLE: Louise Thurgood-Phillips, Kate Abrahams, Kate Narev. ABOVE: Jessica Block, David Gonski ac, Prof. Gus Lehrer, Richard Tognetti ao. RIGHT: Ilya Isakovich and students from Emanuel School. Photos by David Gross
PICTURED: ABOVE: Rabbi Jeffrey Kamins and Richard Tognetti ao. RIGHT: Richard Tognetti and the ACO. Photos by David Gross 42
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SUPPORT OUR FUTURE INSPIRE THE NE X T
Another new work which attracted wonderful audience reactions all over the country was Brenton Broadstock’s evocative Never Truly Lost, which was fittingly commissioned by Rob and Nancy Pallin in memory of Rob’s father, the legendary adventurer Paddy Pallin and received its premiere in the Mozart Clarinet Concerto program. Within the Orchestra, we warmly welcomed our newest recruit, the Romanian violist Alexandru-Mihai Bota. Sascha has quickly become one of the Orchestra’s most recognisable personalities. We also welcomed the ACO’s oldest member – an astonishingly wonderful double bass made by Gasparo da Salò in the 1590s, on loan to the ACO from one of our most generous and enlightened benefactors. The double bass joins a growing family of extraordinary instruments which are played by our musicians thanks to wonderful individuals, such as Peter Weiss, visionary sponsors, like the Commonwealth Bank, and the ACO Instrument Fund.
GENER ATION OF MUSICIANS
Playing a major part in the development of the next generation of Australian string players has been an increasing role for us all in the ACO, and in 2013 our emerging artists and regional touring ensemble AcO2 came of age, undertaking a full, 12-concert national tour of all major concert halls as part of our 2013 national concert season. It was exciting for me to lead this group of fine young musicians, and immensely reassuring to know that the country’s musical future is in such talented hands. My colleagues in the Orchestra rose to the challenge of every program, tour, premiere and collaboration with their signature commitment and exceptional artistry, and I am deeply grateful to all of them for making the life of this Artistic Director musically rewarding. theEducation ACO We celebrate theso 10th anniversary of our While National remains an evenly matched ensemble of musicians, I cannot Program this year and are committed to providing immersive sign off 2013 without thanking some specific individuals music education opportunities for children and young who showed special in 2013, our two musicians across theleadership country. Thanks to especially you, our supporters, Principal Violins Helena Rathbone and Satu Vänskä who we are nurturing the future of Australian music. led full national tours, Aiko Goto who brought her tireless and energy to our newly formed orchestra Itspirit is my vision to continue delivering andyouth expanding our – the ACO Academy, and to Timo-Veikko Valve who curated an important programs, introducing more young people to the intimate series ofof chamber joys and benefits music. concerts in Pier 2/3 at Walsh Bay.
Please join us by supporting our National Education Program.
Richard Tognetti AO RICHARD TOGNETTI ao Artistic Director Artistic Director
To donate please visit ACO.COM.AU/SUPPORT/DONATE For more information please phone Ali Brosnan on (02) 8274 3830 or email patrons@aco.com.au 5
Image: Students and ACO musicians participating in a workshop at Sunshine Harvester School, presented in partnership with the Australian Children’s Music Foundation. Image © Lee Te Hira