#ACO15 Reflections on Gallipoli by Australian Chamber Orchestra

REFLECTIONS ON GALLIPOLI

NATIONAL TOUR PARTNER

American violin virtuoso Stefan Jackiw takes on Mendelssohn’s beautiful violin concerto, in an intimate arrangement for string orchestra.

MENDELSSOHN Violin Concerto in E minor MENDELSSOHN String Symphony No.9 BOTTESINI Gran Duo Concertante for Double Bass and Violin WOLF Italian Serenade STEFAN JACKIW Violin SATU VÄNSKÄ Lead Violin MAXIME BIBEAU Double Bass

14 – 25 MAY CANBERRA, MELBOURNE, NEWCASTLE, SYDNEY

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Satu V채nsk채, Principal Violin

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N ATI O N A L TO U R PA RTN E R

As one of the world’s leading oil and gas companies, Total appreciates that technical excellence, hard work, creativity and innovation are important drivers of success. When looking to form a flagship arts partnership in Australia, it was just these attributes that attracted Total to the Australian Chamber Orchestra and its unique and exceptional musical performances. For the third year, Total will be a National Tour Partner of the ACO, supporting the Reflections on Gallipoli tour. With its proud French heritage, Total is especially pleased to support a performance commemorating the important battle of Gallipoli in World War I, a war where Australian and French soldiers often fought side by side. Today, Australia is a key country for Total out of global operations which span 130 countries and include 100,000 employees. Here we are an active participant in Australia’s oil and gas industry, investing many billions as a major partner in two LNG projects currently under construction, and participating in both offshore and onshore exploration. With Total committed to Australia long term, we hope to continue to make a positive contribution to Australia’s economy and to support exciting artistic endeavours like the ACO for as many as possible to experience. I very much hope you enjoy tonight’s performance.

David Mendelson Managing Director Total Exploration & Production Australia

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E N G AG E WITH U S

SOCIALLY We’d love to hear from you – join the conversation on Facebook, Twitter and Instagram, and stay up to date on all things ACO. Don’t forget the hashtag #ACO15. @a_c_o facebook.com/AustralianChamberOrchestra @AustChamberOrchestra LOOK Watch us Live in the Studio, go behind-the-scenes and find out more about our program on YouTube. youtube.com/AustralianCO LISTEN Tune in to an ACO Session on Spotify or hear concert tasters and playlists. aco.com.au/Spotify RADIO ACO Concerts are regularly broadcast on ABC Classic FM. Andreas Scholl Sings Vivaldi Fri 3 Apr, 10pm COMPETITION #MY4SEASONS The changing seasons inspired Vivaldi to compose his most colourful work – The Four Seasons. To celebrate the ACO’s birthday and the Australian odyssey that is our production of this much-loved masterpiece, we’re offering you the chance to win a special Four Seasons prize pack. Visit aco.com.au/instacomp for the details.

M E S SAG E F RO M TH E G E N E R A L M A N AG E R

After the exuberance of Vivaldi’s Four Seasons, which opened the Australian Chamber Orchestra’s year in February, it would be difficult to imagine a greater contrast to the profound contemplation of Reflections on Gallipoli. This program has been taking shape in the ACO Studio over the last 12 months, with creative partners Neil Armfield, Nigel Jamieson, Carl Vine, Sean Bacon and Richard Tognetti developing the themes and ideas which will be unveiled in this series of performances around the country in the weeks leading up to the centenary of Anzac Day. We are especially grateful to the Australian War Memorial in Canberra for enabling us to project more than 150 historical images from the War Memorial’s immense collection, bringing striking actuality to the words and music you will hear on stage. The ACO is always proud of its unique ability to perform throughout the year in all of the country’s major cities, but we are very much indebted to our National Tour Partner Total for making it possible to bring this historically and culturally significant program to audiences in Adelaide, Brisbane, Canberra, Melbourne, Perth and Sydney. The Anzac theme continues in the ACO’s musical program in April. During the ACO’s 2015 US tour, the Orchestra has been invited by the Commonwealth Bank of Australia to perform a special private Anzac Day concert, co-hosted by the Australian Consul-General in New York, Nick Minchin. This special event takes place the night before the ACO’s Carnegie Hall concert on 26 April, which is the final concert of the tour. Our soloist throughout the tour is the brilliant Swedish clarinettist Martin Fröst and the repertoire includes the US premiere performances of Jonny Greenwood’s Water, which was written specially for Richard and the Orchestra.

Timothy Calnin General Manager

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ACO WH AT ’ S O N

EMERGING ARTISTS APPLICATIONS Applications close 5pm Friday 24 April The ACO’s Emerging Artists’ Program provides talented young Australian string players with the opportunity to be mentored by members of the ACO. Applications are open to string players with extensive performance experience, who are aged 18–27 years. aco.com.au/emerging_artists

USA TOUR 10–26 April 2015 The ACO heads back to the United States in April, joining up with much-loved collaborator Martin Fröst for an extensive tour – which features the US premiere of Jonny Greenwood’s Water – that will conclude with a performance at Carnegie Hall. aco.com.au/international

MOSTLY MENDELSSOHN 14–25 May 2015 YouTube Symphony Orchestra sensation Stefan Jackiw takes the solo role in Mendelssohn’s beautiful violin concerto, in an intimate arrangement for string orchestra. aco.com.au/mendelssohn

AROUND THE WORLD WITH BENJAMIN SCHMID & AcO 2 14–29 May 2015 Embracing much-loved works in the string repertoire, Around the World takes the audience on a journey through America, Russia and Germany, culminating in a voyage from Salzburg to Barcelona, Paris and Maputo with Berger’s Metropoles Suite for Violin and Strings. aco.com.au/aroundtheworld

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R E F L E CT I O N S O N G A LLI P O LI Richard Tognetti Artistic Director & Violin Neil Armfield Director Nigel Jamieson Deviser Taryn Fiebig Soprano Yalin Ozucelik Actor Nathaniel Dean Actor Sean Bacon Video Designer Matt Cox Lighting Designer BARTÓK (arr. strings) String Quartet No.2: II. Allegro molto capriccioso KELLY Elegy for strings ‘In Memoriam Rupert Brooke’ SARISÖZEN (arr. Meurant) Çanakkale Türküsü VINE Soliloquy world premiere TRADITIONAL (arr. Meurant) Ceddin Deden ELGAR Sospiri, Op.70 INTERVAL KODALLI Adagio for String Orchestra MEHVEŞ HANIM (arr. Meurant) Kaçsam Bırakıp Senden Uzak Yollara Gitsem TRADITIONAL (arr. Meurant) Nihavend Longa VINE Our Sons world premiere VAUGHAN WILLIAMS The Lark Ascending Additional music by Carl Vine. Reflections on Gallipoli is supported by Warwick & Ann Johnson Connie & Craig Kimberley

The ACO is providing audio description for the concert at the Sydney Opera House on Sunday 15 March. Audio description is a live, oral commentary of the visual elements of the concert, delivered to audience members who are blind or have a vision-impairment.

Approximate durations (minutes): 7 – 8 – 4 – 3 – 4 – 6 – INTERVAL – 7 – 5 – 2 – 13 – 16 The concert will last approximately two hours, including a 20-minute interval.

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WH AT YO U A R E A BO U T TO H E A R . . .

Even though he wasn’t a musician himself, Mustafa Kemal, known as Atatürk (Father of the Turks), remains the towering figure in this concert of reflections on the Gallipoli campaign of 1915. As a fearless Commander of the Turkish 19th Division, Atatürk himself served at Gallipoli in opposition to the initial Australian and New Zealand landing in April, and later commanded all Turkish forces in the combat zone between Chunuk Bair and Suvla Bay. But it was after the War, and the 1923 Declaration of the Republic of Turkey, that Atatürk, as the founding President of the nation, made a remarkable contribution to the arts, which still resonates throughout the Turkish, English, Australian and Hungarian music in this multimedia concert.

LEFT: The bodies of dead Turks at Chessboard. Australian War Memorial P02649.027 MIDDLE: In the trenches. State Library of South Australia B45342/50 RIGHT: Turkish soldiers in a covered shelter at Kanle Sirt. Australian War Memorial A02599

Setting out to modernise Turkey, Atatürk believed that ‘A nation, when deprived of art and artists, cannot have a complete life’. To that end, he sponsored five composers (‘The Turkish Five’) to study composition with Béla Bartók, thus beginning a new tradition of Turkish composers assimilating European influences while creating music of a distinctly Turkish national character. And in works like the glorious Adagio by Paris-trained, Ankara-based Nevit Kodallı, he has broken down the musical distinction between East and West. Atatürk couldn’t have chosen a better mentor for composers brought up with largely homophonic music typified by the patriotic songs Çanakkale Türküsü and Ceddin Deden. Bartók’s fascination with, and prodigious knowledge of, the traditional music of peoples of the so-called ‘Near East’ and North Africa – encountered first-hand during frequent folksong-collecting expeditions – informed his own music, including the wartime Second String Quartet.

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“AFTER HAVING LOST THEIR LIVES ON THIS LAND THEY HAVE BECOME OUR SONS AS WELL .” M USTAFA KE MAL ATATÜ RK

LEFT: Graves in the Christian cemetery at Belemedick, Turkey. Australian War Memorial P01645.002 MIDDLE: Gallipoli Peninsula, Turkey, 22 May 1915. The Turkish envoy who brought the request, for an armistice to enable the Turks to bury their dead. Australian War Memorial G00988 RIGHT: Trench warfare at Gallipoli. State Library of South Australia B17738/7

For Australians of the Gallipoli generation, though, the artistic models were always English. Edward Elgar’s Sospiri and Ralph Vaughan Williams’ The Lark Ascending were both conceived in the shadows of the First World War. The lament Sospiri was premiered just 11 days after the War’s onset, while Vaughan Williams’ most popular work was drafted just before its composer saw active service in the Ambulance Corps on the Western Front, and was only completed postWar when its radiant innocence now sounded like a lament for a pastoral world destroyed by rampant militarism. Meanwhile, for Australians, the First World War represented a defining moment in our cultural history, when, in the words of war historian CEW Bean, ‘the men went into it absolutely raw, most of them, and 24 hours later they were veterans.’ One of them was the composer Frederick Septimus Kelly, who, in transit to Gallipoli lost his best friend, the poet Rupert Brooke, to septicemia and began composing his Elegy immediately, on 23 April 1915, just two days before the landing. The suffering that followed, with nearly 9,000 Australian deaths, remains raw to this day, but Atatürk’s words in 1934 provided both comfort to the bereaved, and also the text for Carl Vine’s new ACO commission, Our Sons: After having lost their lives on this land they have become our sons as well. As Richard Tognetti has said, ‘Even if it were only a celebration of Atatürk, Reflections on Gallipoli would still be a worthy concert.’ But with its staging by Nigel Jamieson and Neil Armfield, with incidental music by Carl Vine, and with its overriding theme of reconciliation, Reflections on Gallipoli is so much more than that. Martin Buzacott © 2015 AUSTR ALIAN CHAM B ER ORCH ESTR A

A BO U T TH E M U S I C

BÉLA BARTÓK Born Nagyszentmiklós, Hungary 1881. Died New York 1945. String Quartet No.2 (Composed 1915–17) II: Allegro molto capriccioso

PICTURED: Béla Bartók, 1915

Like Vaughan Williams in England, Béla Bartók was an inveterate folksong collector who spent much of the pre-War years ‘in the field’, recording and cataloguing the music not just of his native Hungary, but also of Bulgaria, Transylvania and even North Africa. But unlike his English counterpart, Bartók’s folksong-collecting activities were actually boosted rather than curtailed by the First World War. Deemed unfit for service, he and his composer-colleague Zoltán Kodály were engaged by the Hungarian government to tour the military camps to collect the folk music of the soldiers, and it was while engaged in this activity that Bartók set to work on his wartime String Quartet No.2. It was to become a veritable mélange of ethnomusicological influences, perhaps the most significant of which was not Hungarian, but the music of the Arab world. Bartók’s fascination with Levantine music was career-long, his first research visit to the region occurring when he toured the Biskra province of present-day Algeria in 1913 and continuing right through until his attendance at the Cairo Conference of Arab Folk Music in 1932. His understanding and assimilation of the vastly different modes and scales of this music from the Arabic and African people shaped his

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own style as a composer, placing so much of his music not just outside the major-minor scales of the Western tradition, but also into a sound world that bore little relationship with that of the Second Viennese School either. He thus became, perhaps, the first ‘world musician’ among Western classical composers. And the evidence is there in the second (middle) movement of his Second String Quartet. Bartók himself described the Quartet as containing ‘life episodes’ of which the first movement represents ‘peaceful life’ and the third ‘suffering’. But for the middle movement, he chose the theme of ‘barbarism’ – how could he not, given the circumstances surrounding its composition! In it, the polyglot musical influences are obvious, the distinctive Hungarian rhythms of course, but also the melodic and harmonic twists of North Africa. Bartók called this second movement ‘a kind of rondo, with a developmental section in the middle’, but there the Western terminology reaches its limit. Listen to the scurrying main theme, for instance, where the final phrases of each musical line inevitably twist into the more fluid melodic patterns of North African modes (in particular, musicologists have likened it to Berber music). Its frantic pace is unrelenting, a couple of ‘tranquillo’ moments notwithstanding, and just for good measure at the end, it demands a prestissimo tempo played pianissimo with mutes – a technical challenge that elite musicians of any nationality might fear!

FREDERICK SEPTIMUS KELLY Born Sydney 1881. Died Beaucourt-sur-Ancre 1916. Elegy for strings ‘In Memoriam Rupert Brooke’ (Composed 1915) Frederick Septimus Kelly was born in Sydney, Australia, into a well-to-do family, but moved to England when he was just 12. A natural sportsman, and especially oarsman, he won a Gold Medal for England in rowing at the 1908 London Olympics. Along with his close friends, the poet Rupert Brooke and the critic and composer William Denis Browne, at the outbreak of the War he enlisted in the Royal Naval Volunteer Reserve which soon led to active service in the Royal Naval Division. Adapting well to military service, Kelly was destined to win the DSC (Distinguished Service Cross) ‘for conspicuous gallantry’ and was promoted to the rank of LieutenantCommander. On 20 April 1915, the three friends Kelly, Brooke and Browne set out for Gallipoli, aboard the SS Grantully Castle. AUSTR ALIAN CHAM B ER ORCH ESTR A

But before reaching their destination, off the Greek Island of Skyros, it became apparent that 27-year-old Brooke was gravely ill with septicemia, caused by complications from a mosquito bite. Described by WB Yeats as ‘the handsomest young man in England’, Brooke died on board a French hospital ship on 23 April. How significant his most famous lines then seemed: If I should die, think only this of me; That there’s some corner of a foreign field That is forever England.

PICTURED: Frederick Septimus Kelly

That foreign field took the form of a rocky outcrop on Skyros, his close friends Browne and Frederick Septimus Kelly remaining behind after the formal burial to cover the grave with stones and to pay their own private, silent farewells, Kelly later writing in his diary: ‘The body lies looking down the valley towards the harbour and, from behind, an olive tree bends itself over the grave as though sheltering it from the sun and rain. No more fitting resting place for a poet could be found than this small grove, and it seems as though the gods had jealously snatched him away to enrich this scented island.’ Devastated by Brooke’s loss, Kelly immediately began to sketch his Elegy, ‘In Memoriam Rupert Brooke’, continuing to work on it while at Gallipoli itself and also when recuperating in hospital at Alexandria in Egypt, after being wounded twice in combat. The modal tinges of the music refer not just to the Greek location of the grave, but also to Brooke’s own fascination with classicism, while the oscillating passagework from the violins suggests the wind rustling through the leaves of the olive tree bending over the grave. Kelly eventually survived Gallipoli and in fact was one of the last officers to leave during the Evacuation of December 1915, but the following year he was killed in action during the final days of the Battle of the Somme.

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ÇANAKKALE TÜRKÜSÜ Muzaffer Sarısözen CEDDIN DEDEN Traditional KAÇSAM BIRAKIP SENDEN UZAK YOLLARA GITSEM Mehveș Hanım NIHAVEND LONGA Traditional Arranged by Cyrus Meurant Traditional and folk music played a vital role on both sides of the Gallipoli campaign, the soldiers in the trenches often going into battle after patriotic songs had reignited faltering courage, or falling into fitful sleep with the sound of the opposition’s traditional laments wafting into their ears. For the Turkish troops, Çanakkale Türküsü became particularly associated with the Gallipoli campaign, its refrain of ‘Oh, my youth, alas’ resonating with the experience of all those young soldiers marching off into battle. The town of Çanakkale itself is a seaport on the southern coast of the Dardenelles and like Istanbul it straddles two continents. Shrouded in classical legends, it’s where the love-story of Hero and Leander is said to have played out, and it’s also near Troy. But for Turkey itself, the entire Gallipoli campaign was known as the Battle of Çanakkale, and the song expresses the horror of the dying and wounded and those they left behind, ending with a lament for the ‘brave lions’ now resting beneath the willows. Ceddin Deden (Your ancestors, your grandfathers) is a patriotic Turkish song celebrating the military heroes of the nation and the current Turkish forces who are ‘renowned all over the world’. With its references to the Ottoman conquest of Constantinople in 1453 and usually played by immaculately-dressed military bands, it was sung by the Turkish troops to fire themselves up before, and even during, battle on Gallipoli. Its raw and stirring emotion is palpable, its simple rhythm and homophonic refrain suitable for chanting by troops as they confront the enemy in combat. Kaçsam Bırakıp Senden Uzak Yollara Gitsem (If I left you and ran away on far away roads) is a beautiful lament, much favoured by contemporary Turkish popular singers. Centred on the immortal themes of love and loss, its lovely melody has a universal appeal – some have even commented that it has a Russian flavour! The ‘makham nihavent’ is the Turkish equivalent of the Western minor-key scale, an East-West musical form if ever there was one, its hybrid character having emerged in Thrace which is in the European part of Turkey bordering Bulgaria and Greece. Much-loved by oud players, but also popular in countless other instrumental arrangements, Nihavend Longa is a fast instrumental dance in 2/4 time.

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EDWARD ELGAR Born Broadheath 1857. Died Worcester 1934. Sospiri, Op.70 (Composed 1913–14)

PICTURED: Edward Elgar

No one expected the First World War to happen (hence the title of Christopher Clark’s definitive history, ‘The Sleepwalkers’) but in hindsight, the instincts of composers seem eerie. Gustav Holst’s ‘Mars’ from The Planets, written in the pre-War summer of 1914, seems in retrospect to be militarism captured in music. George Butterworth seemed prescient too in his choice of an AE Housman poem to set to music in 1913, for he himself would become one of those described therein: And then one could talk with them friendly and wish them farewell And watch them depart on the way that they will not return … They carry back bright to the coiner the mintage of man, The lads that will die in their glory and never be old. But in his miniature tone poem Sospiri, Op.70, Elgar too seemed to have a premonition that something unprecedented was about to happen. Originally conceived under the working title Soupir d’Amour (Sigh of Love), it was intended as a kind of sentimental companion-piece to his earliest ‘hit’, Salut d’Amour, scored for just violin and piano and serving the needs of amateur salon-musicians throughout the Continent. But as he worked on it during the first part of 1914, a deeper, more intense mood began to take over, in excess of Elgar’s trademark nostalgia and wistfulness. In acknowledgment of its deepening substance, he changed his title from French to Italian, retaining the concept of a musical ‘sigh’ but now calling it Sospiri and turning it into a work for string orchestra with harp and organ.

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Slow throughout, and deeply melancholy in its mood, it became the first work by a significant composer to be premiered following the declaration of War, its first performance in London’s Queens Hall occurring just 11 days after the fateful announcement of 4 August. Its dedicatee WH (Billy) Reed was soloist with Sir Henry Wood conducting, while already, outside, the recruiting offices were in overdrive, Sospiri’s subdued, elegiac mood matching that of a British community about to experience a 90% casualty rate among its first 100,000 soldiers deployed to the War. Later in the War, Elgar wrote to a friend: ‘Everything good & nice & clean & fresh & sweet is far away – never to return.’ Sospiri was the first inkling of that feeling, making it a small but significant transition-point between the gentle regret in the pre-War Violin Concerto and the flagrant sense of loss in the post-War Cello Concerto.

NEVIT KODALLI Born Mersin 1924. Died Mersin 2009. Adagio for String Orchestra (Composed 1966) When Nevit Kodallı died from a heart attack in 2009, the 85 year-old was mourned not just in his native Turkey where he was revered as one of the most important inheritors of the legacy of the ‘Turkish Five’, but also in Paris where he’d trained as a student of Honegger and Nadia Boulanger. Having spent much of his career teaching at the Ankara State Conservatory, his catalogue of works reflects his bicultural identity, his Atatürk Oratorio and Republic Cantata being among the 20th century’s most important Turkish works, while his opera Van Gogh and much of his orchestral and chamber music, including his Adagio for String Orchestra, take their rightful place squarely in the grand Western tradition. Subdued and profound, occasionally tinged with dissonance but with a soaring melodic line nonetheless, the Adagio is a brief, exquisite lament. Like similarly titled works by his Hungarian near-namesake Zoltán Kodály and also Samuel Barber, Kodallı’s Adagio reflects the sense of grief and loss of all who have suffered in war and all who mourn the 20th century’s passing parade of generations thrust unavoidably into conflict. Its striking middle section comes like a momentary cry of anguish, before settling back into its prevailing mood of quiet and dignified regret, its haunting and beautiful conclusion tapering off into the nothingness of oblivion.

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CARL VINE Born Perth 1954. Our Sons Soliloquy (Composed 2015)

PICTURED: Carl Vine Photo by Keith Saunders

The leading Australian composer of his generation, Carl Vine’s symphonies, concertos and chamber music have achieved international acclaim. But it was as a composer of prodigiously imaginative scores for dance that he first made his name in the late 1970s. He is Artistic Director of Musica Viva Australia and the Huntington Estate Music Festival and now lectures in composition at the Sydney Conservatorium of Music. Of Our Sons, he writes: ‘There is no good in any war, but the ground attack by Britain and its allies against the Ottoman Empire at Gallipoli in April 1915, causing the death of 8,709 Australians and 2,721 New Zealanders, achieved a new level of grotesque pointlessness in warfare. ‘The meek compliance of Australia’s colonial high command to the often ill-advised commands of their British superiors ensured the demise of every second troop they sent to the battleﬁeld. It is hard to generate pride in Australia’s contribution to this horriﬁc military failure. ‘Mustafa Kemal Atatürk was a Lieutenant defending his homeland against the Anzacs invading the Dardanelles, and troops under his direct command must have killed hundreds of my countrymen. After the war he quickly rose to political prominence, and was bestowed his unique surname (“Father of the Turks”) by the parliament of the new Turkish nation that he helped forge and over which he presided. His epitaph on the Turkish Memorial at ANZAC Cove, Gallipoli, is addressed directly to the mothers of the fallen Anzacs, and resonates with a level of compassion and generosity that should shame the allied commanders whom he defeated in battle. ‘It ends with the words: “After having lost their lives on this land they have become our sons as well”. The voice in my setting

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PICTURED: Inscription on the Turkish Memorial at ANZAC Cove, Gallipoli (1934)

of this text embodies the spirit of bereaved Anzac mothers, trying to make sense of their atrocious loss, seeking solace in the thoughtful words of one of those responsible for the killing. But no number of words can raise the dead, no amount of kindness can heal their wounds, and there is never redemption in bloodshed. When the war is over there is little left but loss.’ Carl Vine, January 2015 Those heroes who shed their blood and lost their lives … you are now lying in the soil of a friendly country. Therefore rest in peace. There is no difference between the Johnnies and Mehmets to us where they lie side by side here in this country of ours … You, the mothers, who sent their sons from far away countries wipe away your tears. Your sons are now lying in our bosom and are in peace. After having lost their lives on this land they have become our sons as well. Mustafa Kemal Atatürk (1881–1938) Of Soliloquy, Carl Vine writes: ‘Soliloquy was written in direct response to the horrific narratives from Anzac troops in the frontline trenches at Gallipoli, compiled for this concert. It reflects in turn the personal horror, disbelief, anguish and anger evoked by such stark depictions of pointless human suffering, inflicted by countries who consider themselves civilised, upon their own citizens. Words fail me.’

RALPH VAUGHAN WILLIAMS Born Down Ampney 1872. Died London 1958. The Lark Ascending (Composed 1914, revised 1920) The European summer of 1914 was the most beautiful in living memory, the Continent bathed in sunshine and warmth, the Belle Epoque at its height, unprecedented wealth and prosperity. AUSTR ALIAN CHAM B ER ORCH ESTR A

The Lark Ascending, composed by Vaughan Williams in 1914, captured the spirit of the times. A rhapsody for violin and orchestra conceived while the composer was visiting the pretty Tillingbourne Valley in Surrey, it’s based on a poem by George Meredith: He rises and begins to sound, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake … And ever winging up and up, Our valley is his golden cup And he the wine which overflows To lift us with him as he goes Up and up, the ascent heavenwards, the cup of wine in hand. How quickly this pastoral vision of freedom and careless consumption was to be reversed, and what a different world it would be by the time Vaughan Williams came to revise The Lark Ascending for its eventual premiere in 1920! Along with his younger colleague George Butterworth and the musicologist Cecil Sharp, Vaughan Williams had spent much of that idyllic early summer of 1914 in the English countryside collecting folksongs, its influence plainly heard in the pentatonic character of much of The Lark Ascending’s musical content. But then at the end of June that year, on the fringes of the Continent, two shots rang out, and Europe was plunged into cataclysm. Within weeks of the assassination of Archduke Franz Ferdinand in Sarajevo, events escalated into a War that was unprecedented in its scale and ferocity. The halcyon days captured within The Lark Ascending were over forever, and the manuscript, now in first draft form, was set aside as Vaughan Williams, like so many other British composers, enlisted and went to France, in his case serving as a wagon-orderly transporting the dead and dying from the Front in the bloodbath surroundings of Vimy Ridge. When he returned from the War and revised The Lark Ascending, the creative mood of both Vaughan Williams himself, and of course the European world at large, was now unrecognisable from the one in which the ecstatic roulades of the work’s solo violin part had captured the prevailing zeitgeist. Now, at its premiere by Marie Hall, accompanied only by piano, in late 1920, and then six months later in its now-standard orchestral version, it was heard not as a vision of innocence and elation, but as a lament for all that had been lost in the war to end all wars. Martin Buzacott © 2015

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FA I R E N E M I E S

Actual quotes from those in the trenches at Gallipoli ‘We regarded them as a fair enemy. I had no ill-feelings about them. None of us had. We were fighting them but there was no hate about it, not with any of us.’ Basil Holmes (Captain, 17th Battalion, 5th Brigade, 2nd Division, AIF) ‘When the Armistice was on, I guarantee if there was a pub there we would have been drinking with them.’ Frank Parker (52nd Infantry, 5th Infantry Battalion, D Company)

LEFT: A Turkish officer, Major Kemal Ohri, being led blindfolded on a horse after the Turkish counter attack of 19 May 1915, to negotiate an armistice. Australian War Memorial A00836 RIGHT: A trench at Lone Pine after the battle, showing Australian and Turkish dead on the parapet. Australian War Memorial A02025

‘We used to throw tins of bully beef over to them … and they threw us Turkish cigarettes which we very much appreciated, and things got very friendly … We considered the Turkish soldier a very brave man and a brave fighter.’ Harry Benson (5th AIF Ambulance) ‘Those who sacrificed themselves for the fate of their countries were admired by each other for their heroic and humanitarian action on both sides.’ Rustu Erdelhun (General, 2nd Army Turkish Land Forces, Caucasus Front) ‘They respected the Australian soldier. They never committed any atrocity or anything like that … And that’s how Johnny Turk happened to be christened Johnny Turk: it’s more a compliment than anything else in saying it that way.’ Jack Nicholson (1st Infantry Battalion) [Excerpted from Anzac Stories, CD available on ABC Classics, 2 April. Interviews drawn from ABC Audio Archives.]

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RICHARD TOG N ET TI – D I R E CTO R & V I O L I N

“Richard Tognetti is one of the most characterful, incisive and impassioned violinists to be heard today.” THE DAILY TELEGRAPH (UK) 2015 marks the 25th year of Richard Tognetti’s artistic directorship of the Australian Chamber Orchestra. Born and raised in Wollongong NSW, Richard has established an international reputation for his compelling performances and artistic individualism.

Photo by Jack Saltmiras

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 Bach releases available as a 5CD Box set: ABC Classics 476 6168)

VIVALDI The Four Seasons BIS SACD-2103

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

He began his studies in his home town with William Primrose, then with Alice Waten at the Sydney Conservatorium, and Igor Ozim at the Bern Conservatory, where he was awarded the Tschumi Prize as the top graduate soloist in 1989. Later that year he led several performances of the Australian Chamber Orchestra, and that November was appointed as the Orchestra’s lead violin and, subsequently, Artistic Director. He is also Artistic Director of the Festival Maribor in Slovenia. Richard performs on period, modern and electric instruments and 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 Orchestra of the Age of Enlightenment, the Academy of Ancient Music, Slovene Philharmonic Orchestra, Handel & Haydn Society (Boston), Hong Kong Philharmonic, Camerata Salzburg, Tapiola Sinfonietta, Irish Chamber Orchestra, Orchestre Philharmonique du Luxembourg, Nordic Chamber Orchestra and all of the Australian symphony orchestras. Richard was co-composer of the score for Peter Weir’s Master and Commander: The Far Side of the World, starring Russell Crowe; he co-composed the soundtrack to Tom Carroll’s surf film Horrorscopes; and created The Red Tree, inspired by Shaun Tan’s book. He co-created and starred in the 2008 documentary film Musica Surfica. Most recently, he provided additional music for The Water Diviner, Russell Crowe’s directorial debut. Richard 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. He has given more than 2500 performances with the Australian Chamber Orchestra.

AUSTR ALIAN CHAM B ER ORCH ESTR A

N E I L A R M F I E L D – D I R E CTO R

Photo by Heidrun Löhr

Neil Armfield is a leading Australian director of theatre, opera and film. He was co-founder of Sydney’s Belvoir Theatre and its Artistic Director for 17 years, during which time he directed over 50 productions, with a particular focus on new and Indigenous writing, the plays of Shakespeare and Jonson, Chekhov and Gogol, Patrick White and David Hare. Notable productions include Cloudstreet (toured to London twice, Dublin, Zurich, New York), Hamlet (toured Australia starring Richard Roxburgh), Diary of a Madman (with Geoffrey Rush, toured to Moscow, St Petersburg, New York), Exit the King (Sydney and Broadway, winning Geoffrey Rush a Tony), The Book of Everything (toured to New York), The Judas Kiss (toured Australia starring Bille Brown in 1999 and in 2012 with Rupert Everett) and The Secret River, adapted for theatre by Andrew Bovell. Neil has directed for English National Opera, Royal Opera House Covent Garden, Chicago Lyric Opera, Zurich Opera, Bregenz Festival, and regularly with Opera Australia, Canadian Opera, Welsh National Opera, and Houston Grand Opera. He has directed new operas Frankie and The Eighth Wonder by Alan John, Love Burns by Graeme Koehne and Bliss by Brett Dean, as well as operas by such composers as Mozart, Strauss, Janáček and Britten. Last year he directed Wagner’s Ring Cycle in Melbourne and Tristan und Isolde in Washington. Neil directed the multi award-winning television miniseries Eden’s Lost for the ABC in 1988, and The Fisherman’s Wake and Coral Island, both for the ABC in 1996 and both winners of many awards. In 2005 he directed and co-wrote the feature film Candy, starring Heath Ledger and Abbie Cornish, which screened in competition at the Berlinale, and played 20 other international festivals. He won Best Adapted Screenplay at the AFI Awards and an AWGIE for Best Screenplay. Neil is in pre-production on his second feature film Holding the Man. Neil has won two AFI Awards, eight Helpmann Awards, and numerous Sydney Theatre, Victorian Green Room and Sydney Theatre Critics Circle Awards. He has Honorary Doctorates from Sydney and NSW Universities, and in 2007 was appointed Officer of the Order of Australia.

AUSTR ALIAN CHAM B ER ORCH ESTR A

N IG E L JAM I ESON – D E V I S E R

Nigel began his career in London, where he directed Trickster Theatre Company, worked at the Royal National Theatre, and was founder and of The London International Workshop Festival and the London Festival of New Circus. He was awarded a Greater London Arts Award for his outstanding contribution to London Arts.

Photo by Sangye Christianson

Subsequently moving to Sydney, he created a series of large scale works including Tin Symphony for the Sydney Olympic Opening Ceremony, the ABC Millennium Broadcast, the Closing Ceremony of the Manchester Commonwealth Games, the historic Yeperenye Federation Festival, the opening of the 2007 European City of Culture, Angkor Wat, Sydney Festival First Night, which received a Helpmann Award for Best Australian Special Event and Clusters of Light about the Prophet Mohammed. His theatre work tours the world extensively. It has included multi award-winning shows such as his Indonesian collaboration Theft of Sita, All of Me and Honour Bound about David Hicks and Guantanamo, which was winner of the 2007 Sydney Theatre Award for Best Australian Main Stage Work. Other works he has written and directed include Gallipoli for the Sydney Theatre Company, and In Our Name about the plight of asylum seekers in Australian Detention. Acclaimed opera productions have included Brundibar, Dead Man Walking and La fanciualla del West, for which he received the Helpmann for Best Direction of an Opera. His epic aerial production As The World Tipped is embarking on its fourth year of International touring, while his Arena Production of How To Train Your Dragon, for Dreamworks played to over 750,000 and recently completed a Beijing season. He is currently directing the opening and closing ceremonies for the 2015 Pacific Games and a new aerial work in the UK. He was awarded a Federation Medal for his contribution to Australian Theatre and the 2007 Sidney Myer Award.

AUSTR ALIAN CHAM B ER ORCH ESTR A

S E A N BACO N – V I D EO D E S I G N E R

Photo by Heidrun Löhr

Sean Bacon studied video and visual arts, graduating with Honours in 1998. He worked with the French dance company Experience Harmaat (2000–02), and their collaboration Nobody Nevermind opened the  performance section of the prestigious Venice Bienniale (2001). In 2005 he was awarded a three-month residency at the Australia Council’s Green Street Studios in New York. Sean has been a Company Artist for version 1.0 since 2005. In 2010 Sean worked as the video artist on the Sydney Theatre Award nominated seven kilometres north-east, which toured to Sarajevo in April 2011. Sean worked as the video designer for Belvoir’s production of Measure for Measure directed by Benedict Andrews, for which he won a Sydney Theatre Award for Stage Design in 2010. With Andrews he also worked as the video designer for the English National Opera/Young Vic’s production Return of Ulysses in London 2011. In 2012 Sean worked on Sydney Theatre Company’s Pygmalion, and Sydney Festival/ Urban Theatre Projects/ Belvoir’s Buried City, version 1.0/ATYP’s production The Tender Age and version 1.0/Belvoir/Ilbeijerri’s co-production Beautiful One Day as well as Q Theatre’s Truck Stop for which he won a Sydney Theatre Award for Stage Design 2012. In 2014, he worked on the STC’s production of The Maids at New York’s Lincoln Theatre Festival.

M AT T COX – L I G HTI N G D E S I G N E R Matt’s career in theatre has spanned 15 years designing lighting in both Australia and the UK. During his time in London, Matt worked with student directors attending the Royal Academy of Dramatic Art, the Edinburgh Fringe Festival and John Stahl’s solo show Blindman. Since returning to Sydney he has designed numerous theatre productions including Blak, Belong (Bangarra Dance Theatre), Romeo and Juliet (Bell Shakespeare), Ruby Moon (Sydney Theatre Company), The Mousetrap, A Murder is Announced (Louise Withers and Associates), The Seed (Company B), Symphony (Legs on the Wall), The Libertine, Othello (Sport for Jove), The Famous Spiegeltent, The Aurora Spiegeltent (Sydney Festival) and His Music Burns (Sydney Chamber Opera). Photo by Marie Maitt

Matt currently tutors for the National Institute of Dramatic Art (NIDA).

AUSTR ALIAN CHAM B ER ORCH ESTR A

N ATH A N I E L D E A N – ACTO R

Photo by Simon Lekias

Nathaniel has worked extensively in film, theatre and television. His first film role after graduating from NIDA in 1999 was in Tony Ayres’ Walking on Water for which he received the Australian Film Institute (AFI) Award in 2002 for Best Actor in a Supporting Role. In 2004 Nathaniel was again nominated for an AFI Award for his role in Cate Shortland’s Somersault. His other film credits include roles in Neil Armfield’s Candy, as well as The Rage in Placid Lake and The Final Winter. Nathaniel’s roles in theatre include The Effect (MTC), A Streetcar Named Desire (Black Swan Theatre Company), The One Day of the Year and The Secret River (STC) directed by Neil Armfield, for which he received a Helpmann Award nomination for Best Actor for his portrayal of William Thornhill. Included in Nathaniel’s numerous television credits are Anzac Girls, Puberty Blues, Parer’s War, Old School, Bikie Wars, Wild Boys, Underbelly, East West 101, All Saints, City Homicide, Killing Time, Satisfaction and Always Greener.

YA L I N OZU C E L I K – ACTO R

Photo by Sally Flegg

Yalin Ozucelik graduated from NIDA in 2007. Most recently, Yalin played Le Bret in Cyrano de Bergerac for Sydney Theatre Company for which he received a Sydney Theatre nomination. He also played the title role in Sport For Jove’s outdoor production of Cyrano de Bergerac, receiving the Sydney Theatre Award for Best Actor in a Leading Role (Independent Production) 2014. Other recent theatre includes The Importance of Being Earnest for State Theatre Company of South Australia, Vere/Faith (STCSA/STC), This Is Where We Live (Just Visiting/Griffin Independent), Henry IV and King Lear (Bell Shakespeare), A Beautiful Life (Matrix/La Boite). He played Gabriel in Brink’s acclaimed, multi-award winning production of When The Rain Stops Falling and in 2012 he toured Europe in Gross Und Klein for STC. Yalin recently filmed across two television series, Deadline Gallipoli (Matchbox Pictures) and Gallipoli (Endemol Australia) which will air in Australia this year.

AUSTR ALIAN CHAM B ER ORCH ESTR A

TA RY N F I E B I G – SO P R A N O

Helpmann Award-winning soprano Taryn Fiebig is one of Australia’s most popular and versatile artists. Her many roles as a principal soprano with Opera Australia have included Susanna in Le nozze di Figaro, Galatea in Acis and Galatea, Musetta in La bohème, Zerlina in Don Giovanni, Pamina in Die Zauberflöte, The Woodbird (Der Ring des Nibelungen) and many others. In 2008/09, she sang the leading role of Eliza Doolittle in the national tour of My Fair Lady. Taryn won a Helpmann Award for her portrayal of Lucy in Bliss (which she sang in Sydney, Melbourne and at the Edinburgh Festival).

Photo by Steven Godbee

She sang Esmeralda in The Bartered Bride for New Zealand Opera and is a regular soloist with the Sydney and Queensland Symphony Orchestras. Taryn returns to Opera Australia in 2015 as Pamina, Zerlina and Susanna (in a new production of Le nozze di Figaro). She will also appear as soloist with the Adelaide Symphony and the Australian Haydn Ensemble.

WITH TH A N KS The ACO would like to thank and acknowledge those whose first hand testimonies have contributed to Reflections on Gallipoli, including Albert Facey, Tom Usher, Alec Gilpin, Peter Jackson, Charles Bean, Joe Murray, Aubrey Herbert and Tony Fagan. We would also like to acknowledge the poets, including Akif Ersoy (‘Çanakkale Şehitlerine’) and M.R. as attributed in The Anzac Book, a 1916 ‘trench publication’ by Gallipoli troops (‘Now the Snowflakes Thickly Falling’).

Treloar Crescent Campbell ACT 2612 T: 02 6243 4211 E: info@awm.gov.au

McCoy Circuit Acton ACT 2601 T: 02 6248 2000 E: enquiries@nfsa.gov.au

The Australian Chamber Orchestra thanks both the Australian War Memorial and the National Film and Sound Archive of Australia for their assistance with Reflections on Gallipoli and access to a selection of their still and moving images. 30

AUSTR ALIAN CHAM B ER ORCH ESTR A

AU STR A L I A N C H A M B E R O RC H E STR A Richard Tognetti Artistic Director & Leader Helena Rathbone Principal Violin Satu Vänskä Principal Violin Glenn Christensen Violin Aiko Goto Violin Mark Ingwersen Violin Ilya Isakovich Violin Liisa Pallandi 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 Caroline Henbest Viola Daniel Yeadon Cello

This year marks the 40th anniversary of the Australian Chamber Orchestra. From its first concert in November 1975 to its first concert of 2015, the Orchestra has travelled a remarkable road. Inspiring programming, unrivalled virtuosity, energy and individuality, the Australian Chamber Orchestra’s performances span popular masterworks, adventurous cross artform projects and pieces specially commissioned for the ensemble. Founded by the cellist John Painter, the ACO originally comprised just 13 players, who came together for concerts as they were invited. Today, the ACO has grown to 20 players (three part-time), giving more than 100 performances in Australia each year, as well as touring internationally. The Orchestra performs around the world: from red-dust regional centres of Australia to New York night clubs, from Australian capital cities to the world’s most prestigious concert halls, including Amsterdam’s Concertgebouw, London’s Wigmore Hall, Vienna’s Musikverein, New York’s Carnegie Hall, Birmingham’s Symphony Hall and Frankfurt’s Alte Oper. Since the ACO was formed in 1975, it has toured Indonesia, Singapore, Thailand, Malaysia, Hong Kong, Japan, New Zealand, Italy, France, Austria, Switzerland, England, Belgium, The Netherlands, Germany, China, Greece, the US, Scotland, Chile, Argentina, Croatia, the former Yugoslavia, Slovenia, Brazil, Uruguay, New Caledonia, Czech Republic, Slovak Republic, Spain, Luxembourg, Macau, Taiwan, Estonia, Canada, Poland, Puerto Rico and Ireland.

“IF THERE ’S A BETTER CHAMBER ORCHESTR A IN THE WORLD TODAY, I HAVEN’T HEARD IT.” THE GUARDIAN (U K )

The ACO’s dedication and musicianship has created warm relationships with such celebrated soloists as Emmanuel Pahud, Steven Isserlis, Dawn Upshaw, Imogen Cooper, Christian Lindberg, Joseph Tawadros, Melvyn Tan and Pieter Wispelwey. The ACO is renowned for collaborating with artists from diverse genres, including singers Tim Freedman, Neil Finn, Katie Noonan, Paul Capsis, Danny Spooner and Barry Humphries and visual artists Michael Leunig, Bill Henson, Shaun Tan and Jon Frank. The ACO has recorded for the world’s top labels. Recent recordings have won three consecutive ARIA Awards and documentaries featuring the ACO have been shown on television worldwide and won awards at film festivals on four continents.

AUSTR ALIAN CHAM B ER ORCH ESTR A

M U S I C I A N S O N STAG E

Richard Tognetti ao 1 Artistic Director & Violin

Satu Vänskä 2 Principal Violin

Aiko Goto Violin

Chair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts

Chair sponsored by Kay Bryan

Chair sponsored by Anthony & Sharon Lee Foundation

Mark Ingwersen 3 Violin

Liisa Pallandi Violin

Ike See 4 Violin

Alexandru-Mihai Bota Viola

Nicole Divall Viola

Timo-Veikko Valve Cello

Chair sponsored by Philip Bacon am

Chair sponsored by Ian Lansdown

Chair sponsored by Peter Weiss ao

Chair sponsored by Ian Wallace & Kay Freedman

AUSTR ALIAN CHAM B ER ORCH ESTR A

Photos: Jack Saltmiras

Melissa Barnard Cello

Julian Thompson 5 Cello

Maxime Bibeau Principal Bass

Chair sponsored by Martin Dickson am & Susie Dickson

Chair sponsored by The Clayton Family

Chair sponsored by Darin Cooper Foundation

Madeleine Boud Violin

Sally Walker Flute / Piccolo

Luiz Garcia Horn

Courtesy of The Conservatorium, University of Newcastle

Courtesy of Brazilian Symphony Orchestra

Dmitry Malkin Oboe / Zurna

Brian Nixon Percussion

Courtesy of Jerusalem Symphony Orchestra

Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert

Christopher Tingay Clarinet

Julie Raines Harp

Katherine Lukey Violin Alexandra Osborne Violin Courtesy of National Symphony Orchestra, Washington DC

Susanne von Gutzeit Violin Courtesy of Stuttgart Chamber Orchestra

Amanda Verner Viola Courtesy of Sydney Symphony Orchestra

Courtesy of Sydney Symphony Orchestra

Players dressed by AKIRA ISOGAWA

Andrew Barnes Bassoon Courtesy of Sydney Conservatorium of Music, University of Sydney

1. Richard Tognetti plays a 1743 Guarneri del Gesù violin kindly on loan from an anonymous Australian private benefactor. 2. Satu Vänskä plays a 1728/29 Stradivarius violin kindly on loan from the ACO Instrument Fund. 3. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO Instrument Fund. 4. Ike See plays a 1759 J.B. Guadagnini violin kindly on loan from the Commonwealth Bank Group. 5. Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council.

AUSTR ALIAN CHAM B ER ORCH ESTR A

ACO B E H I N D TH E SC E N E S 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 Simon Yeo Richard Tognetti ao Artistic Director ADMINISTRATIVE STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager Alexandra Cameron-Fraser Strategic Development Manager Joseph Nizeti Executive Assistant to Mr Calnin and Mr Tognetti ao ARTISTIC & OPERATIONS Luke Shaw Head of Operations & ArtisticÂ Planning Andreea Butucariu Artistic Administrator Megan Russell Tour Manager Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian

Bob Scott Sound Engineer Felix Abrahams Sound Assistant Joy Pereira Stage Manager Louis Thorn Projection Assistant EDUCATION Phillippa Martin AcO2 & ACO VIRTUAL Manager Vicki Norton Education Manager Sarah Conolan Education Coordinator FINANCE Maria Pastroudis Chief Financial Officer Steve Davidson Corporate Services Manager

Derek Gilchrist Marketing Manager Mary Stielow National Publicist Hilary Shrubb Publications Editor Neall Kriete Communications Coordinator Leo Messias Marketing Coordinator Chris Griffith Box Office Manager Dean Watson Customer Relations Manager Deyel Dalziel-Charlier Box Office & CRM Database Assistant Christina Holland Office Administrator INFORMATION SYSTEMS

Yvonne Morton Accountant

Ken McSwain Systems & Technology Manager

Shyleja Paul Assistant Accountant

Emmanuel Espinas Network Infrastructure Engineer

DEVELOPMENT

ARCHIVES

Rebecca Noonan Development Manager

John Harper Archivist

Jill Colvin Philanthropy Manager

AUSTRALIAN CHAMBER ORCHESTRA

Penelope Loane Investor Relations Manager

ABN 45 001 335 182 Australian Chamber Orchestra Pty Ltd is a not for profit company registered in NSW.

Tom Tansey Events Manager Tom Carrig Senior Development Executive Ali Brosnan Patrons Manager Sally Crawford Development Coordinator

Cyrus Meurant Assistant Librarian

MARKETING

AUSTR ALIAN CHAM B ER ORCH ESTR A

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

V E N U E S U P P O RT

QUEENSLAND PERFORMING ARTS

ARTS CENTRE MELBOURNE

ADELAIDE TOWN HALL

CENTRE

PO Box 7585, St Kilda Road,

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Cultural Precinct,

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Telephone (03) 9281 8000

GPO Box 2252, Adelaide SA 5001

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

Box Office 1300 182 183 Web artscentremelbourne.com.au

Venue Hire Information Telephone 08 8203 7590

Tom Harley President

Victorian Arts Centre Trust

townhall@adelaidecitycouncil.com Web adelaidetownhall.com.au

Claire Spencer Chief Executive Officer

Martin Haese Lord Mayor

Christopher Freeman am Chair

Peter Smith Chief Executive Officer

John Kotzas Chief Executive

AUSTRALIAN NATIONAL

CITY RECITAL HALL ANGEL PLACE

PERTH CONCERT HALL

UNIVERSITY

A City of Sydney Venue

5 St Georges Terrace,

Llewellyn Hall School of Music William Herbert Place (off Childers Street) Acton, Canberra VENUE HIRE INFORMATION Telephone (02) 6125 2527 Email music.venues@anu.edu.au

2–12 Angel Place, Sydney NSW 2000 GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000

Perth WA 6000 PO Box 3041, East Perth WA 6892 Telephone 08 9231 9900

Box Office (02) 8256 2222

Web perthconcerthall.com.au

Web cityrecitalhall.com Anne-Marie Heath General Manager

Brendon Ellmer General Manager

City Recital Hall Angel Place is managed by Pegasus Venue Management (AP) Pty Ltd

SYDNEY OPERA HOUSE Bennelong Point, GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office 02 9250 7777 Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com The Hon. Helen Coonan Acting Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer AUSTR ALIAN CHAM B ER ORCH ESTR A

TO U R DATE S & P R E- CO N C E RT TA L KS MARCH – REFLECTIONS ON GALLIPOLI Tour presented by

Wed 18, 8pm – Perth Concert Hall Pre-concert talk by Claire Stokes

Wed 25, 7pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

Sat 14, 8pm – Canberra Llewellyn Hall Pre-concert talk by Ken Healey am

Sat 21, 7pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

Fri 27, 1.30pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

Sun 15, 2pm – Sydney Opera House Pre-concert talk by Ken Healey am

Sun 22, 2.30pm – Melbourne Arts Centre Pre-concert talk by John Weretka

Pre-concert talks take place 45 minutes before the start of every concert.

Mon 16, 8pm – Melbourne Arts Centre Pre-concert talk by John Weretka

Mon 23, 8pm – Brisbane QPAC Concert Hall Pre-concert talk by Gillian Wills

Tue 17, 8pm – Adelaide Town Hall Pre-concert talk by Vincent Plush

Tue 24, 8pm – Sydney City Recital Hall Angel Place Pre-concert talk by Ken Healey am

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AUSTR ALIAN CHAM B ER ORCH ESTR A

ACO M E D I C I P ROG R 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

AMINA BELGIORNO-NETTIS

VIOLIN

Brian Nixon Principal Timpani

PRINCIPAL CHAIRS Richard Tognetti ao Artistic Director & Lead Violin Michael Ball am & Daria Ball Wendy Edwards Prudence MacLeod Andrew & Andrea Roberts Helena Rathbone Principal Violin Kate & Daryl Dixon 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

Glenn Christensen

Mr Robert Albert ao & Mrs Libby Albert

Aiko Goto Anthony & Sharon Lee Foundation

FRIENDS OF MEDICI

Mark Ingwersen Ian Wallace & Kay Freedman

Mr R. Bruce Corlett am & Mrs Ann Corlett

Ilya Isakovich Australian Communities Foundation – Connie & Craig Kimberley Fund Liisa Pallandi Ike See Violin Chair Terry Campbell ao & Christine Campbell 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 I F E PATRO N S IBM

Mrs Roxane Clayton

Mrs Alexandra Martin

Mr Robert Albert ao & Mrs Libby Albert

Mr David Constable am

Mrs Faye Parker

Mr Guido Belgiorno-Nettis am

Mr Martin Dickson am & Mrs Susie Dickson

Mr John Taberner & Mr Grant Lang

Mrs Barbara Blackman

Dr John Harvey ao

Mr Peter Weiss ao

AUSTR ALIAN CHAM B ER ORCH ESTR A

ACO B EQ U E ST PATRO N S The late Charles Ross Adamson

Carol Farlow

Selwyn M Owen

The late Kerstin Lillemor Andersen

Ms Charlene France

The late Josephine Paech

Steven Bardy

Suzanne Gleeson

The late Richard Ponder

Dave Beswick

Lachie Hill

Ian & Joan Scott

Ruth Bell

The late John Nigel Holman

Sandra Cassell

Penelope Hughes

The late Mr Geoffrey Francis Scharer

The late Mrs Moya Crane

The late Dr S W Jeffrey am

Mrs Sandra Dent

Estate of Pauline Marie Johnston

Leigh Emmett

The late Mr Geoff Lee am oam

The late Colin Enderby

Mrs Judy Lee

Peter Evans

The late Shirley Miller

Leslie C Thiess G.C. & R. Weir Margaret & Ron Wright Mark Young Anonymous (11)

ACO I N STR U M E NT F U N D 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. Peter Weiss ao PATRON, ACO Instrument Fund BOARD MEMBERS Bill Best (Chairman) Jessica Block Chris Frogatt John Leece am John Taberner PATRONS 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 John Taberner

SONATA $25,000 – $49,999

INVESTORS

ENSEMBLE $10,000 – $24,999 Lesley & Ginny Green

Stephen & Sophie Allen

Peter J Boxall ao & Karen Chester

Guido & Michelle Belgiorno-Nettis

SOLO $5,000 – $9,999

Bill Best Benjamin Brady

PATRON $500 – $4,999 Dr Jane Cook Leith & Darrel Conybeare John Landers & Linda Sweeny Luana & Kelvin King Bronwyn & Andrew Lumsden Ian & Pam McGaw Patricia McGregor Trevor Parkin Elizabeth Pender Robyn Tamke Anonymous (2)

QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous 38

John & Deborah Balderstone

AUSTR ALIAN CHAM B ER ORCH ESTR A

Sally Collier Michael Cowen & Sharon Nathani Marco D’Orsogna Garry & Susan Farrell Gammell Family Philip Hartog Brendan Hopkins Angus & Sarah James Daniel and Jacqueline Phillips Ryan Cooper Family Foundation Andrew & Philippa Stevens Ian Wallace & Kay Freedman

TR U STS & FO U N DATI O N S

Holmes à Court Family Foundation

The Neilson Foundation

The Ross Trust

ACO R E CO R D I N G P RO J E CTS , S P E C I A L CO M M I S S I O N S & S P E C I A L P RO J E CTS FOUR SEASONS RECORDING PROJECT PATRONS

INTERNATIONAL TOUR PATRONS

MELBOURNE HEBREW CONGREGATION PATRONS

Mr Robert Albert ao & Mrs Libby Albert

The ACO would like to pay tribute to the following donors who support our international touring activities in 2015:

LEAD PATRONS

Jennifer Hershon Anthony & Sharon Lee Foundation Strauss Family

Linda & Graeme Beveridge Jan Bowen

PATRONS

SPECIAL COMMISSIONS PATRONS

Bee & Brendan Hopkins

Marc Besen ac & Eva Besen ao

Delysia Lawson

Leo & Mina Fink Fund

Peter & Cathy Aird

Ian & Pam McGaw

Drs Victor & Karen Wayne

Gerard Byrne & Donna O’Sullivan

Mike Thompson

Mirek Generowicz

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ACO N ATI O N A L E D U CATI O N P ROG R 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 Australianmusicians. This initiative is pivotal in securing the future of the ACO and the future ofmusic 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

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ACO C H A I R M A N ’ S CO U N C I L 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 Brad Banducci Director Woolworths Liquor Group

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G OV E R N M E NT PA RTN E RS 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 CO M M IT TE E S SYDNEY DEVELOPMENT COMMITTEE

MELBOURNE DEVELOPMENT COUNCIL

EVENT COMMITTEES

Heather Ridout ao (Chair) Director, Reserve Bank of Australia

Pater Yates am (Chairman) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd

Lillian Armitage

Debbie Brady

Sandra Ferman

Stephen Charles

Elizabeth Harbison

Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings

Christopher Menz

Bill Best Leigh Birtles Executive Director, UBS Wealth Management Maggie Drummond Tony Gill

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Elizabeth McDonald

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John Taberner (Chair)

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SYDNEY

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Sandra Royle Nicola Sinclair

Judi Wolf BRISBANE Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer Cass George Edward Gray Wayne Kratzmann Helen McVay Shay O’Hara-Smith Marie-Lousie Theile Beverley Trivett Bruce and Jocelyn Wolfe

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ACO CO R P O R ATE PA RTN E RS THE ACO THANKS OUR CORPORATE PARTNERS FOR THEIR GENEROUS SUPPORT

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ACO N E WS

Julian Thompson, Guido BelgiornoNettis am , Liisa Pallandi, Richard Tognetti ao, His Excellency General The Hon David Hurley ac dsc (Ret’d), Governor of NSW, Mrs Hurley, Sascha Bota.

Chairman’s Council and Major Patrons’ Cocktail Party – Sydney Our annual Sydney Chairman’s Council and Major Patrons’ Cocktail Party took place at Government House, in the presence of His Excellency General The Honourable David Hurley ac dsc (Ret’d), Governor of New South Wales on Wednesday 25 February. Guests were treated to a performance by Richard, Liisa, Sascha and Julian in the Ballroom, before enjoying drinks and canapés in the historic house and gardens as the sun set over Sydney Harbour. As we celebrate the Orchestra’s 40th anniversary year, this was a fitting location in which to thank our most valued patrons and supporters. We’d like to thank His Excellency and Mrs Hurley for so generously welcoming us at Government House.

RIGHT: Julian Thompson, Liisa Pallandi, Doris Weiss, Peter Weiss ao, Sascha Bota, Ginny and Leslie Green.

Rachel Peck, Yvonne von Hartel, Andrea Kowalski, Marten Peck.

Marian Moufarrige, Ann and Warwick Johnson.

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Allegra Spender, Guido BelgiornoNettis am and Carla Zampatti ac .

Richard Tognetti and the ACO during the performance.

ACO’s ‘A Night of Nights’ On Tuesday 24 February, the ACO performed for the second time at the Melbourne Hebrew Congregation, to a rapturous audience. The evening began with a short performance of ‘Fiddles on Fire’ by talented young violin students from Sholem Aleichem College, led by Ilya Isakovich, who had held a workshop with music students late last year. Richard Tognetti then led a captivating program featuring works by Bach, Haydn and Mendelssohn and concluded the evening with Ravel’s haunting Kaddish and Barber’s beautiful and moving Adagio for Strings.

BELOW LEFT: Richard Tognetti, Satu Vänskä, Mark Ingwersen and Illya Isakovich. BELOW RIGHT: Illya Isakovich and members of the ACO lead students from Sholem Aleichem College during their performance of ‘Fiddles on Fire’.

Richard Tognetti and the ACO receive a standing ovation from the audience after the performance.

Our warm and heartfelt thanks are due to Gandel Philanthropy, The Pratt Foundation, Marc Besen ac and Eva Besen ao, The Leo and Mina Fink Fund and Doctors Victor and Karen Wayne for their generous support of the Orchestra in this unforgettable performance.

Our patrons Dr Karen Wayne, Dr Victor Wayne and Julian Thompson at the post-performance reception.

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ACO N E WS

Welcome to our two newest ACO members – Glenn Christensen and Liisa Pallandi Glenn and Liisa’s appointments are particularly special to the ACO as they are both former Emerging Artists, completing our education and mentoring program in 2012. Liisa and Glenn took some time out while on tour with The Four Seasons to tell us what it’s like to be part of the ACO. How have you been enjoying your first national tour as permanent players with the ACO? Glenn: I’m really enjoying the tour. It’s nice to join the Orchestra on such an interesting, fun and rewarding program. Life on tour can be a little tough with early mornings and late nights, lots of travel. But doing it with this group of people makes it enjoyable. I really like getting to know each of the cities we visit – it’s a little personal goal to seek out the best bars and coffee, as well as running routes in each place! Liisa: It’s amazing how different it feels to be ‘one of the team’. Everyone was very supportive of Glenn and me whilst we were on trial. But it’s such a different (and enjoyable!) feeling to be a permanent member. On these national tours everyone seems to have a tried and tested routine: where they go to eat, shop, exercise, friends they always catch up with … So I’m really looking forward to touring regional Queensland with AcO 2 and America with ACO later in the year, just to see what it’s like when everyone is in unfamiliar territory.

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How did the Emerging Artists’ Program prepare you for life as a professional full-time player with an orchestra, specifically the ACO? G: Getting an insight into the ACO’s ‘style’ of playing was one of the best things about the EA program. Also having regular contact with a mentor from the Orchestra was invaluable. It’s quite cool and very special to me that my mentor Aiko and I now stand next to each other as colleagues. L: I’m not sure I’d be in this position today if it weren’t for the encouragement and guidance from Helena. She was an amazing mentor, very thoughtful and honest, and I always love playing alongside her. During my EA year I was lucky enough to sit next to Richard for The Reef tour which was a big learning curve for me. There was no ‘switching off’ on that tour! Did you always want to be part of an orchestra? G: I often considered being a vet, but I think being in an orchestra is probably much more fun. L: I have always loved playing in groups, big or small, but I wasn’t always sure I could make it a career. Other things I vaguely considered were writing, journalism, law, and being a mermaid! What do you know now that you are part of the ACO that you didn’t know prior to joining the Orchestra? G: I love learning about all the players’ different lives, their hobbies and their individual little quirks. It makes life interesting! L: How much goes on behind the scenes! I’ve never had to go to board meetings or strategic planning days before and it’s interesting to see the ‘non-artistic’ facets of the organisation. I’m also learning that it’s not so crazy to overpack on tour. You really never know when you’ll want your own tea bags, snacks or that little something to make your hotel room feel more like home. Are there any programs in particular you are looking forward to performing this year? G: I’m particularly looking forward to Brahms 3. I came from the symphony orchestra background, and love these bigger works. To play this with the ACO will be awesome. L: I’m looking forward to working with Richard Egarr and Olli Mustonen. Both programs are quite unfamiliar to me and I’ve only heard wonderful things about both of these guest directors.

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M E E T O U R S U P P O RTE RS

Amanda Stafford from Western Australia is a highly valued donor to our Instrument Fund and National Education Program who attends our Perth concerts. “I have been involved with the ACO for around three years now, when I decided to take up a subscription and simply plunge into what the orchestra offers. My knowledge of classical music is not extensive, so I rarely look at the program beforehand but simply mark the date in my diary and turn up on the night. So each concert is a voyage into unknown territory with the occasional delight of hearing them play a piece of music I know and love already. There have been many wonderful discoveries which I now listen to at home on CDs, though nothing on CD quite matches the sound of the outstanding ACO instruments heard live. My most amazing ACO experience was the opportunity to hear Richard, Satu and Rebecca playing their historic violins at a special ACO lunch for donors in Perth in 2014. Hearing them play the same pieces of music, one after another, was a rare insight into how different and special the sound produced by a violin can be. Outside of work and ACO concerts, I enjoy seeking out the skills and work of artisans – those who are truly engaged in their craft. They range from the dressmaker who creates my clothes from vintage kimono fabric to the people who restored a VW Beetle for me and realised my dream of a lavender coloured car. They live with a passion for what they do and that’s a wonderful way to live.” We would like to thank Amanda most warmly for her support. If you would like more information about the ACO’s donations program, please contact Ali Brosnan on 02 8274 3830 or ali.brosnan@aco.com.au. If you would like to subscribe to the ACO, please contact our Box Office on 1800 444 444. 50

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