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ACO AT EMANUEL SYNAGOGUE MONDAY 19 OCTOBER • 7:00PM
Hear the acclaimed Australian Chamber Orchestra in its 40th Anniversary year, for the first time in the elegant surrounds of Emanuel Synagogue. Led by Richard Tognetti AO, celebrating his own 25th Anniversary as this world-renowned Orchestra’s Artistic Director, the ACO will perform a showcase of string repertoire from Tchaikovsky’s lyrical Serenade for Strings, to the power and drama of Mendelssohn’s Violin Concerto in E minor, to the haunting beauty of Ravel’s Kaddish. The concert will also include a short performance by talented young musicians from Emanuel School and other associated schools. Emanuel Synagogue 7 Ocean Street, Woollahra Monday 19 October, 7:00pm (doors open 6:30pm)
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Conductor. Pianist. Composer. Discover Finland’s ultimate musical triple threat in action with the ACO firebrand virtuosos. JS BACH Concerto for Keyboard in D major, BWV1054 HINDEMITH The Four Temperaments OLLI MUSTONEN Sonata for Cello & Orchestra (World Premiere) SHOSTAKOVICH (arr. for string orchestra) String Quartet No.9 Olli Mustonen Conductor & Piano Timo-Veikko Valve Cello
12–20 SEPTEMBER ADELAIDE, CANBERRA , MELBOURNE, PERTH, SYDNEY, WOLLONGONG
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YOU CAN NOW EXPERIENCE THE ACO IN NEW PLACES. Introducing ACO VIRTUAL, the Australian Chamber Orchestra’s new virtual installation. This world first will be travelling around Australia, giving everyone the chance to get up close, like never before, to this critically acclaimed orchestra. Find out more at aco.com.au/acovirtual CommBank is proud to be the Founding Partner of ACO VIRTUAL.
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On behalf of Johnson Winter & Slattery, I welcome you to the ACO’s Brahms 3 and Mozart Sinfonia Concertante tour featuring the ACO in full symphonic force. We are very proud of the company we keep as advisers to Australia’s major corporations on their business activities, and we are particularly proud of our close relationship with the brilliant ACO, not only as National Tour Partner on this wonderful program, but also as their legal advisers. In the same way that the ACO is renowned for its excellence and individuality, our work is on landmark and transformational deals and disputes, so from the boardroom to the concert hall we are strong supporters of outstanding performance. I very much hope you enjoy this exhilarating repertoire.
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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 INSIDE ACO BLOG Meet us backstage with the Inside ACO Blog – we’ll keep you up-to-date with Orchestra news, interviews, and insights. acoblog.com.au LOOK Watch us Live in the Studio, go behind-the-scenes and find out more about our program on YouTube. youtube.com/AustralianCO LISTEN Join us for a Spotify Session, hear concert tasters and playlists, and revisit past concerts on Spotify. aco.com.au/Spotify COMPETITION #MY4SEASONS The changing seasons inspired Vivaldi to compose his most colourful work – The Four Seasons, which bookends our 2015 season. To celebrate #ACO15, we’re offering you the chance to win a special Four Seasons prize pack. Simply upload your best ‘season’ shots to Instagram, tagging @ austchamberorchestra and #my4seasons. Terms and conditions apply, visit aco.com.au/instacomp for details.
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M E S SAG E F RO M TH E G E N E R A L M A N AG E R The ACO enjoys a wonderful circle of individual and corporate sponsors and we are enormously proud of the relationships we establish and maintain with our generous support base. While we are hugely grateful for the vitally important financial support of our sponsors, we also benefit from a lot of moral support as well, and no sponsor demonstrates this emotional commitment to the ACO more than our legal advisers Johnson Winter & Slattery. Apart from providing us with the highest level of legal advice, we have found Johnson Winter & Slattery, under the brilliant chairmanship of the indefatigable John Kench, to be the ACO’s most enthusiastic ambassadors, bringing countless new people to the ACO’s music and getting the message out about the experience of hearing the Orchestra live. We thank John and his superb colleagues for playing such a key part in the ACO’s life. This performance of Brahms’s Third Symphony sees (and hears) the ACO in its biggest formation of 2015, with 50 musicians on stage taking us into Brahms’s world at its most radiant. Our first performance of a Brahms symphony was No.1 in 2010, followed by No.4 in 2013. That memorable Brahms 4 is available on Spotify from a live recording made in the Sydney Opera House. Spotify is a great place to find the ACO’s latest recordings, including last year’s live performance of Sibelius’s Symphony No.6. Mozart’s Sinfonia Concertante is, at least in my opinion, the greatest viola concerto ever written, and these concerts offer us the bittersweet opportunity to hear it played by our favourite violist, Chris Moore, on the legendary 1610 Maggini viola on which he has been the proud custodian for the last year or so. The occasion is bittersweet because Chris is leaving us to become Principal Viola of the Melbourne Symphony Orchestra. Chris has been one of the biggest musical personalities in the ACO’s great cast of characters and we will miss his unique combination of the most subtle and sophisticated musicianship with his outrageous, larrikin-ish behaviour and his irreverent humour. Our huge loss is the MSO’s immeasurable gain, and we will simply console ourselves that Chris will still perform a few more programs with us between now and the opening concerts of 2016. Speaking of 2016, if you haven’t received our 2016 season brochure by now, you will do so very soon after the launch on 18 August. We’re very excited about the brilliant artists and uplifting music we have planned for you next year as we welcome back some favourite musical friends, greet new artistic partners and explore throughout the season the great Beethoven at his most soulful.
Timothy Calnin General Manager
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BRAHMS 3 MOZART SINFONIA CONCERTANTE Richard Tognetti Director & Violin Christopher Moore Viola MOZART Overture from The Magic Flute, K.620 MOZART Sinfonia Concertante in E-flat major, K.364 INTERVAL BRAHMS Symphony No.3 in F major, Op.90
Approximate durations (minutes): 7 – 30 – INTERVAL – 38 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.
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WH AT YO U A R E A BO U T TO H E A R . . .
When Richard Tognetti and Christopher Moore first played Mozart’s Sinfonia Concertante together in 2009, we said: “It is a drama in three scenes: majestic, tragic and comic, and the perfect foil for two ACO principals with a lot of character.” Richard and Chris continue to be characterful players. But there is one significant change: the viola. This is the first time the magnificent 1610 Maggini viola, lent to Chris by an extraordinarily generous anonymous donor, will take centre stage. Chris says: “If you look at the Maggini, it has stripes on it that look like a tiger. It growls like a tiger and runs like a tiger and that’s what you need in this piece, with all the fast passages and rich tones to contrast the violin.” Mozart’s Overture from The Magic Flute is the jubilant overture to this concert. It is imbued with sparkle, dazzle and wit. While none of the music from the Overture makes its way into the opera that follows, it nevertheless sets the mood of what is about to happen: love, betrayal, kidnapping, not only a magic flute, but magic bells too, tests to determine the veracity of love, a bird catcher, a bonkers queen who is hit by a thunderbolt and sent to hell, with love ultimately triumphant and everyone living happily ever after. Finishing the program is Brahms’ Third Symphony. With its sweeping lyrical lines and contrasting evocative key changes, it is considered to be the most finely crafted of his symphonies. Richard says of the work: “Fifty-year-old bachelor Brahms wrote his Third Symphony in 1883, the year Wagner died. It is in the rich key of F major, but the symphony is actually defined by its Poco Allegretto third movement in C minor. Such is the yearning, the intense passion of the melody that it is perhaps the most melancholic movement of all of Brahms’ oeuvre. Its ambiguous metre and wistful melody have been taken up by many pop artists over the years, including Frank Sinatra, Diahann Carroll, Jane Birkin and even Santana. “Brahms evokes a musical sensation of chiaroscuro – the strong contrast between light and dark – by contrasting minor against major keys. This feature is threaded throughout the symphony as Brahms strikes a brooding musical perspective against scintillating lightness and a sense of afterglow. From the very start, we enter this world through by way of the notes F-A flat-F. “Hans Richter conducted the work’s first performance, by the all-male Vienna Philharmonic. Richter called it ‘Brahms’ Eroica’. The acolytes of the recently deceased Wagner were out in force trying to disrupt the performance, almost culminating in a duel.” But there will be no duel at the end of this concert; nothing quite so dramatic. For all the emotional turbulence of the symphony, it ends perfectly; in a state of peaceful repose. 14
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A BO U T TH E M U S I C
WOLFGANG AMADEUS MOZART Born Salzburg 1756 Died Vienna 1791 Overture from The Magic Flute, K.620 (Composed 1791) The idea that operatic overtures might include themes heard later in the work didn’t really come into its own until after Mozart’s death. Some of the earliest ‘overtures’ consisted of a stage manager banging a stick three times on the stage floor, to attract the attention of a noisy audience.
PICTURED: Wolfgang Amadeus Mozart – detail from an unfinished portrait by Joseph Lange, 1782.
The Overture to The Magic Flute is a stand-alone work; its principal ideas are not re-used elsewhere in the opera. Listeners may notice, however, the prominent use of patterns of three. It is probably not a reference to the little man banging a stick, but rather, Mozart’s in-joke with fellow Freemasons for whom three was a symbolic number. The Overture begins with three arresting chords and has three flat-signs in the key signature. ‘Three’ recurs throughout the opera: there are three Ladies; three Boys; Tamino must knock three times, and so on. It has also been proposed that the evil Queen of the Night is an underhand reference to Empress Maria Theresa, a woman not famous for her encouragement of Freemasonry. (Similar nasty insinuations about the inspiration for this character have been made regarding Mozart’s mother-in-law.) The Adagio introduction to the Overture makes use of trombones, a slightly unusual instrument for that period of musical history, and one often associated with funerals. This solemn colour contrasts with the following Allegro fugue – perhaps these sections parallel the two contradictory sides of the opera: on the one hand, the serious nature of Tamino’s quest, and on the other, the light relief of Papageno and Papagena. The opening theme and the fugal section return, with some elaborations. This final Allegro propels the audience into a state of readiness for the opening scene involving Tamino’s battle with a dragon-like monster.
PICTURED: Playbill for the premiere of Die Zauberflöte, 30 September 1791.
Katherine Kemp © Symphony Australia
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MOZART Sinfonia Concertante in E-flat major, K.364 (Composed 1779) I. Allegro maestoso II. Andante III. Presto
PICTURED: Mozart c.1780, detail from a portrait by Johann Nepomuk della Croce. BELOW: Mozart’s signature.
Amongst his initial efforts in the concerto genre we find Mozart’s first concerto featuring more than one solo instrument. Titled Concertone for two violins and orchestra, K.190, it served Mozart later as a prototype for his more celebrated work, the Sinfonia Concertante for violin and viola. In the earlier work, Mozart was clearly trying to write a large scale piece, for the title literally translates as “a large concerto”. Mozart composed the Concertone at the age of 17 while posted in Salzburg for the first time. His post here was becoming increasingly oppressive and the troublesome situation with his employer, the Archbishop, inevitably became intolerable. Mozart subsequently resigned from his post and embarked on yet another extended journey which was to span from September 1777 to January 1779. During this sojourn the pressures on the young Mozart were colossal. He had received no major commissions nor job offers, he was disappointed in love and travelling not with his father who normally escorted and chaperoned him but rather with his frail mother. Tragically, the arduous travelling proved too much for her and halfway through the journey she fell ill and passed away in July 1778. Mozart’s longest stays were in the musical hubs of Mannheim and Paris and, although this journey was for the most part unfulfilling for Wolfgang, when the Concertone was performed in Mannheim it met with resounding success. Mannheim’s most distinguished and celebrated composer of that time, Carl Stamitz, wrote a number of concertos for two or more instruments and accordingly, this multiple solo concerto style was very much the vogue throughout Mannheim and Paris. Following the failed attempts at finding a suitable permanent post, Mozart begrudgingly returned to the Salzburg court and begged to be reinstated. Although less than delighted to be back in the employ of the Archbishop, Mozart was not without inspiration or enthusiasm. With new awareness of the music he encountered during his travels, Mozart became intensely interested in the possibilities of concertos featuring more than one instrument. In rapid succession he began work on six such compositions; but only four were completed. While the Sinfonia Concertante in E-flat major, K.297b for four wind instruments cannot with certainty be attributed to Mozart, the remaining three works decidedly can. They are: the Concerto for flute and harp, K.297c, the Concerto for
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two pianos, K.316a in E-flat major (not to be confused with the earlier Concerto in F major, K.242 for three solo pianos – which Mozart also arranged for two solo pianos) and the work presented here. The Sinfonia Concertante for violin and viola, K.364 stands out as one of Mozart’s most sublime compositions and easily ranks amongst his finest concertos for strings.
“THE WORK IS NOT ALL DOOM AND GLOOM … THE TWO OUTER MOVEMENTS ARE CHAR ACTERISED BY JUBIL ANT AND MAJESTIC MELODIES.”
K.364 is scored for the typical Salzburg orchestra line-up of strings combined with pairs of oboes and horns. The violas, however are divided into two groups, and the solo viola part makes use of scordatura, whereby requiring the instrument to be tuned up a semitone to make a more penetrating, sonorous and brilliant tone. The part is transposed into D major, which allows the instrument to take better advantage of open strings and overtones, and it should be remembered that although Mozart was a skilled and capable violinist, when he played chamber music he preferred to play the viola. There is possibly an affinity between the viola’s dark and mellow tone and the element of melancholy that is so apparent in the second movement, in which we can even hear ominous hints of the Requiem that was to be composed years later as Mozart suffered on his deathbed. But the work is not all doom and gloom. The pensive and sorrowful realisations of his mother’s passing are more or less isolated in the second movement while the two outer movements are characterised by jubilant and majestic melodies. The first movement brims with elegant dialogues between the winds and strings, spiced with rising trill passages and serenade-like pizzicatos. There is even a touch of humour in the entry of the soloists, for with all the possibilities available in a double concerto, Mozart composes their entry in unison! The third movement is a sprightly paced Presto, abundant with more trills and conversations between the sections of the orchestra and juxtaposed with the featured solos. It is clear that one of Mozart’s main preoccupations in this work is a contrast of sonorities. This is demonstrated throughout in the orchestra’s divided viola section and the solo viola’s use of scordatura, but also through the tessitura, or pitch range of the solo viola. The viola reaches soaring heights that Mozart would never consider in his orchestral parts nor in his chamber scores, and indeed, for a vast amount of the work, a violin could in fact be used instead of the viola, except for the fact the sonority would be entirely different. It was certainly possible for Mozart to repeat the scoring for two violins that he made use of in the successful Concertone, but clearly he was seeking something new, principally the juxtaposition of the viola’s timbres with that of the violin. Adapted from a note © Martin Cohen
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JOHANNES BRAHMS Born Hamburg 1833 Died Vienna 1897 Symphony No.3 in F major, Op.90 (Composed 1883) I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro
PICTURED ABOVE: Hans Richter. RIGHT: Johannes Brahms, 1883.
Brahms spent the summer of 1883 in the German spa town of Wiesbaden, where he produced his Third Symphony in a mere four months. It is the shortest of Brahms’ symphonies, but for this obsessively self-critical composer that was almost miraculous. Hans Richter, who conducted the first performance in Vienna, was perhaps a little over the top in calling it ‘Brahms’ Eroica’ (it was Richter, after, who dubbed the First Symphony ‘Beethoven’s Tenth’) and yet it is a work that essays many emotional states in a highly dramatic fashion, and leads to a conclusion of great peace. Thirty years earlier, Brahms had contributed to the ‘F–A–E Sonata’, a work jointly composed with Albert Dietrich and Robert Schumann in honour of violinist Joseph Joachim. The letters stand for Joachim’s personal motto ‘frei aber einsam’ (free but lonely) and provide a musical motif that unites the work. Brahms responded that his own motto was ‘frei aber froh’ (free but happy). The musical version of this,
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F–A–F, dominates the Third Symphony, which was written partly as a ‘proffered hand’ or gesture of reconciliation by Brahms, who had fallen out with Joachim over the latter’s divorce some years earlier. But the theme which the motto introduces evokes Schumann, someone dear to both Brahms’ and Joachim’s hearts. The motto-motif provides the assertive opening gesture, where it is ‘spelled’ F–A-flat–F: in F major, the A-flat is chromatic, thus providing a dramatic dissonance at the work’s outset. This pattern – the first, third and eighth
PICTURED: First page of the manuscript of Brahms’ Third Symphony.
degrees of the scale – can be found throughout the whole work, as melodic feature, at first then immediately as an accompanying figure in the bass, or seemingly inconsequential detail. But the major-minor tension pervades the work, giving it its moments of ‘heroic’ drama. The work’s dramatic unity is also as a result of its overall tonal plan: the outer movements are, naturally, centred on the home key of F, while the inner movements focus on its polar opposite, C. This simple architecture is decorated at the more local level by much more surprising key relations. The F major/A-flat opening is a case in point; the first subject, or thematic group, is a surging music in F major that derives from the opening theme of Robert Schumann’s Third Symphony, the ‘Rhenish’. Wiesbaden, where Brahms composed the piece, is on the Rhine; Brahms may have been unconscious of the resemblance, though the model of the First Symphony’s finale, which almost – and quite deliberately – quotes Beethoven’s Ninth, comes to mind. AUSTR ALIAN CHAM B ER ORCH ESTR A
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“… IT IS A WORK THAT ESSAYS MANY EMOTIONAL STATES IN A HIGHLY DR AMATIC FASHION , AND LEADS TO A CONCLUSION OF GREAT PEACE .”
But the second subject, a serene tune sounded by clarinet and bassoon, is in the distant key of A major. A short development leads to the expected recapitulation of the opening material; more important, though, is Brahms’ gradual lowering of the temperature to conclude the movement – as he does with all four in this work – softly and calmly. The Andante takes up the pastoral sounds of clarinet and bassoon, alternating wind textures with quiet lowerstring passages at first, and such textures moderate any impassioned outbursts during the course of its sonatadesign unfolding. The delicate textures at the end of the movement might support Jan Swafford’s view that Brahms was not unaffected by the recent death of Wagner, ‘his rival, his respected enemy, his shadow’, whose sound-world they resemble. The third movement is effectively a minuet, though in 3/8 not 3/4. Its main theme, characterised by gentle dissonance on the downbeats and a wave-like ebb and flow, is sung first by the cellos against a diaphanous string texture and then moves upward through the score to the winds. After a contrasting central section introduced by pulsing chords that alternate with rich string scoring, the opening material is recapitulated but in completely different instrumentation, featuring the horn and other winds. The dramatic focus of the symphony, however, is the finale where, Beethoven-style, assertive, often terse, rhythmic ideas contend with athletic, long-breathed melodies, notably one that has the classic Brahmsian tension between duplet and triplet motifs. After boisterous heroics that feature a three-beat rhythm derived from the work’s opening motto, the music reaches a state of repose where, against rippling strings, the winds build in intensity to restate the opening F–A-flat–F moment, now purged of any angst. Gordon Kerry © 2014/15
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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. 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.
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CH RISTOPH E R MOORE – VIOLA
Born in Newcastle at a remarkably young age, Christopher Moore has spent the last nine years flitting across the globe playing in some of the world’s greatest concert halls (and some you’ve never heard of) as the Principal Viola of your very own Australian Chamber Orchestra. At the risk of preaching to the converted, he says, “Playing with this obscenely talented bunch of musicians or should I say some of my dearest friends has enriched my life in ways I could never imagine.”
Photo by Gary Heery
Perhaps the most significant influences in Christopher’s life and certainly a great inspiration to his music making are his wife and two young daughters. Not surprisingly, they are more than pleased for Papa to hang up his rock star garb (with a frequent flyer miles balance beyond the dreams of average) and come home to roost like the chickens that they keep in their Bentleigh East home. If you’re lucky (or if you ask him nicely) he may hand over a bona fide free-range egg from some of the happiest chickens you know. If you’re unlucky, you might be stuck hearing about how much he loves brewing beer and riding his bike into town from the suburbs in a vain attempt to prevent his waistline expanding to the size of the (paltry) poultry coop in which the aforementioned chickens brood. Christopher apologises for his fowl (sic) sense of humour and asks that you personally chastise the other players for having such dull blurbs… If you haven’t figured it out by now, Christopher is moving on from the ACO to take up a position in the Melbourne Symphony Orchestra. He will deeply miss his friendships with the musicians, management, the board, and the many sponsors and benefactors. But most of all he will miss the warmth and support of the many thousands of ACO subscribers and audience goers. “Without you,” he says, “our concerts would be pretty dull…” Christopher doesn’t like goodbyes.
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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. 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 (UK)
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
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Photos: Jack Saltmiras
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
Glenn Christensen Violin
Aiko Goto Violin
Chair sponsored by Kay Bryan
Chair sponsored by Terry Campbell ao & Christine Campbell
Chair sponsored by Anthony & Sharon Lee Foundation
Mark Ingwersen 3 Violin
Ilya Isakovich Violin
Ike See 4 Violin
Christopher Moore 5 Principal Viola
Chair sponsored by Ian Wallace & Kay Freedman
Chair sponsored by The Humanity Foundation
Chair sponsored by Di Jameson
Chair Sponsored by peckvonhartel architects
Alexandru-Mihai Bota Caroline Henbest Viola Viola
Timo-Veikko Valve 6 Principal Cello
Melissa Barnard Cello
Chair sponsored by Philip Bacon am
Chair sponsored by Peter Weiss ao
Chair sponsored by Martin Dickson am & Susie Dickson
Chair sponsored by Michael Ball am & Daria Ball, Wendy Edwards, Prudence MacLeod, Andrew & Andrea Roberts
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AUSTR ALIAN CHAM B ER ORCH ESTR A
Players dressed by AKIRA ISOGAWA
Daniel Yeadon Cello
Julian Thompson 7 Cello
Maxime Bibeau 8 Principal Bass
Chair sponsored by The Clayton Family
Chair sponsored by Darin Cooper Foundation
Violin Doretta Balkizas Madeleine Boud Naoko Keatley
Cello Rowena Macneish
Clarinet Nicholas Rodwell
Trumpet Kurt Körner
Courtesy of Orchestra of the Royal Opera House, Covent Garden
Courtesy of Camerata Salzburg
Courtesy of London Symphony Orchestra
Double Bass Ali Yazdanfar Courtesy of Orchestre symphonique de Montréal
Katherine Lukey Lachlan O’Donnell Thibaud PavlovicHobba Sharon Roffman Maja Savnik Courtesy of Slovenian Philharmonic Orchestra
Karen Segal Courtesy of Amsterdam Sinfonietta
Charlie Westhoff Viola Jacqueline Cronin Lisa Grosman Courtesy of Sir Zelman Cowen School of Music, Monash University
Christina Katsimbardis
Sandor Ostlund Courtesy of Baylor University
Flute Sally Walker Courtesy of The Conservatorium, University of Newcastle
Jonathan Henderson Courtesy of Estonian National Opera
Oboe Dmitry Malkin Courtesy of Jerusalem Symphony Orchestra
David Papp Courtesy of The Sydney Symphony Orchestra
Peter Jenkin Courtesy of Australian Opera and Ballet Orchestra
Bassoon Jane Gower Courtesy of Orchestre Révolutionnaire et Romantique
Melissa Woodroffe Contrabassoon Simone Walters Horn Timothy Jones
Leanne Sullivan Trombone Nigel Crocker Roslyn Jorgensen Bass Trombone Brett Page Courtesy of Australian Opera and Ballet Orchestra
Timpani Brian Nixon Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert
Courtesy of London Symphony Orchestra
Lauren Manuel Courtesy of Queensland Symphony Orchestra
Alexander Love Courtesy of New World Symphony
Rachel Shaw
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 Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor. 6 Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted by his son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao . 7 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council. 8 Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.
AUSTR ALIAN CHAM B ER ORCH ESTR A
25
ACO B E H I N D TH E SC E N E S BOARD
EDUCATION
MARKETING
Guido Belgiorno-Nettis am Chairman
Phillippa Martin AcO2 & 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 Chris Froggatt 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 ADMINISTRATIVE STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager Alexandra Cameron-Fraser Strategic Development Manager Helen Maxwell Executive Assistant to Mr Calnin and Mr Tognetti ao ARTISTIC & OPERATIONS Luke Shaw Head of Operations & Artistic Planning Megan Russell Tour Manager
Maria Pastroudis Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant Shyleja Paul Assistant Accountant DEVELOPMENT Rebecca Noonan Development Manager Jill Colvin Philanthropy Manager Penelope Loane Investor Relations Manager Tom Tansey Events Manager Tom Carrig Senior Development Executive Ali Brosnan Patrons Manager
Cristina Maldonaldo Communications 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 Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist
Sally Crawford Development Coordinator
Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant
26
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
AUSTR ALIAN CHAM B ER ORCH ESTR A
V E N U E S U P P O RT
ADELAIDE TOWN HALL
QUEENSLAND PERFORMING ARTS
ARTS CENTRE MELBOURNE
128 King William Street,
CENTRE
PO Box 7585, St Kilda Road,
Adelaide SA 5000
Cultural Precinct,
Melbourne VIC 8004
GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590 Email
Cnr Grey & Melbourne Street, South Bank QLD 4101
Web adelaidetownhall.com.au
Box Office 131 246
Peter Smith Chief Executive Officer
Web artscentremelbourne.com.au
South Bank QLD 4101 Telephone (07) 3840 7444
Martin Haese Lord Mayor
Box Office 1300 182 183
PO Box 3567,
townhall@adelaidecitycouncil.com
Telephone (03) 9281 8000
Tom Harley President Victorian Arts Centre Trust Claire Spencer
Web qpac.com.au
Chief Executive Officer
Christopher Freeman am Chair John Kotzas Chief Executive
CITY RECITAL HALL ANGEL PLACE
SYDNEY OPERA HOUSE
A City of Sydney Venue
Bennelong Point,
2–12 Angel Place, Sydney NSW 2000 GPO Box 3339, Sydney NSW 2001 Telephone (02) 9231 9000
GPO Box 4274, Sydney NSW 2001 Telephone (02) 9250 7111 Box Office (02) 9250 7777 Email
Box Office (02) 8256 2222
infodesk@sydneyoperahouse.com
Web cityrecitalhall.com
Web sydneyoperahouse.com
Anne-Marie Heath General Manager
Nicholas Moore Chair,
City Recital Hall Angel Place
Sydney Opera House Trust
is managed by Pegasus Venue Management (AP) Pty Ltd
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.
AUSTR ALIAN CHAM B ER ORCH ESTR A
27
TO U R DATE S & P R E- CO N C E RT TA L KS Tour presented by
Sun 16 Aug 2pm – Sydney Opera House Pre-concert talk by Ken Healey am The foyer fanfare for this concert is Rising Sails: A Fanfare for the Sydney Opera House, composed by Josh Belperio (age 19) from Elder Conservatorium of Music, SA. This is a youth creativity project by the Sydney Opera House and Artology.
Mon 17 Aug 8pm – Brisbane QPAC Concert Hall
Sat 22 Aug 7pm – Sydney City Recital Hall Angel Place
Pre-concert talk by Martin Buzacott
Pre-concert talk by Ken Healey am
Tue 18 Aug 8pm – Sydney City Recital Hall Angel Place
Sun 23 Aug 2.30pm – Melbourne Arts Centre
Pre-concert talk by Ken Healey am
Pre-concert talk by John Weretka
Wed 19 Aug 7pm – Sydney City Recital Hall Angel Place
Mon 24 Aug 8pm – Melbourne Arts Centre
Pre-concert talk by Ken Healey am
Pre-concert talk by John Weretka
Fri 21 Aug 1.30pm – Sydney City Recital Hall Angel Place
Tue 25 Aug 8pm – Adelaide Town Hall
Pre-concert talk by Ken Healey am
Pre-concert talk by James Koehne Pre-concert talks take place 45 minutes before the start of every concert.
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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 AMINA BELGIORNO-NETTIS 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
Maxime Bibeau Principal Double Bass
VIOLA
Darin Cooper Foundation
Nicole Divall Ian Lansdown
CORE CHAIRS VIOLIN
CELLO
Glenn Christensen Terry Campbell ao & Christine Campbell
Melissa Barnard Martin Dickson am & Susie Dickson
Aiko Goto Anthony & Sharon Lee Foundation
Julian Thompson The Clayton Family
Mark Ingwersen Ian Wallace & Kay Freedman
Kay Bryan
Ilya Isakovich The Humanity Foundation
Christopher Moore Principal Viola
Liisa Pallandi The Melbourne Medical Syndicate
peckvonhartel architects
Ike See Di Jameson
Timo-Veikko Valve Principal Cello
Alexandru-Mihai Bota Philip Bacon am
GUEST CHAIRS Brian Nixon Principal Timpani Mr Robert Albert ao & Mrs Libby Albert FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett
Peter Weiss ao
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 ao
Dr John Harvey ao
Mr Peter Weiss ao
ACO B EQ U E ST PATRO N S The late Charles Ross Adamson
The late Colin Enderby
The late Shirley Miller
The late Kerstin Lillemor Andersen
Peter Evans
Selwyn M Owen
Carol Farlow
The late Josephine Paech
The late Mrs Sybil Baer
Ms Charlene France
The late Richard Ponder
Steven Bardy
Suzanne Gleeson
Ian & Joan Scott
Dave Beswick
Lachie Hill
Ruth Bell
The late John Nigel Holman
The late Mr Geoffrey Francis Scharer
The late Prof. Janet Carr
Penelope Hughes
Leslie C Thiess
Sandra Cassell
The late Dr S W Jeffrey am
G.C. & R. Weir
The late Mrs Moya Crane
Estate of Pauline Marie Johnston
Margaret & Ron Wright
Mrs Sandra Dent
The late Mr Geoff Lee am oam
Mark Young
Leigh Emmett
Mrs Judy Lee
Anonymous (11) AUSTR ALIAN CHAM B ER ORCH ESTR A
29
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
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
SOLO $5,000 – $9,999
Bill Best Benjamin Brady
PATRON $500 – $4,999
Carla Zampatti Foundation
Michael Bennett & Patti Simpson PATRONS
Sally Collier
Leith & Darrel Conybeare
Michael Cowen & Sharon Nathani
VISIONARY $1m+
Dr Jane Cook
Marco D’Orsogna
Peter Weiss ao
Geoff & Denise Illing
Garry & Susan Farrell
Luana & Kelvin King
Gammell Family
Jane Kunstler
Edward Gilmartin
CONCERTO $200,000 – $499,999
John Landers & Linda Sweeny
Tom & Julie Goudkamp
Genevieve Lansell
Philip Hartog
Amina Belgiorno-Nettis
Bronwyn & Andrew Lumsden
Brendan Hopkins
Naomi Milgrom ao
Patricia McGregor
Angus & Sarah James
OCTET $100,000 – $199,999
Trevor Parkin
Daniel and Jacqueline Phillips
John Taberner
Elizabeth Pender
Ryan Cooper Family Foundation
Robyn Tamke
Andrew & Philippa Stevens
Anonymous (2)
Dr Lesley Treleaven
John Taberner
LEADER $500,000 – $999,999
QUARTET $50,000 – $99,999 John Leece am & Anne Leece
Ian Wallace & Kay Freedman
Anonymous
ACO G E N E R A L P U R P OS E PATRO N S John & Lynnly Chalk
Mike & Stephanie Hutchinson
Jeanne-Claude Strong
Paul & Roslyn Espie
Professor Anne Kelso ao
Dr Jason Wenderoth
Penelope Hughes
Douglas & Elisabeth Scott
Anonymous (1)
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AUSTR ALIAN CHAM B ER ORCH ESTR A
TR U STS & FO U N DATI O N S
Holmes à Court Family Foundation
The Neilson Foundation
The Ross Trust
ACO 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 SPECIAL COMMISSIONS PATRONS
THE REEF NEW YORK PRODUCERS’ SYNDICATE
MELBOURNE HEBREW CONGREGATION PATRONS
Peter & Cathy Aird
Executive Producers
Gerard Byrne & Donna O’Sullivan
Tony & Michelle Grist
LEAD PATRONS
Mirek Generowicz
Lead Producers
Peter & Valerie Gerrand
Danielle & Daniel Besen Foundation
G Graham
Jon & Caro Stewart Foundation
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
PATRONS Marc Besen ac & Eva Besen ao
Major Producers
Leo & Mina Fink Fund
Janet Holmes à Court ac
Drs Victor & Karen Wayne
Charlie & Olivia Lanchester Producers
THE GREAT SYNAGOGUE PATRONS
Steve Duchen & Polly Hemphill
CORPORATE PARTNERS
Steve Paridis
Adina Apartment Hotels
Peter Shorthouse
Meriton Group
Alden Toevs & Judi Wolf
PATRONS
Alison Reeve
ACO ACADEMY BRISBANE
David & Helen Baffsky
Augusta Supple
LEAD PATRONS
Leslie & Ginny Green
Dr Suzanne M Trist
Philip Bacon ao
The Narev Family
Team Schmoopy
Kay Bryan
Greg & Kathy Shand
Rebecca Zoppetti Laubi
Dr Ian Frazer ac & Mrs Caroline Frazer
Peter Weiss ao
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 Jan Bowen Bee & Brendan Hopkins Delysia Lawson Mike Thompson
Dr Edward Gray Wayne Kratzmann
CORPORATE PARTNERS
Bruce & Jocelyn Wolfe
Adina Apartment Hotels
PATRONS
Meriton Group
Andrew Clouston Michael Forrest & Angie Ryan Ian & Cass George Professor Peter Høj Helen McVay Shay O’Hara-Smith Brendan Ostwald Marie-Louise Theile Beverley Trivett
EMANUEL SYNAGOGUE PATRONS
LEAD PATRON The Narev Family PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips
AUSTR ALIAN CHAM B ER ORCH ESTR A
31
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 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 15 June 2015 PATRONS
Margie Seale & David Hardy
Lorraine Logan
Marc Besen ac & Eva Besen ao
Tony Shepherd ao
Macquarie Group Foundation
Janet Holmes à Court ac
Peter & Victoria Shorthouse
David Maloney & Erin Flaherty
EMERGING ARTISTS & EDUCATION PATRONS $10,000+
Anthony Strachan
Pam & Ian McDougall
John Taberner & Grant Lang
Brian & Helen McFadyen
Leslie C. Thiess
P J Miller
Mr Robert Albert ao & Mrs Libby Albert
Alden Toevs & Judi Wolf
The Myer Foundation
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Willy & Mimi Packer
David & Julia Turner
Elizabeth Pender
Australian Communities Foundation – Ballandry Fund
E Xipell
John Rickard
Peter Yates am & Susan Yates
Andrew Roberts
Daria & Michael Ball
Peter Young am & Susan Young
Paul Schoff & Stephanie Smee
Steven Bardy & Andrew Patterson
Anonymous (2)
Greg Shalit & Miriam Faine
Australian Communities Foundation – Annamila Fund
The Belalberi Foundation
DIRETTORE $5,000 – $9,999
Guido Belgiorno-Nettis am
The Abercrombie Family Foundation
Luca Belgiorno-Nettis am Andre Biet Leigh & Christina Birtles Liz Cacciottolo & Walter Lewin Rod Cameron & Margaret Gibbs Mark Carnegie Stephen & Jenny Charles The Cooper Foundation Rowena Danziger am & Ken Coles am Mark Delaney Ann Gamble Myer Daniel & Helen Gauchat Andrea Govaert & Wik Farwerck Dr Edward C. Gray Kimberley Holden Angus & Sarah James PJ Jopling am qc Miss Nancy Kimpton Bruce & Jenny Lane Andrew Low Anthony & Suzanne Maple-Brown Alf Moufarrige Jim & Averill Minto Louise & Martyn Myer Foundation Jennie & Ivor Orchard Bruce & Joy Reid Trust Mark & Anne Robertson 32
Geoff Ainsworth & Jo Featherstone Geoff Alder Bill & Marissa Best John & Lynnly Chalk Elizabeth Chernov Clockwork Theatre Inc
peckvonhartel architects
Joyce Sproat & Janet Cooke Jon & Caro Stewart Mary-Anne Sutherland John Vallance & Sydney Grammar School Geoff Weir Westpac Group Shemara Wikramanayake Cameron Williams Anonymous (8)
Andrew Clouston
MAESTRO $2,500 – $4,999
Victor & Chrissy Comino
Michael Ahrens
Leith & Darrel Conybeare David Craig Liz Dibbs
David & Rae Allen Ralph Ashton
Ellis Family
Will & Dorothy Bailey Charitable Gift
Bridget Faye am
Brad Banducci
Ian & Caroline Frazer
Doug & Alison Battersby
Chris & Tony Froggatt
The Beeren Foundation
David Friedlander
Berg Family Foundation
Kay Giorgetta
Rosemary & Julian Block
Tony & Michelle Grist
Neil & Jane Burley
Liz Harbison
Gilbert Burton
Kerry Harmanis
Arthur & Prue Charles
Annie Hawker
Kathryn Chiba
Fraser Hopkins
Caroline & Robert Clemente
Dr Wendy Hughes
Alan Fraser Cooper
I Kallinikos
Robert & Jeanette Corney
Keith & Maureen Kerridge
Judy Crawford
AUSTR ALIAN CHAM B ER ORCH ESTR A
Dee de Bruyn
Barry Batson
Stephanie & Mike Hutchinson
Kate & Daryl Dixon
Ruth Bell
Colin Isaac & Jenni Seton
Anne & Thomas Dowling
Justice Annabelle Bennett ao
Phillip Isaacs oam
Suellen Enestrom
Virginia Berger
Will & Chrissie Jephcott
Euroz Securities Limited
Brian Bothwell
Brian Jones
Jane & Richard Freudenstein
Jan Bowen
Bronwen L Jones
Tom Goudkamp oam
Michael & Tina Brand
Josephine Key & Ian Breden
Megan Grace
Vicki Brooke
In memory of Graham Lang
Maurice Green am & Christina Green
Diana Brookes
Genevieve Lansell
Dr Catherine Brown-Watt psm
Mrs Judy Lee
Warren Green
Jasmine Branner
Airdrie Lloyd
Nereda Hanlon & Michael Hanlon am
Sally Bufé
Robin & Peter Lumley
Ivan Camens
Diana Lungren
Ray Carless & Jill Keyte
Greg & Jan Marsh
James Carnegie
Massel Australia Pty Ltd
Roslyn Carter
Julianne Maxwell
Andrew Chamberlain
Kevin & Deidre McCann
Carolyn Kay & Simon Swaney
Julia Champtaloup & Andrew Rothery
Brian & Helen McFadyen
John Kench
K. Chisholm
Julia Pincus & Ian Learmonth
J A McKernan
Peter Clifton
The Alexandra & Lloyd Martin Family Foundation
Diana McLaurin
Angela and John Compton
Phil & Helen Meddings
Laurie & Julie Ann Cox
Roslyn Morgan
Carol & Andrew Crawford
Suzanne Morgan
Judith Crompton
Glenn Murcutt ao
Ian Davis
Baillieu Myer ac
Michael & Wendy Davis
Dennis & Fairlie Nassau
Stephen Davis
Nola Nettheim
Defiance Gallery
Anthony Niardone
Martin Dolan
Paul O’Donnell
Dr William F Downey
Ilse O’Reilly
Emeritus Professor Dexter Dunphy am
James & Leo Ostroburski
Leigh Emmett
Prof David Penington ac
Peter Evans
Mrs Tiffany Rensen
Julie Ewington
Dr S M Richards am & Mrs M R Richards
Gavin & Christine Holman Simon & Katrina Holmes à Court Mark Johnson Ros Johnson John Karkar qc
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 Petrina Slaytor Andrew Strauss John & Josephine Strutt David Thomas oam Peter Tonagh Ralph Ward-Ambler am & Barbara Ward-Ambler
Ian & Pam McGaw
Anne & Christopher Page
Ian Fenwicke & Prof. Neville Wills Bill Fleming
Warwick & Jeanette Richmond In memory of Andrew Richmond
Elizabeth Flynn
Josephine Ridge
Don & Marie Forrest
David & Gillian Ritchie
Anne & Justin Gardener
Roadshow Entertainment
Matthew Gilmour
Em. Prof. A. W. Roberts am
Jennifer Aaron
Colin Golvan qc
J. Sanderson
AJ Ackermann
Fay Grear
In memory of H. St. P. Scarlett
Aberfoyle Partners
Kathryn Greiner ao
Lucille Seale
Alceon Group
In memory of José Gutierrez
Gideon & Barbara Shaw
Annette Adair
Gail Harris
Dr Margaret Sheridan
Michael & Margaret Ahrens
Bettina Hemmes
Diana & Brian Snape am
Antoinette Albert
Reg Hobbs & Louise Carbines
Maria Sola
Jane Allen
Michael Horsburgh am & Beverley Horsburgh
Dr P & Mrs D Southwell-Keely Geoffrey Stirton & Patricia Lowe
Samantha Baillieu
Monique D’Arcy Irvine & Anthony Hourigan
Adrienne Basser
Penelope Hughes
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Anonymous (20)
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AUSTR ALIAN CHAM B ER ORCH ESTR A
Sally Willis
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 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 Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford
Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel
Ms Jan Minchin Director, Tolarno Galleries
Mr Richard Freudenstein Chief Executive Officer, FOXTEL
Mr Alf Moufarrige Chief Executive Officer, Servcorp
Ms Ann Gamble Myer
Libby Nutt GM Global Sales & Marketing, Peter Lehmann Wines
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 Mr & Mrs Simon & Katrina Holmes à Court Observant
Mr Jim & Mrs Averill Minto
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 Paul Sumner Director, Mossgreen Pty Ltd Mr Mitsuyuki (Mike) Takada Managing Director & CEO, Mitsubishi Australia Ltd
Mr David Evans Executive Chairman, Evans & Partners
Mr John Kench Chairman, Johnson Winter & Slattery Ms Catherine Livingstone ao Chairman, Telstra
The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao
Mr Andrew Low
Mr David & Mrs Julia Turner
Dr Bob Every ao Chairman, Wesfarmers
Mr David Mathlin
Rowena Danziger am & Kenneth G. Coles am
Ms Tracey Fellows Chief Executive Officer, REA Group Mr Bruce Fink Executive Chairman, Executive Channel Network
Ms Vanessa Wallace & Mr Alan Liddle
Ms Julianne Maxwell Mr Michael Maxwell Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank Ms Naomi Milgrom ao
Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd Mr Peter Young am & Mrs Susan Young
ACO N E 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 Este Darin-Cooper & Chris Burgess Catherine & Sean Denney Alexandra Gill Rebecca Gilsenan & Grant Marjoribanks Adrian Giuffre & Monica Ion
Aaron Levine Royston Lim William Manning Rachael McVean Barry Mowzsowski Nicole Pedler Michael Radovnikovic
Louise & Andrew Sharpe Michael Southwell Joanna Walton & Alex Phoon Nina Walton & Zeb Rice Peter Wilson & James Emmett
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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
Peter Yates am (Chair) Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd
John Taberner (Chair)
Debbie Brady
Sandra Ferman Fay Geddes
Bill Best
Paul Cochrane Investment Advisor, Bell Potter Securities
Maggie Drummond
Ann Gamble-Myer
Lisa Kench
Tony Gill
Colin Golvan qc
Andrea Govaert
Shelley Meagher Director, Do it on the Roof
Catherine Powell
James Ostroburski Director, Grimsey Wealth
Lynne Testoni
Jennie Orchard
Joanna Szabo
Judi Wolf
Tony O’Sullivan
Simon Thornton Partner, McKinsey & Co.
BRISBANE
Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings
John Kench Chairman, Johnson Winter & Slattery
Peter Shorthouse Client Advisor, UBS Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton
DISABILITY ADVISORY COMMITTEE
SYDNEY Lillian Armitage Judy Anne Edwards
Julie Goudkamp Elizabeth Harbison Julianne Maxwell Elizabeth McDonald Nicola Sinclair Liz Williams
Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer
Amanda Tink Independent Consultant, Amanda Tink Consultancy
Cass George
Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts
Helen McVay
Edward Gray Wayne Kratzmann 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
FOUNDING PARTNER
NATIONAL TOUR PARTNERS
FOUNDING PARTNER: ACO VIRTUAL
CONCERT AND SERIES PARTNERS
OFFICIAL PARTNERS
ASSOCIATE PARTNER: ACO VIRTUAL
MEDIA PARTNERS
PERTH SERIES AND WA REGIONAL TOUR PARTNER
EVENT PARTNERS
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ACO N E WS
Chairman’s Council and Major Patrons’ Lunch at Jonah’s
On Friday 17 July, Jonah’s Restaurant and Boutique Hotel at Whale Beach very generously allowed the ACO to take over their restaurant for our Sydney Chairman’s Council and Major Patrons’ lunch. ACO Director John Borghetti welcomed guests before they were treated to a very special performance by Satu Vänskä, Glenn Christensen, Nicole Divall and Julian Thompson, featuring the music of Mozart, Mendelssohn and Tchaikovsky, chosen to match the stunning scenery. Following the performance, guests were treated to a sumptuous three-course lunch prepared by Jonah’s Executive, Chef Logan Campbell. Our thanks to Jonah’s Proprietor Peter Montgomery and his wonderful team for their warm hospitality, and to Relais and Chateaux, Peter Lehmann Wines, Langton’s, and Poho Flowers for their support of the event.
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PICTURED (Facing page): TOP: The magnificent view from Jonah’s CENTRE LEFT: John Borghetti BELOW LEFT: Karen Goldhawk, Matthew Byrne, Victoria Shorthouse BELOW RIGHT: Deborah Kennett, Teresa Biet PICTURED (This page): RIGHT: John Borghetti, Paris Neilson, Judy Crawford, Robin Crawford BELOW: Daniel Gauchat, Helen Gauchat, Tony Froggatt BELOW RIGHT: Dennis Cooper, Tricia Bell, Ian Lansdown, Jennifer Darin BOTTOM: Satu Vänskä, Glenn Christensen, Nicole Divall, Julian Thompson
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ACO N E WS
Family Fun Day
ABOVE: Aiko Goto, Lucy Turnbull ao, Jack Brown and Malcolm Turnbull mp ABOVE RIGHT: Lilly Harbison BELOW: Samuel Levine BOTTOM: Jesse Joye and Joseph Bisits BELOW RIGHT: An appreciative audience BOTTOM RIGHT: Zachary and Cy Sherman
We had so much fun at our annual Family Day, a special thank you event for major supporters of the ACO’s National Education Program. As well as balloons, fairy bread, dancing and conducting by some very small maestros, the ACO, led by Mark Ingwersen, played Bartók, Tchaikovsky and Vivaldi, with Joseph Bisits and Julian Thompson delighting children and adults alike with pieces from Saint-Saëns’ The Carnival of the Animals.
Photos: Fiora Sacco
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ACO Academy and MOVE Workshops In the July school holidays, our flagship ACO Academy program brought 22 of the best school-aged string players from across the country to Sydney to participate in an intensive week of workshops with ACO musicians and musicians from our ACO Emerging Artists’ Program. The students worked in small chamber music groups and as a large chamber orchestra with the program culminating in a spectacular public performance at City Recital Hall, Angel Place.
Aiko Goto works with students at the 2015 ACO Academy in Sydney. Photos: Jamie Williams Photography
July also saw the completion of the 2015 ACO MOVE program. As part of our commitment to developing inclusive initiatives, the ACO developed a series of integrated movement and music classes for young adults with disability. These sessions, led by facilitator Dean Watson, provided the 11 participants with the opportunity to engage with ACO musicians to create their own personal movement responses to music.
ABOVE: Crescendo conducting ACO MOVE musicians. LEFT: ACO MOVE becomes an ensemble. Photos: Patrick Boland
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FIND YOUR ART The best in fine music performance every weeknight at 8.30 PM AEST Anne-Sophie Mutter and the Camerata Academica Salzburg perform Mozart’s Violin Concerto No.1
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