Brahms 3 & Mozart Sinfonia Concertante Program

#ACO15

NATIONAL TOU R PARTN ER

PRINCIPAL PARTN ER

“Life is a sort of splendid torch which I have got hold of for the moment, and I want to make it burn as brightly as possible before handing it on to future generations.�

GEORGE BERNARD SHAW

Give the gift of music and make sure that the ACO plays on for future generations.

For more information on our Continuo Circle and remembering the ACO in your will, please contact Jill Colvin on (02) 8274 3835 or jill.colvin@aco.com.au aco.com.au

V I V A L D I S P R I N G

Wa t c h

Vivaldi’s Travelator a t

youtube.com/virginaustralia

Principal Partner of the

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)

BOOK NOW

Premium package $160 (includes drinks and canapés with Richard Tognetti and the ACO musicians following the performance) • A Reserve $110 • B Reserve $85 Book at www.emanuel.org.au/ACO • Enquiries aco@emanuel.org.au / 02 9389 6444 Lead Patron The Narev Family

Corporate Partners Adina Apartment Hotels Meriton Group

Patrons David Gonski AC Leslie and Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

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

NATIONAL TOUR & FOUNDING PARTNER

BOOK TICKETS ACO.COM.AU | 1800 444 444 /AustralianChamberOrchestra

@A_C_O

@austchamberorchestra #ACO15

PRE OR POST THEATRE DINING FROM

$16.50

Choose from: Mac & Cheese with Four Cheeses; Pecorino, Parmigiano, Goats Cheese and Mozzarella Mac & Cheese with Italian Sausage, Mushroom and Two Cheeses; Pecorino and Parmigiano

FULL MENU AVAILABLE FOR LUNCH AND DINNER FROM GPO CHEESE & WINE ROOM PHONE: +61 2 9229 7701 or BOOK ONLINE: www.gpogrand.com ADDRESS: Lower Ground Floor, No. 1 Martin Place, Sydney OPENING HOURS: Mon-Fri 12pm-3pm, Tue-Sat 6pm-10pm

www.gpogrand.com

/ GPOCheeseAndWineRoom

@gpogrand

SKI ASPEN SNOWMASS SKI 30

SKI30 ASPEN SNOWMASS Adults US$630* Kids (7-12) US$315*

Valid for up to 30 consecutive days – 1 Jan to 17 Apr 2016. Four Great Mountains!

PLUS receive bonus 30% discount on 7+ Days Lessons and/or Equipment Rental!

NEW – Includes 2 free days skiing Thredbo** *Converted at current exchange rate (at 2 July Adults AU$792 Children AU$379). Purchase by 30 Aug 2015. Must be booked through Travelplan Ski in conjunction with minimum 7 nights stay at participating properties (with discounts of up to 40%). Other conditions apply. **2015 season. Conditions apply.

KIDS SKI FREE with Rental Purchase

Up to 40% Off Luxury Aspen Hotels & Apartments The world’s

s 2016 best ski holiday

E JAPAN EUROP USA CANADA CMH Heli-Skiing

Steins Group Ski

Tours Ski Improvement

Contact us for a FREE World’s Best Ski Holidays brochure

Call 1300 754 754

BOOK NOW for great fares to Colorado with Qantas!

TPN3334

email ski@travelplan.com.au visit www.travelplan.com.au

Offices in Sydney and Melbourne. ATAS Accreditation No: A10479.

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.

CBSE0369-1 ACO 120x150.indd 1

19/06/2015 2:19 pm

The ACO trusts its events to Katering - why don’t you?

Providing a complete service in hospitality: one call • one contact • one manager to organise the entire event From weddings, birthdays and corporate functions to intimate dinner parties at home ACO Chairman’s Council Cocktail Party

info@katering.com.au (02) 9319 2700 www.katering.com.au

From the boardroom to the concert hall, we suppor t outstanding performance

Sydney | Perth | Melbourne | Brisbane | Adelaide jws.com.au

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

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.

NATIONAL TOUR PARTNER

John Kench Chairman Johnson Winter & Slattery AUSTR ALIAN CHAM B ER ORCH ESTR A

9

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.

10

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

11

SUBSCRIPTIONS OPEN TUESDAY 18 AUGUST 9AM Subscribe by Monday 21 September 2015 and enter into the draw* to win a trip for two to the Vasse Felix Festival in December 2016. *

Terms & conditions at aco.com.au

BOOK SUBSCRIPTION ACO.COM.AU | 1800 444 444 (NO BOOKING FEE)

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.

AUSTR ALIAN CHAM B ER ORCH ESTR A

13

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

15

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

16

AUSTR ALIAN CHAM B ER ORCH ESTR A

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

17

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,

18

AUSTR ALIAN CHAM B ER ORCH ESTR A

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

19

“… 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

20

AUSTR ALIAN CHAM B ER ORCH ESTR A

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.

AUSTR ALIAN CHAM B ER ORCH ESTR A

21

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.

22

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.

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

23

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

24

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.

This is a PLAYBILL / SHOWBILL publication.

Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published.

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Chairman & Advertising Director Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager — Production — Classical Music Alan Ziegler

Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at print@playbill.com.au for a quote on your printing work.

OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand — Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: PO Box 112187, Penrose, Auckland 1642; Mt Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799, Fax (852) 2891 1618. Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2 – E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889, Fax (60 3) 7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088, Fax (65) 6333 9690. South Africa: Playbill (South Africa) (Proprietary) Limited, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details.

ACO–156 — 17622 — 1/160815

28

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)

30

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

Magellan Logistics Pty Ltd

Simon Whiston Anna & Mark Yates Anonymous (4) VIRTUOSO $1,000 – $2,499

Matt Allen Philip Bacon am

Elizabeth Finnegan

Keith Spence Dr Charles Su & Dr Emily Lo

AUSTR ALIAN CHAM B ER ORCH ESTR A

33

Victoria Taylor

M T & R L Elford

Jane Tham & Philip Maxwell

Christine Evans

Greg Lindsay ao & Jenny Lindsay

Robert & Kyrenia Thomas

Eddy Goldsmith & Jennifer Feller

Megan Lowe

Anne Tonkin

Penelope & Susan Field

Dr & Mrs Donald Maxwell

Ngaire Turner

Jean Finnegan & Peter Kerr

H E McGlashan

Kay Vernon

Michael Fogarty

Suzanne Mellor

Rebecca & Neil Warburton

Brian Goddard

Tempe Merewether

Marion W Wells

I Merrick

Barbara Wilby

George H. Golvan qc & Naomi Golvan

Gillian Woodhouse

Prof Ian & Dr Ruth Gough

John Mitchell

Nick & Jo Wormald

Arnoud Govaert

Cameron Moore & Cate Nagy

Harley Wright & Alida Stanley

Grandfather’s Axe

John K Morgan

Don & Mary Ann Yeats am

Katrina Groshinski & John Lyons

Simon Morris & Sonia Wechsler

William Yuille

Annette Gross

Julie Moses

Rebecca Zoppetti Laubi

Lesley Harland

Elizabeth Manning Murphy

Anonymous (20)

Alan Hauserman & Janet Nash

Dr G Nelson

Gaye Headlam

J Norman

Peter Hearl

Graham North

Kingsley Herbert

Robin Offler

Rita Avdiev

Dr Penny Herbert in memory of Dunstan Herbert

Leslie Parsonage

A. & M. Barnes

Lachie Hill

Tessa Barnett

Marian Hill

Robin Pease

Robin Beech

Sue & David Hobbs

Elizabeth Bolton

Geoff Hogbin

In memory of Peter Boros

How to Impact Pty Ltd

C Bower

Peter & Ann Hollingworth

Denise Braggett

Pam & Bill Hughes

The Hon. Catherine Branson & Dr Alan Down

Prof Angela Hull ao

CONCERTINO $500 – $999 Mrs C A Allfrey Elsa Atkin am

Mrs Pat Burke Hugh Burton-Taylor Lynda Campbell Heather Carmody

Dr & Mrs Michael Hunter Mary Ibrahim Dr Vernon & Mrs Margaret Ireland

Helen Carrig & Ian Carrig oam

Dr Robert & Mrs Margaret Jackson

J. M. Carvell

Dr Anne James & Dr Cary James

Nada Chami

Owen James

Fred & Angela Chaney Fred & Jody Chaney

Barry Johnson & Davina Johnson oam

Colleen & Michael Chesterman

Caroline Jones

Richard & Elizabeth Chisholm

Mrs Angela Karpin

Stephen Chivers

Bruce & Natalie Kellett

Olivier Chretien

Professor Anne Kelso ao

ClearFresh Water

Graham Kemp & Heather Nobbs

Warren & Linda Coli

Josephine Key & Ian Breden

Sally Collier

Karin Kobelentz & Miguel Wustermann

P. Cornwall & C. Rice Annabel Crabb Sam Crawford Architects Marie Dalziel Jill Davies Mari Davis Dr Christopher Dibden Kath & Geoff Donohue In memory of Raymond Dudley 34

Wendy Kozica & David O’Callaghan qc

David & Sandy Libling

Louise Miller

Deborah Pearson Michael Peck Kevin Phillips Bernard Hanlon & Rhana Pike Rosie Pilat GV Pincus Michael Power Beverly & Ian Pryer Angela Roberts GM & BC Robins Mrs J Royle Garry Scarf & Morgie Blaxill Boris & Jane Schlensky Berek Segan obe am & Marysia Segan John C Sheahan qc Andrew & Rhonda Shelton Sherborne Consulting Florine Simon Roger & Ann Smith-Johnstone Mary Stephen Professor Fiona Stweart Judy Ann Stewart In memory of Dr Aubrey Sweet Barbara Symons Gabrielle Tagg Arlene Tansey

Ms Sarah R Lambert

David & Judy Taylor

Prof Kerry A Landman

Barrie & Jillian Thompson

Philip Lawe Davies

Matthew Toohey

TFW See & Lee Chartered Accountants

G C & R Weir

Wayne & Irene Lemish

Anonymous (24)

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

35

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

36

AUSTR ALIAN CHAM B ER ORCH ESTR A

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

37

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.

38

AUSTR ALIAN CHAM B ER ORCH ESTR A

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

39

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

40

AUSTR ALIAN CHAM B ER ORCH ESTR A

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

AUSTR ALIAN CHAM B ER ORCH ESTR A

41

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

foxtelarts.com.au

Share the gift of exquisite wine this Father’s Day from one generation to another.

Classified Outstanding for over a decade

Proud wine partner of

peterlehmannwines.com