Olli Mustonen, Bach & Shostakovich Program

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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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The Australian Chamber Orchestra represents pure collaboration – a group of world-class musicians working as one to create a seamless performance. Under the incredible artistic direction of Richard Tognetti, the orchestra constantly innovates to ensure it stays on the creative edge.

IBM is delighted to be a part of this experience and proud to be the National Tour Partner for the Olli Mustonen, Bach & Shostakovich Tour, where you will be enthralled with Mustonen’s excellence as a virtuosic pianist, conductor and composer. Collaboration, innovation, creativity and excellence – these are the qualities that IBM values.

The ACO represents an outstanding model to which Australia’s business community can aspire. It is with great pride that we present these special performances.

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To celebrate his 25 years at the helm of the ACO, Richard Tognetti directs the Orchestra in a triumphant performance of Mozart’s last symphonic masterworks.

MOZART Symphony No.39 MOZART Symphony No.40 MOZART Symphony No.41, ‘Jupiter’

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MESSAGE FROM THE GENER AL MANAGER With the return of Olli Mustonen for this national tour, the ACO welcomes back a friend and musical partner of more than two decades’ standing. We last performed with Olli in the US in March 2014, when he was our soloist in Shostakovich’s Piano Concerto No.1 in Orchestra Hall, Chicago.

This visit is very different indeed, for not only is Olli the piano soloist in two major and highly contrasting works (Bach and Hindemith), but we also get to hear this prodigiously talented musician as composer and conductor in the world premiere of his Sonata for Cello and Chamber Orchestra.

Another friendship which stretches back several decades (in this case, more than three) is the ACO’s sponsorship with IBM. As the ACO celebrates its 40th anniversary this year, we salute IBM for being with us for almost our entire history. IBM’s faith in the ACO’s vision has made it possible for the Orchestra to become the national and international institution it is today, and we are profoundly grateful for what has been one of the longest sponsorships in Australian performing arts history.

When we launched our 2016 season a few weeks ago, we also announced some exciting new developments for our Emerging Artists and Regional Touring ensemble, AcO2. This outstanding collection of the finest young string players in the country has certainly come of age, and from 2016 not only will it have a new name – ACO Collective – but also its own Artistic Director in the brilliant Finnish violinist Pekka Kuusisto. Pekka and ACO Collective will open our 2016 national subscription season in February with a wildly expansive program, typical of this extraordinary musician’s diverse musical interests.

I hope you will find many programs and artists of great interest in our 2016 season, and that you will secure your seats without delay.

Timothy Calnin General Manager

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OLLI MUSTONEN, BACH & SHOSTAKOVICH Olli Mustonen Conductor & Piano Arvid Engegård Lead Violin Timo-Veikko Valve Cello JS BACH Concerto for Keyboard No.3 in D major, BWV1054 HINDEMITH The Four Temperaments INTERVAL OLLI MUSTONEN Sonata for Cello & Orchestra (World Premiere) SHOSTAKOVICH (arr. Timo-Veikko Valve) String Quartet No.9 in E-flat major, Op.117

Approximate durations (minutes): 15 – 25 – INTERVAL – 15 – 27 The concert will last approximately one hour and 50 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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WHAT YOU ARE ABOUT TO HE AR This tour heralds the world premiere of Olli Mustonen’s Sonata for Cello and Chamber Orchestra. Composed in 2006 and written originally for cello and piano, the work was dedicated to the great Austrian cellist Heinrich Schiff. This work was first performed by Daniel Müller-Schott (a frequent ACO collaborator), and has since been performed many times by another long-time friend and ACO guest artist Steven Isserlis.

Isserlis has said of Mustonen’s Cello Sonata: ‘[It] feels very natural, but Olli’s music is difficult to categorise. It’s certainly tonal and essentially Finnish, in that there’s a strong element that’s influenced by the Finnish folk singers he heard when he was growing up, and that’s also inspired by the landscape of Finland. You can hear the impact of Sibelius on his musical language, but he’s also greatly influenced by Bach and Beethoven.

His music is rooted in the past, but it’s also original and fresh.’

Our very own Principal Cello and fellow Finn, Timo-Veikko ‘Tipi’ Valve, will premiere the Sonata in its new configuration for solo cello and chamber orchestra. Tipi declares Mustonen ‘one of the most interesting composers of our time’, an opinion echoed worldwide by the overwhelming number of performances, reviews and recordings of his works.

PICTURED: Olli Mustonen Photo by Outi Törmälä

But we will not only hear Olli Mustonen the composer. We will hear him as pianist performing one of his signature pieces, Paul Hindemith’s The Four Temperaments. As you will read in the program notes that follow, Hindemith’s music is all too often dismissed as being dry, difficult to navigate, academic and inaccessible. But there is so much more to this man and his extraordinary range of compositions. In his book A Composer’s World, Hindemith says, ‘We must be grateful that with our art we have been placed halfway between science and religion, enjoying the advantages of exactitude in thinking … and of the unlimited world of faith.’

Hindemith wrote the music to accompany the opening program for the inaugural season of Ballet Society (which was to go on to become the New York City Ballet), choreographed by the great George Balanchine. The music starts with a brief introductory theme followed by four variations. There is nothing dry, difficult or academic about this music; rather, it is lush, and, on occasion, even bluesy.

Rounding out this program are works by two of the giants of composition: Johann Sebastian Bach (Concerto for Keyboard in D major, BWV1054, with Olli once again at the piano) and

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“I really love the word ‘musician’.

For me it means to be a composer, pianist, conductor, and teacher.”

OLLI MUSTONEN

PICTURED: Aurora Borealis, Northern Finland

Dmitri Shostakovich (String Quartet No.9 in E-flat major). In an interview with Peter Schlueer in Klassik Heute, Olli said of these great composers: ‘To me they are like two giant mountain peaks. There are of course major elements of contrast between two composers from such different eras and countries, but at this enormous level of genius the similarities between them ultimately are greater than the similarities they each share with their respective contemporaries, despite the centuries dividing the two: If in spirit you put yourself on top of a mountain peak in the Himalayas, and simultaneously another one in the Andes, then the differences of what happens in each of the valleys at sea level are huge. They are different worlds. But if you are on the mountain tops at 29,000 feet, then you experience two very similar white worlds of ice and snow.’

This program celebrates all facets of music-making, be it writing, playing, directing, informing. In the same interview with Peter Schlueer, Olli summed it up perfectly: ‘I really love the word “musician”. For me it means to be a composer, pianist, conductor, and teacher.’

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ABOUT THE MUSIC CONCERTO FOR KEYBOARD IN D MAJOR, BWV1054 (Composed 1733) I. [Allegro] II. Adagio e piano sempre III. Allegro JS BACH Born Eisenach 1685 Died Leipzig 1750 Bach had been in Leipzig for ten years when he began as director of the Collegium Musicum, a concert organisation that had been established by Georg Philipp Telemann, whilst a university student, back in 1702. The Collegium brought together the music lovers of Leipzig’s bourgeoisie and the town’s (mostly) student musicians in an activity of music-making that occupied a stratum between the music performed in church and that of the prince’s court.

PICTURED: Johann Sebastian Bach

For Bach, the Collegium was a side activity to his official duties as Kantor of the Thomaskirche. But it also gave him a chance to cultivate relationships with local musicians and to explore a range of wider musical interests. Bach programmed pieces by influential names on the Baroque ‘scene’ like Handel, Locatelli, Porpora and Alessandro Scarlatti, as well as lesser known ones such as his second cousin, Johann Bernhard Bach. And of course he wrote music for the concerts too: the secular cantatas with their lighthearted commentary on contemporary morals and manners, and a series of instrumental sonatas, concertos and suites.

The Collegium’s concerts were given in Zimmermann’s Coffeehouse, or, in summer, outdoors in their coffee garden.

In 1733, the Leipzig newspapers announced that a new ‘clavicymbel’ had been acquired and would be featured in the forthcoming summer concert series. The name could describe a number of types and makes of keyboard instrument then under development, but Bach’s biographer Christoph Wolff speculates that the announcement referred to a new and more powerful type of harpsichord – one that could be heard amongst a group of instruments playing outdoors.

This conjures an image we might not associate with Bach: society ladies and gentlemen in the open air sipping from demitasses while the orchestra plays. The kind of place where dance tunes would be more welcome than fugues. Which perhaps just goes to show that Bach appreciated the value of music as entertainment as much as an art.

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The acquisition of the new harpsichord led Bach to start thinking about how to show it off. Harpsichord features prominently among the concertos he wrote for the Collegium Musicum – not only as a solo instrument, but in works for two, three and four harpsichords as well.

Like many of the pieces created for the Collegium concerts, the Concerto in D major is an arrangement of a piece Bach had brought in his suitcase from his previous job in the small principality of Cöthen. The Violin Concerto in E major had been written (or so it is presumed) for the court orchestra there, and years later in Leipzig, Bach dug out the piece to use it as the model for a keyboard version, tweaking it a bit (bringing the whole thing down a tone) to suit the instrument.

PICTURED: The Collegium Musicum’s concerts were given in Zimmermann’s Coffeehouse in Leipzig.

The concerto begins with the statement of a triad, the building block of tonal harmony, which recurs as a kind of talisman throughout the first movement as it traverses the paths of conventional baroque musical development, venturing into other keys but never too far from the base tonality. The second movement is built upon a ground bass, sometimes characterised as a lament, though that might be ascribing too much emotional weight to it. A favoured method of baroque composition, the ground bass consists of a broadly repeated bass-line progression that provides underpinning for melodic elaborations above (often likened to an aria), with harmony acting as mortar to bind it all together. The contemplative mood is swept aside with an upbeat dance in the third movement to bring about a happy conclusion.

PICTURED: Bach’s Concerto No.3 manuscript 17

THE FOUR TEMPERAMENTS (Composed 1940) Theme Variation 1: Variation 2: Variation 3: Variation 4:

Melancholic Sanguine Phlegmatic Choleric

PAUL HINDEMITH Born Hanau 1895 Died Frankfurt 1963 The first thing one must do when Hindemith appears on a concert program is set about trying to persuade listeners it’s not going to be as bad as they think! Poor Hindemith suffers from an off-putting reputation for dry, academic note-spinning that is not wholly deserved. The best antidote for this misconception is to listen to some of Hindemith’s youthful music – such as Ragtime, or his scandalous opera Mörder, Hoffnung der Frauen (Murderer, Hope of Women), or Kammermusik No.1 – which shows his more vivacious, brash and épater la bourgeoisie side.

After these youthful outbursts, however, Hindemith’s aspiration as an artist turned towards lyrical beauty and exaltation.

He gradually modified his exuberance in reaction to the events of the world around him: the Great War, the demise of the Weimar Republic and the rise of the Nazis caused him to rethink the role of the musical creator. Delving into the writings of ancient philosophers like St Augustine and Boethius and the lives of the Medieval artist Matthias Grunewald and Renaissance astronomer Johannes Kepler, Hindemith searched for an understanding of the artist’s role that went beyond passing fashions and sought to regain music’s genuine moral power.

Beneath the notes of The Four Temperaments, there flows a deep river of philosophical, historical, religious and ethical thought. The piece takes inspiration from several sources of ancient influence, which combine in no very scientific or systematic way.

The most obvious of these harks back to the Greek physician Hippocrates (460–370 BC), the ‘father of medicine,’ who formulated the theory of the bodily temperaments, whereby liquids flowing through the body are linked to particular states of human character: an excess of black bile indicates melancholy (a reflective and inward state), blood induces a sanguine (outgoing and confident) nature, phlegm makes you relaxed and peaceful while yellow bile is the source of choleric grumpiness. The formulation simply gave Hindemith a loose bunch of moods that could be applied to the structural 18

PICTURED: Paul Hindemith

outline of a set of variations on a theme, and the correlation to Hippocrates really goes no further than that.

A more seminal ‘ancient’ influence on The Four Temperaments comes from the composer’s interest in Medieval and Renaissance art, in this case Peter Breughel (1525–1569), the painter of peasant life. Hindemith had earlier enjoyed a great success with his sublime score for a ballet by Léonide Massine inspired

by St Francis of Assisi and the frescoes of Giotto (Nobilissima Visione, 1938). A ballet on Breughel was intended as a follow up, but the piece’s genesis was interrupted by the complications in Hindemith’s life: his flight from Nazi Germany, settlement in America and disagreements with Massine. Eventually The Four Temperaments came into the world in 1944 as a piano concerto, performed by the Boston Symphony Orchestra, before achieving its realisation as a ballet, choreographed by George Balanchine, two years later – and bearing no trace of the Breughel theme anymore.

So we needn’t listen for any literal correlation to the character of the temperaments (while feeling for our bile ducts), or 19

“Music … will always take its departure from the major triad and return to it.”

PAUL HINDEMITH

PICTURED: Pieter Bruegel the Elder: The Painter and the Buyer, 1565 – thought to be a self-portrait of the artist.

musical correspondences with Breughel. These thematic influences have been subsumed within Hindemith’s purely musical invention, leaving us with an abstract realisation of his philosophy of musical craftsmanship in the service of what we may aptly call lyrical humanism. The visual counterpart to Hindemith’s aesthetic is found in Balanchine’s 1946 ballet, which takes each of the general moods described in Hindemith’s four variations as the basis for an unadorned choreographic meditation that expresses feeling through the poetry of muscular movement alone, perfectly matching Hindemith’s musical poetics.

Hindemith’s style is usually placed under the category of neo-classicism, but Terry Teachout, writing for the journal Commentary, prefers to view this music as ‘tonal modernism,’ a name that better conveys the sense that Hindemith’s music does not lack a modern sound or sense of musical adventure.

It’s the alternative strand of modernism, for while we usually associate the 20th-century impetus for innovation with the atonality of Schoenberg and Webern, Teachout suggests that composers who worked with the means of the tonal system were equally capable of creating vigorous and exciting new music. Hindemith himself believed that ‘Music … will always take its departure from the major triad and return to it,’ but within that limitation, the opportunities for invention and expression exerted an endless inspiration for him.

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SONATA FOR CELLO AND CHAMBER ORCHESTRA (Composed 2015) I. Misterioso II. Andantino III. Precipitato IV. Con visione OLLI MUSTONEN Born Helsinki 1967 Olli Mustonen’s music has attracted all the labels that tonal composers usually have plastered upon them, at various times being classified as neo-baroque, neo-classical and neo-romantic! But these attempts to fit him to a convenient category miss the point altogether: Mustonen’s motivation to compose stems from a desire to make connections – with the musicians who perform his music, the audiences who hear it and with the great tradition of composers of the past.

PICTURED: Olli Mustonen Photo by Outi Törmälä

Mustonen’s personal sense of this tradition extends – like a ‘red cord’ – from the central inspiration of JS Bach, whose artistic mastery of contrapuntal invention has given impetus to innumerable creative musicians over centuries. This compelling force attracts Mustonen to composers such as Hindemith, Stravinsky and Shostakovich, with whom he shares an appreciation of the continuing power, and seemingly endless capacity for renewal, of tonality and the polyphonic tradition.

Between such figures, with their vivid contrasts of personality and style, a sense of unity may be found, expressed in a conversation in which each composer draws in elements of contemporary style and expression, but never conceals or discards a deep feeling for the endless fascination of tonality.

To this tradition, Mustonen brings a sensibility that is born from his ‘very Finnish’ personal identity. Finland’s natural world, language and culture provide Mustonen with his sense of place – deeply connected with nature’s presence but at the same time relishing the comforts and pleasures of community.

Finns feel ‘surrounded by wilderness, but also not far from the settled world,’ and in this sense we Australians may feel a recognition too, surrounded as we are by a vast wilderness, but clinging to the comforts and security of our urban environment.

The cellist Steven Isserlis describes the Cello Sonata in terms derived from Finland’s landscape – as an imagined narrative of passing clouds and thunderstorms, bells that sound out across the valleys, and the diurnal activity of ‘little animals.’

Mustonen himself places the emphasis upon the sense of spiritual quest that he sees as integral to music’s uplifting power. ‘Even a good concert can leave you untouched,’ he comments. ‘To become memorable, I feel it should strive for 21

“Even a good concert can leave you untouched … to become memorable, it should strive for an experience of transformation…” OLLI MUSTONEN an experience of transformation, the feeling that you have been taken to another world.’ A musical work must undertake a search for something beyond – an experience, a moment of ecstatic revelation or feeling.

For Mustonen, the power of music to build connections is vital, overriding the personal expression of an artist’s individualism.

He invokes the model of Finland’s ancient epic poets, often described as a Bardic tradition. The legends of these folk poets, gathered together in the 19th century by Elias Lönnrot in the Kalevala, form a mythic tradition from which the Finnish national spirit and its greatest art derive inspiration. These great poems start out in simple observations, but gradually draw the listener in to an experience that becomes gripping and transforming.

As the bards sang about the episodes of ancient lives and heroes, they also drew upon their own lives and experiences, again forming broader connections across the span of time and place.

The Cello Sonata sets out on just such a path. It begins with a single line, a musical thought that perambulates at first, perhaps arising from improvisation at the keyboard, but is soon taken up into a narrative of development and variation that becomes engrossing. The four movements flow into each other organically. The melancholy mood of the introduction is interrupted towards the end of the first movement by rays of harmonic sunlight, and this interplay of light and shadow, a contest between inwardness and joy, characterises the whole work. The second movement is animated with a playful spirit, though that melancholy presence refuses to let go.

The third has the rhythmic drive of a dance of exorcism, only for melancholy mutterings to return with the fourth movement, from which rising gestures of major key hopefulness eventually emerge triumphantly to bring the Sonata to an ecstatic peroration.

Composed for cello and piano in 2006 and dedicated to Heinrich Schiff, Mustonen’s version of the Sonata for cello and chamber orchestra was commissioned by the Australian Chamber Orchestra and receives its world premiere in this concert tour.

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STRING QUARTET NO.9 IN E-FLAT MAJOR, OP.117 arr. Timo-Veikko Valve (Composed 1964) I. Moderato con moto – II. Adagio – III. Allegretto – IV. Adagio – V. Allegro DMITRI SHOSTAKOVICH Born St Petersburg 1906 Died Moscow 1975

PICTURED: Dmitri Shostakovich

The string orchestra version of Shostakovich’s Eighth String Quartet has achieved fame and recognition as the Chamber Symphony Op.110a, the string orchestra version made by Rudolf Barshai. The bigger-boned sound of strings in groups seems to match the intensity of the piece, supporting the expression of the kinds of emotion one would perhaps expect in a piece that took initial inspiration from the Bombing of Dresden. There is something filmic about this music that has helped to etch it into the public mind as an archetype of emotional potency and drama (though most scholars agree that the Eighth Quartet is more about Shostakovich’s own feelings of suffering than it is about Dresden).

The Ninth Quartet is a different kettle of fish. It does not lend itself to unequivocal emotional characterisation, but has the varied character of a symphony – well, a late symphony of Shostakovich that is, with bizarre motifs, surprise twists, long emotional meditations and explosions of aggressive force.

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One thing the Ninth Quartet lacks, however, is an heroic patriotic statement of solidarity with the Soviet State. Stalin was by now long gone, and under the reformist Krushchev (who was to be ousted by Brezhnev in late 1964), Shostakovich was no longer under the same pressure to serve the Revolution. In 1963, he could even get away with a grim work of humanitarian complaint in his Thirteenth Symphony, using texts by the dissident poet Yevtushenko.

PICTURED: Dresden, 1945: view from the city hall (Rathaus) over the destroyed city.

The music of Shostakovich’s ‘late period’ is personal, dealing with his own emotions, reflections and states of feeling in the manner of an aged philosopher. The Ninth Quartet was written quickly, after some false starts over the preceding couple of years, in the month of May 1964. The Quartet marks the beginning of Shostakovich’s reflective, melancholic and idiosyncratic final phase of musical creativity, in which the past often seems to return in fragments of remembered melody and single voice lines emerge like characters from his personal history.

There is a constant evolution of material in the Quartet’s five movements, each new movement building on material from the previous ones. The first movement has a sense of sonata structure to it, with a first subject announced by the first violin and a second subject from the cello, but it remains contained within a ruminative, almost featureless musical texture. Paul Griffiths hears a folk quality in the melodies, as a haunting presence. The movement continues without a break, as all the movements of this Quartet do, into the first of two adagios, this one dominated by solo violin. A polka rhythm brings jaunty animation to the third movement, though there is also that sarcastic touch so characteristic of Shostakovich. Long sinews of notes are interrupted by spiky disturbances in the unsettled meditations of the fourth movement, before the final Allegro movement is introduced with a renewed sense of determined aggression. The driving impetus halts before the solo cello begins the first of a series of recollections and meditations drawn from the previous movements, building gradually to regain the forward-moving momentum that brings the Quartet to its conclusion.

James Koehne © 2015

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OLLI MUSTONEN CONDUCTOR AND PIANO

“He gives his whole body to the performance every time ... He gives his soul too. He is a living dream of pianism, having broken through an expressive barrier that other players do not know exists.”

THE SUNDAY TIMES Olli Mustonen has a unique place on today’s music scene, combining the roles of his musicianship as composer, pianist and conductor in an equal balance that is quite exceptional.

Photo by Outi Törmälä

Mustonen has worked with most of the world’s leading orchestras, including the Berlin Philharmonic, Chicago Symphony, New York Philharmonic and The Royal Concertgebouw, partnering conductors such as Ashkenazy, Barenboim, Blomstedt, Boulez, Dutoit, Eschenbach, Harnoncourt, Masur, Nagano, Salonen and Saraste. As a recitalist, Mustonen plays in all the significant musical capitals, including the Chopin Institute Warsaw, Mariinsky Theatre St Petersburg, Wigmore Hall, Flagey Brussels, Beethoven-Haus Bonn, Dresden and Ruhr Piano festivals, Symphony Center Chicago, New York Zankel Hall and Sydney Opera House.

In the current season, Mustonen appears in a triple role as pianist, conductor and composer with the Atlanta Symphony, New Russia Symphony and Estonian National Symphony orchestras, and the Royal Northern Sinfonia. A strong exponent of Prokofiev’s music, he is currently performing and recording all of Prokofiev’s Piano Concertos with the Finnish Radio Symphony under Hannu Lintu.

Mustonen also presents a full cycle of Prokofiev Piano Sonatas, appearing recently at Helsinki Music Centre, Helsingborg Piano Festival and Singapore Piano Festival, and this season takes the project to Amsterdam Muziekgebouw and Lille Piano Festival.

Mustonen also undertakes an extensive recital tour of Sweden and returns to Sala Verdi Del Conservatorio in Milan.

In recent years, Mustonen has conducted the world premieres of both of his large-scale orchestral works: Symphony No.1 Tuuri with the Tampere Philharmonic in 2012; and Symphony No.2 Johannes Angelos with the Helsinki Philharmonic in 2014. Under Mustonen’s baton, the First Symphony has gone on to receive further performances with the Melbourne Symphony, Tchaikovsky Symphony, Meiningen Court Orchestra and Helsinki Philharmonic.

In 2014, Mustonen conducted the world premiere of his Sonata for Violin and Orchestra with the Melbourne Symphony Orchestra.

With a typically broad-ranging and distinctive discography, Olli Mustonen’s latest release is a highly-acclaimed recording of his own Cello Sonata on the BIS label, with Steven Isserlis.

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ARVID ENGEGÅRD GUEST LEAD VIOLIN

“Engegårdkvartetten. What an incredible word, from an incredible language, for an incredible group of musicians.”

THE VINYL ANACHRONIST Born in Bodø, North Norway in 1963, Arvid Engegård led his first string quartet in concerts throughout Norway, and gave his first solo performance with orchestra at age 11. He won the Norwegian television Ole Bull Competition when he was 14, which led to tours of America.

Engegård began his studies at the Trondheim Conservatory when he was 16, playing with the Trondheim Symphony Orchestra and Oslo Philharmonic while still a student. He continued his studies at the Eastman School of Music in the US, where he won the school’s competition to perform as soloist with the Rochester Philharmonic.

Engegård also participated in many masterclasses with such leading artists as Isaac Stern.

Engegård appeared as soloist with Oslo Philharmonic before going to study with Sándor Végh in Salzburg. A year after his arrival, he was invited by Végh to lead Camerata Academica, a position he kept for eight years. Among many performances as leader and soloist with Camerata Academica, he performed Mozart’s Violin Concerto No.4 in Vienna’s Musikverein. He has also recorded Mozart’s complete Divertimentos and Mozart’s complete Piano Concertos with András Schiff, as well as Bartók’s Contrasts.

In 1991 Engegård was invited to lead the Orlando String Quartet, which performed regularly throughout Europe. Recordings from this period include Schnittke’s Third String Quartet (originally written for the Quartet), Isang Yuns’ String Quartet, and quartets by Haydn, Mozart, Grieg and Shostakovich.

Arvid Engegård has appeared regularly at Europe’s most prestigious chamber music festivals, including Lockenhaus, Salzburg, Musiktage Mondsee, Mozartwoche, and the International Musician’s Seminar in Prussia Cove.

Recent performances include solo appearances with the Mozarteum Orchestra Salzburg, Stavanger Symphony Orchestra, the Bergen Philharmonic, the Norwegian Radio Orchestra, Nordkøping Symphony Orchestra and Camerata Bern. Engegård was the Musical Director of military music in North Norway from 2001 to 2012. He was awarded the Nordlys Prize in 2000 and is the Artistic Director of Lofoten International Chamber Music Festival. The Engegård Quartet is now his main focus as a musician and violinist.

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TIMO-VEIKKO VALVE CELLO

“His technical command of a magnificent Guarneri instrument allowed a wider range of dynamics, enabling him to unlock more imaginative possibilities from the notes on the page ... his awareness of sonority within the ambient space allowing vividly shaped phrases to hang in the air ... This was deeply expressive playing.”

LIMELIGHT MAGAZINE

Photo by Richard Tognetti

This is just a normal, some might say dull, description of what I have been up to in my professional life thus far. Not much else fits into the whirlwind schedule of a musician, so I am very fortunate to have my friends and southern hemisphere family, old and new, all here at the ACO. Tipi Timo-Veikko ‘Tipi’ Valve is one of the most versatile musicians of his generation performing as a soloist, chamber musician and orchestral leader on both modern and period instruments.

Valve studied at the Sibelius Academy in his home town of Helsinki and at the Edsberg Music Institute in Stockholm, Sweden, focusing in solo performance and chamber music in both institutions.

Tipi has performed as a soloist with all major orchestras in Finland and as a chamber musician throughout Europe, Asia, Australia and the US. He works closely with a number of Finnish composers and has commissioned new works for the instrument. Most recently Valve has premiered concertos by Aulis Sallinen and Olli Virtaperko as well as two new cello concertos written for him by Eero Hämeenniemi and Olli Koskelin. In this concert, Tipi will give the world premiere of an arrangement of Olli Mustonen’s Cello Sonata for cello and chamber orchestra, commissioned by Valve and the ACO. In 2006 Valve was appointed Principal Cello of the Australian Chamber Orchestra with whom he frequently appears as soloist.

He also curates the ACO’s chamber music series in Sydney. Tipi is a founding member of both Jousia Ensemble and Jousia Quartet.

Valve’s instrument is attributed to both Giuseppe Guarneri filius Andreæ and Bartolomeo Giuseppe Guarneri del Gesù from 1729, generously on loan from Mr Peter William Weiss ao. www.timo-veikkovalve.fi

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AUSTR ALIAN CHAMBER ORCHESTR A Richard Tognetti Artistic Director & Violin 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

“If there’s a better chamber orchestra in the world today, I haven’t heard it.”

THE GUARDIAN (UK) 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.

With 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.

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.

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MUSICIANS ON STAGE

Glenn Christensen Violin

Aiko Goto Violin

Mark Ingwersen 1 Violin

Chair sponsored by Terry Campbell ao & Christine Campbell

Chair sponsored by Anthony & Sharon Lee Foundation

Chair sponsored by Ian Wallace & Kay Freedman

Ilya Isakovich Violin

Liisa Pallandi Violin

Ike See Violin

Chair sponsored by The Humanity Foundation

Chair sponsored by The Melbourne Medical Syndicate

Chair sponsored by Di Jameson

Christopher Moore 2 Viola

Nicole Divall Viola

Timo-Veikko Valve 3 Principal Cello

Chair sponsored by peckvonhartel architects

Chair sponsored by Ian Lansdown

Chair sponsored by Peter Weiss ao

Photos by Jack Saltmiras

1. Mark Ingwersen plays a 1714 Giuseppe Guarneri filius Andreæ violin kindly on loan from the ACO instrument Fund.

2. Christopher Moore plays a 1610 Giovanni Paolo Maggini viola, kindly on loan from an anonymous benefactor.

3. Timo-Veikko Valve plays a 1729 Giuseppe Guarneri filius Andreæ cello with elements of the instrument crafted byhis son, Giuseppe Guarneri del Gesù, kindly on loan from Peter Weiss ao.

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MUSICIANS ON STAGE

Melissa Barnard Cello

Julian Thompson 4 Cello

Maxime Bibeau 5 Principal Bass

Chair sponsored by Martin Dickson am & Susie Dickson

Chair sponsored by The Clayton Family

Chair sponsored by Darin Cooper Foundation

Arvid Engegård Violin Guest Leader

Sally Walker Flute

Players dressed by AKIRA ISOGAWA

Courtesy of Engegård Quartet

Courtesy of The Conservatorium, University of Newcastle

Meesun Hong Guest Principal Violin

Michael Pisani Oboe

Cameron Hill Violin

Courtesy of Melbourne Symphony Orchestra

Maja Savnik Violin Courtesy of Slovenian Philharmonic Orchestra

Andrew Jezek Viola

Mitchell Berick Clarinet / Bass Clarinet Courtesy of Adelaide Symphony Orchestra

Brock Imison Bassoon / Contrabassoon Courtesy of Melbourne Symphony Orchestra

Brian Nixon Percussion Chair sponsored by Mr Robert Albert ao & Mrs Libby Albert

Julie Raines Harp

Photos by Jack Saltmiras

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4 Julian Thompson plays a 1721 Giuseppe Guarneri filius Andreæ cello kindly on loan from the Australia Council.

5. Maxime Bibeau plays a late-16th-century Gasparo da Salò bass kindly on loan from a private Australian benefactor.

ACO BEHIND THE SCENES BOARD Guido Belgiorno-Nettis am Chairman Angus James Deputy Bill Best John Borghetti Liz Cacciottolo Judith Crompton John Grill ao Heather Ridout ao Andrew Stevens John Taberner Peter Yates am Simon Yeo Richard Tognetti ao Artistic Director ADMINISTRATIVE STAFF EXECUTIVE OFFICE Timothy Calnin General Manager Jessica Block Deputy General Manager Alexandra Cameron-Fraser Strategic Development Manager

EDUCATION

MARKETING

Phillippa Martin Ac O 2 & ACO VIRTUAL Manager

Derek Gilchrist Marketing Manager

Zoe Arthur Acting Education Manager

Mary Stielow National Publicist

Caitlin Gilmour Education Assistant

Hilary Shrubb Publications Editor

FINANCE

Leo Messias Marketing Coordinator

Maria Pastroudis Chief Financial Officer Steve Davidson Corporate Services Manager Yvonne Morton Accountant Shyleja Paul Assistant Accountant

Rebecca Noonan Development Manager

Christina Holland Office Administrator

Jill Colvin Philanthropy Manager

INFORMATION SYSTEMS

Penelope Loane Investor Relations Manager

ARTISTIC & OPERATIONS

Tom Carrig Senior Development Executive

Lisa Mullineux Assistant Tour Manager Danielle Asciak Travel Coordinator Bernard Rofe Librarian Cyrus Meurant Assistant Librarian Joseph Nizeti Multimedia, Music Technology & Artistic Assistant

Dean Watson Customer Relations Manager

DEVELOPMENT

Tom Tansey Events Manager

Megan Russell Tour Manager

Chris Griffith Box Office Manager

Deyel Dalziel-Charlier Box Office & CRM Database Assistant

Helen Maxwell Executive Assistant to Mr Calnin and Mr Tognetti ao

Luke Shaw Head of Operations & Artistic Planning

Cristina Maldonaldo Communications Coordinator

Ali Brosnan Patrons Manager Sally Crawford Development Coordinator

Ken McSwain Systems & Technology Manager Emmanuel Espinas Network Infrastructure Engineer ARCHIVES John Harper Archivist 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

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VENUE SUPPORT

ADELAIDE TOWN HALL

AUSTRALIAN NATIONAL UNIVERSITY

ARTS CENTRE MELBOURNE

128 King William Street,

Llewellyn Hall School of Music

PO Box 7585, St Kilda Road,

Adelaide SA 5000 GPO Box 2252, Adelaide SA 5001 Venue Hire Information Telephone (08) 8203 7590 Email townhall@adelaidecitycouncil.com Web adelaidetownhall.com.au

William Herbert Place

Melbourne VIC 8004

(off Childers Street), Acton,

Telephone (03) 9281 8000

Canberra

Box Office 1300 182 183

VENUE HIRE INFORMATION Telephone (02) 6125 2527 Email music.venues@anu.edu.au

Web artscentremelbourne.com.au Tom Harley President Victorian Arts Centre Trust Claire Spencer Chief Executive Officer

Martin Haese Lord Mayor Peter Smith Chief Executive Officer

PERTH CONCERT HALL

SYDNEY OPERA HOUSE

WOLLONGONG TOWN HALL

5 St Georges Terrace,

Bennelong Point,

Wollongong Town Hall is managed by

Perth WA 6000

GPO Box 4274, Sydney NSW 2001

Merrigong Theatre Company

PO Box 3041,

Telephone (02) 9250 7111

Crown & Kembla Streets,

East Perth WA 6892

Box Office (02) 9250 7777

Wollongong NSW 2500

Telephone (08) 9231 9900 Web perthconcerthall.com.au Brendon Ellmer General Manager

Email infodesk@sydneyoperahouse.com Web sydneyoperahouse.com Nicholas Moore Chair, Sydney Opera House Trust Louise Herron am Chief Executive Officer

In case of emergencies…

Please note, all venues have emergency action plans. You can call ahead of your visit to the venue and ask for details. All Front of House staff at the venues are trained in accordance with each venue’s plan and, in the event of an emergency, you should follow their instructions. You can also use the time before the concert starts to locate the nearest exit to your seat in the venue.

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PO Box 786, Wollongong NSW 2520 Telephone (02) 4224 5959 Email info@merrigong.com.au Web wollongongtownhall.com.au

OLLI MUSTONEN BACH & SHOSTAKOVICH

TOUR DATES & PRE-CONCERT TALKS TOUR PRESENTED BY

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

Sat 12 Sep 8pm Canberra Llewellyn Hall

Tue 15 Sep 8pm Adelaide Town Hall

Sun 20 Sep 2pm Sydney Opera House

Pre-concert talk by Ken Healey am

Pre-concert talk by James Koehne

Pre-concert talk by Francis Merson

Sun 13 Sep 2.30pm Melbourne Arts Centre

Wed 16 Sep 7.30pm Perth Concert Hall

Pre-concert talk by Caroline Almonte

Pre-concert talk by Cass Lake

Mon 14 Sep 8pm Melbourne Arts Centre

Sat 19 Sep 7.30pm Wollongong Town Hall

The foyer fanfare for this concert is Fanfare pour un monde unifié, composed by Alexander Unikowski (age 20) from Australian National University, ACT. This is a youth creativity project by the Sydney Opera House and Artology.

Pre-concert talk by Caroline Almonte

Pre-concert talk by Francis Merson

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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–157 — 17645 — 1/120915

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ACO MEDICI PROGR AM In the time-honoured fashion of the great Medici family, the ACO’s Medici Patrons support individual players’ Chairs and assist the Orchestra to attract and retain musicians of the highest calibre.

MEDICI PATRON

CORE CHAIRS

GUEST CHAIRS

AMINA BELGIORNO-NETTIS

VIOLIN

PRINCIPAL CHAIRS

Glenn Christensen Terry Campbell ao & Christine Campbell

Brian Nixon Principal Timpani

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

Aiko Goto Anthony & Sharon Lee Foundation Mark Ingwersen Ian Wallace & Kay Freedman Ilya Isakovich The Humanity Foundation

Kate & Daryl Dixon

Liisa Pallandi The Melbourne Medical Syndicate

Satu Vänskä Principal Violin

Ike See Di Jameson

Kay Bryan

VIOLA

Christopher Moore Principal Viola

Alexandru-Mihai Bota Philip Bacon am

peckvonhartel architects Timo-Veikko Valve Principal Cello Peter Weiss ao Maxime Bibeau Principal Double Bass Darin Cooper Foundation

Nicole Divall Ian Lansdown CELLO Melissa Barnard Martin Dickson am & Susie Dickson Julian Thompson The Clayton Family

ACO LIFE PATRONS IBM

Mr Martin Dickson am & Mrs Susie Dickson

Mr Robert Albert ao & Mrs Libby Albert

Dr John Harvey ao

Mr Guido Belgiorno-Nettis am

Mrs Alexandra Martin

Mrs Barbara Blackman ao

Mrs Faye Parker

Mrs Roxane Clayton

Mr John Taberner & Mr Grant Lang

Mr David Constable am

Mr Peter Weiss ao

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Mr Robert Albert ao & Mrs Libby Albert FRIENDS OF MEDICI Mr R. Bruce Corlett am & Mrs Ann Corlett

ACO BEQUEST PATRONS The late Charles Ross Adamson

Peter Evans

The late Josephine Paech

The late Kerstin Lillemor Andersen

Carol Farlow

The late Richard Ponder

The late Mrs Sybil Baer

Suzanne Gleeson

Ian & Joan Scott

Steven Bardy

Lachie Hill

The late Mr Geoffrey Francis Scharer

Dave Beswick

The late John Nigel Holman

The Estate of Scott Spencer

Ruth Bell

Penelope Hughes

Leslie C Thiess

The Estate of Prof Janet Carr

The late Dr S W Jeffrey am

G.C. & R. Weir

Sandra Cassell

Estate of Pauline Marie Johnston

Margaret & Ron Wright

The late Mrs Moya Crane

The late Mr Geoff Lee am oam

Mark Young

Mrs Sandra Dent

Mrs Judy Lee

Anonymous (12)

Leigh Emmett

The late Shirley Miller

The late Colin Enderby

Selwyn M Owen

ACO GENER AL PURPOSE PATRONS John & Lynnly Chalk

Penelope Hughes

Dr Jason Wenderoth

Paul & Roslyn Espie

Mike & Stephanie Hutchinson

Brian Zulaikha

Jennifer Hershon

Professor Anne Kelso ao

Anonymous (1)

Peter & Edwina Holbeach

Douglas & Elisabeth Scott

Michael Horsburgh am & Beverley Horsburgh

Jeanne-Claude Strong

ACO NE X T ACO Next is an exciting new philanthropic program for young supporters, engaging with Australia’s next generation of great musicians while offering a unique musical and networking experience. For more information please call Ali Brosnan, Patrons Manager, on 02 8274 3830.

MEMBERS Este Darin-Cooper & Chris Burgess

Royston Lim

Louise & Andrew Sharpe

Catherine & Sean Denney

William Manning

Michael Southwell

Alexandra Gill

Rachael McVean

Karen & Peter Tompkins

Rebecca Gilsenan & Grant Marjoribanks

Barry Mowzsowski

Joanna Walton & Alex Phoon

Adrian Giuffre & Monica Ion

Paris Neilson & Todd Buncombe

Nina Walton & Zeb Rice

Clare Ainsworth Herschell

Nicole Pedler

Peter Wilson & James Emmett

Aaron Levine

Michael Radovnikovic 35

ACO TRUSTS & FOUNDATIONS

Holmes à Court Family Foundation

The Neilson Foundation

The Ross Trust

ACO INSTRUMENT FUND The ACO has established its Instrument Fund to offer patrons and investors the opportunity to participate in the ownership of a bank of historic stringed instruments. The Fund’s first asset is Australia’s only Stradivarius violin, now on loan to Satu Vänskä, Principal Violin.

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

SONATA $25,000 – $49,999

INVESTORS

ENSEMBLE $10,000 – $24,999

Stephen & Sophie Allen

Lesley & Ginny Green

John & Deborah Balderstone

Peter J Boxall ao & Karen Chester

Guido & Michelle Belgiorno-Nettis Bill Best

Chris Frogatt

SOLO $5,000 – $9,999

John Leece am

PATRON $500 – $4,999

Carla Zampatti Foundation

John Taberner

Michael Bennett & Patti Simpson

Sally Collier

Leith & Darrel Conybeare

Michael Cowen & Sharon Nathani

PATRONS

Benjamin Brady

Dr Jane Cook

Marco D’Orsogna

VISIONARY $1m+

Geoff & Denise Illing

Garry & Susan Farrell

Peter Weiss ao

Luana & Kelvin King

Gammell Family

Jane Kunstler

Edward Gilmartin

John Landers & Linda Sweeny

Tom & Julie Goudkamp

Genevieve Lansell

Philip Hartog

Bronwyn & Andrew Lumsden

Brendan Hopkins

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

LEADER $500,000 – $999,999 CONCERTO $200,000 – $499,999 Amina Belgiorno-Nettis Naomi Milgrom ao

QUARTET $50,000 – $99,999 John Leece am & Anne Leece Anonymous 36

Ian Wallace & Kay Freedman

ACO SPECIAL COMMISSIONS & SPECIAL PROJECTS SPECIAL COMMISSIONS PATRONS Peter & Cathy Aird

THE REEF NEW YORK PRODUCERS’ SYNDICATE

MELBOURNE HEBREW CONGREGATION PATRONS

Gerard Byrne & Donna O’Sullivan

Executive Producers

Mirek Generowicz

Tony & Michelle Grist

LEAD PATRONS

Peter & Valerie Gerrand

Lead Producers

G Graham

Jon & Caro Stewart Foundation

Anthony & Conny Harris

Major Producers

PATRONS

Rohan Haslam

Danielle & Daniel Besen Foundation

Marc Besen ac & Eva Besen ao

John Griffiths & Beth Jackson

Janet Holmes à Court ac

Leo & Mina Fink Fund

Andrew & Fiona Johnston

Charlie & Olivia Lanchester

Drs Victor & Karen Wayne

Lionel & Judy King David & Sandy Libling Tony Jones & Julian Liga Robert & Nancy Pallin Deborah Pearson Alison Reeve Augusta Supple Dr Suzanne M Trist Team Schmoopy Rebecca Zoppetti Laubi Anonymous (1)

Producers Richard Caldwell Warren & Linda Coli Steve Duchen & Polly Hemphill Wendy Edwards Gilbert George Tony & Camilla Gill Max & Shelagh Gundy Patrick Loftus-Hill & Konnin Tam Sally & Steve Paridis Peter & Victoria Shorthouse

THE GREAT SYNAGOGUE PATRONS CORPORATE PARTNERS Adina Apartment Hotels Meriton Group PATRONS David & Helen Baffsky Leslie & Ginny Green The Narev Family Greg & Kathy Shand Peter Weiss ao

INTERNATIONAL TOUR PATRONS

Alden Toevs & Judi Wolf

EMANUEL SYNAGOGUE PATRONS

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

Corporate Producer

CORPORATE PARTNERS

Manikay Partners

Adina Apartment Hotels

Linda & Graeme Beveridge

ACO ACADEMY BRISBANE

Jan Bowen

LEAD PATRONS

Bee & Brendan Hopkins

Philip Bacon ao

Delysia Lawson

Kay Bryan

Mike Thompson

Dr Ian Frazer ac & Mrs Caroline Frazer

Meriton Group

Dr Edward Gray Wayne Kratzmann Bruce & Jocelyn Wolfe

LEAD PATRON The Narev Family PATRONS David Gonski ac Lesley & Ginny Green The Sherman Foundation Justin Phillips & Louise Thurgood-Phillips

PATRONS 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 37

ACO NATIONAL EDUCATION PROGR AM 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 18 August 2015 PATRONS

Jennie & Ivor Orchard

Liz Harbison

Marc Besen ac & Eva Besen ao

Bruce & Joy Reid Trust

Kerry Harmanis

Janet Holmes à Court ac

Mark & Anne Robertson

Annie Hawker

Margie Seale & David Hardy

Fraser Hopkins

Tony Shepherd ao

Dr Wendy Hughes

Peter & Victoria Shorthouse

I Kallinikos

Anthony Strachan

Keith & Maureen Kerridge

John Taberner & Grant Lang

Mrs Judy Lee

Leslie C. Thiess

Lorraine Logan

Alden Toevs & Judi Wolf

Macquarie Group Foundation

The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao

David Maloney & Erin Flaherty

David & Julia Turner

Brian & Helen McFadyen

E Xipell

P J Miller

Peter Yates am & Susan Yates

The Myer Foundation

Peter Young am & Susan Young

Willy & Mimi Packer

Anonymous (2)

peckvonhartel architects

EMERGING ARTISTS & EDUCATION PATRONS $10,000+ Mr Robert Albert ao & Mrs Libby Albert Australian Communities Foundation – Annamila Fund Australian Communities Foundation – Ballandry Fund Daria & Michael Ball Steven Bardy & Andrew Patterson The Belalberi Foundation Guido Belgiorno-Nettis am Luca Belgiorno-Nettis am Andre Biet Leigh & Christina Birtles

Pam & Ian McDougall

Elizabeth Pender

Liz Cacciottolo & Walter Lewin

DIRETTORE $5,000 – $9,999

Rod Cameron & Margaret Gibbs

The Abercrombie Family Foundation

Mark Carnegie

Geoff Ainsworth & Jo Featherstone

Stephen & Jenny Charles

Geoff Alder

The Cooper Foundation

Bill & Marissa Best

Rowena Danziger am & Ken Coles am

Veronika & Joseph Butta

Mark Delaney

John & Lynnly Chalk

Ann Gamble Myer

Elizabeth Chernov

Daniel & Helen Gauchat

Clockwork Theatre Inc

Andrea Govaert & Wik Farwerck

Andrew Clouston

Dr Edward C. Gray

Victor & Chrissy Comino

Kimberley Holden

Leith & Darrel Conybeare

Angus & Sarah James

David Craig

PJ Jopling am qc

Liz Dibbs

Miss Nancy Kimpton

Kate & Daryl Dixon

MAESTRO $2,500 – $4,999

Bruce & Jenny Lane

Ellis Family

Michael Ahrens

Prudence MacLeod

Bridget Faye am

David & Rae Allen

Anthony & Suzanne Maple-Brown

Ian & Caroline Frazer

Ralph Ashton

Alf Moufarrige

Chris & Tony Froggatt

Will & Dorothy Bailey Charitable Gift

Jim & Averill Minto

Kay Giorgetta

Brad Banducci

Louise & Martyn Myer Foundation

Tony & Michelle Grist

Doug & Alison Battersby

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John Rickard Andrew Roberts Paul Schoff & Stephanie Smee Greg Shalit & Miriam Faine 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)

The Beeren Foundation

Philip Bacon am

Berg Family Foundation

Samantha Baillieu

Michael Horsburgh am & Beverley Horsburgh

Neil & Jane Burley

Lyn Baker & John Bevan

Monique D’Arcy Irvine & Anthony Hourigan

Gilbert Burton

Adrienne Basser

Merilyn & David Howorth

Arthur & Prue Charles

Barry Batson

Penelope Hughes

Kathryn Chiba

Ruth Bell

Stephanie & Mike Hutchinson

Caroline & Robert Clemente

Justice Annabelle Bennett ao

Colin Isaac & Jenni Seton

Alan Fraser Cooper

Virginia Berger

Phillip Isaacs oam

Robert & Jeanette Corney

Brian Bothwell

Will & Chrissie Jephcott

Dee De Bruyn

Jan Bowen

Brian Jones

Anne & Thomas Dowling

Michael & Tina Brand

Bronwen L Jones

Suellen & Ron Enestrom

Vicki Brooke

Josephine Key & Ian Breden

Euroz Securities Limited

Diana Brookes

In memory of Graham Lang

Jane & Richard Freudenstein

Dr Catherine Brown-Watt psm

Tom Goudkamp oam

Jasmine Brunner

Megan Grace

Sally Bufé

Warren Green

Gerard Byrne & Donna O’Sullivan

Nereda Hanlon & Michael Hanlon am

Ivan Camens

Reg Hobbs & Louise Carbines

Ray Carless & Jill Keyte

Gavin & Christine Holman

James Carnegie

Simon & Katrina Holmes à Court

Roslyn Carter

Mark Johnson

Andrew Chamberlain

Ros Johnson

Julia Champtaloup & Andrew Rothery

John Karkar qc

K. Chisholm

John Kench

Peter Clifton

Julia Pincus & Ian Learmonth

Angela and John Compton

The Alexandra & Lloyd Martin Family Foundation

Laurie & Julie Ann Cox

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 John & Josephine Strutt Peter Tonagh Ralph Ward-Ambler am & Barbara Ward-Ambler

Carol & Andrew Crawford Judith Crompton J & P Curotta Ian Davis Michael & Wendy Davis Stephen Davis Defiance Gallery Martin Dolan Dr William F Downey Emeritus Professor Dexter Dunphy am Leigh Emmett Peter Evans Julie Ewington Ian Fenwicke & Prof. Neville Wills

Genevieve Lansell Airdrie Lloyd Robin & Peter Lumley Diana Lungren Greg & Jan Marsh Janet Matton Massel Australia Pty Ltd Julianne Maxwell Kevin & Deidre McCann Ian & Pam McGaw J A McKernan Diana McLaurin Phil & Helen Meddings Roslyn Morgan Suzanne Morgan Glenn Murcutt ao Baillieu Myer ac Dennis & Fairlie Nassau Nola Nettheim Anthony Niardone Paul O’Donnell Ilse O’Reilly James & Leo Ostroburski Anne & Christopher Page Prof David Penington ac Beverley Price Mrs Tiffany Rensen Dr S M Richards am & Mrs M R Richards

Elizabeth Finnegan

Warwick & Jeanette Richmond In memory of Andrew Richmond

Bill Fleming

Josephine Ridge

Elizabeth Flynn

David & Gillian Ritchie

VIRTUOSO $1,000 – $2,499

Don & Marie Forrest

Roadshow Entertainment

Jennifer Aaron

Anne & Justin Gardener

Em. Prof. A. W. Roberts am

AJ Ackermann

Matthew Gilmour

J. Sanderson

Aberfoyle Partners

Colin Golvan qc

In memory of H. St. P. Scarlett

Alceon Group

Fay Grear

Lucille Seale

Annette Adair

Kathryn Greiner ao

Gideon & Barbara Shaw

Antoinette Albert

In memory of José Gutierrez

Dr Margaret Sheridan

Jane Allen

Gail Harris

Diana & Brian Snape am

Matt Allen

Bettina Hemmes

Maria Sola

Simon Whiston Anna & Mark Yates Anonymous (4)

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Dr P & Mrs D Southwell-Keely

Sam Crawford Architects

David & Sandy Libling

Keith Spence

Marie Dalziel

Greg Lindsay ao & Jenny Lindsay

Geoffrey Stirton & Patricia Lowe

Jill Davies

Megan Lowe

Dr Charles Su & Dr Emily Lo

Mari Davis

Dr & Mrs Donald Maxwell

Tamas & Joanna Szabo

Dr Christopher Dibden

H E McGlashan

Magellan Logistics Pty Ltd

Kath & Geoff Donohue

Suzanne Mellor

Victoria Taylor

In memory of Raymond Dudley

Tempe Merewether

Jane Tham & Philip Maxwell

M T & R L Elford

I Merrick

Robert & Kyrenia Thomas

Christine Evans

Louise Miller

Anne Tonkin

Eddy Goldsmith & Jennifer Feller

John Mitchell

Angus Trumble

Penelope & Susan Field

Cameron Moore & Cate Nagy

Ngaire Turner

Jean Finnegan & Peter Kerr

John K Morgan

Kay Vernon

Michael Fogarty

Simon Morris & Sonia Wechsler

Rebecca & Neil Warburton

Brian Goddard

Julie Moses

Marion W Wells

George H. Golvan qc & Naomi Golvan

Elizabeth Manning Murphy

Barbara Wilby

Prof Ian & Dr Ruth Gough

Dr G Nelson

Gillian Woodhouse

Arnoud Govaert

J Norman

Nick & Jo Wormald

Grandfather’s Axe

Graham North

Harley Wright & Alida Stanley

Katrina Groshinski & John Lyons

Robin Offler

Don & Mary Ann Yeats am

Annette Gross

Leslie Parsonage

William Yuille

Lesley Harland

Rebecca Zoppetti Laubi

Alan Hauserman & Janet Nash

Anonymous (20)

Gaye Headlam

CONCERTINO $500 – $999 Mrs C A Allfrey

Peter Hearl Kingsley Herbert

Elsa Atkin am

Dr Penny Herbert in memory of Dunstan Herbert

Rita Avdiev

Lachie Hill

A. & M. Barnes

Marian Hill

Deborah Pearson Robin Pease Michael Peck Kevin Phillips Bernard Hanlon & Rhana Pike Rosie Pilat GV Pincus Lady Primrose Potter ac Michael Power

Tessa Barnett

Sue & David Hobbs

Robin Beech

Geoff Hogbin

Elizabeth Bolton

How to Impact Pty Ltd

In memory of Peter Boros

Peter & Ann Hollingworth

C Bower

Pam & Bill Hughes

Denise Braggett

Prof Angela Hull ao

The Hon. Catherine Branson & Dr Alan Down

Dr & Mrs Michael Hunter

Mrs Pat Burke

Mary Ibrahim

Hugh Burton-Taylor

Dr Vernon & Mrs Margaret Ireland

John C Sheahan qc

Lynda Campbell

Dr Robert & Mrs Margaret Jackson

Andrew & Rhonda Shelton

Heather Carmody

Dr Anne James & Dr Cary James

Sherborne Consulting

Helen Carrig & Ian Carrig oam

Owen James

Florine Simon

J. M. Carvell

Barry Johnson & Davina Johnson oam

Roger & Ann Smith-Johnstone

Nada Chami

Caroline Jones

Mary Stephen

Fred & Angela Chaney

Mrs Angela Karpin

Professor Fiona Stweart

Fred & Jody Chaney

Bruce & Natalie Kellett

Judy Ann Stewart

Dr Roger Chen

Professor Anne Kelso ao

In memory of Dr Aubrey Sweet

Colleen & Michael Chesterman

Graham Kemp & Heather Nobbs

Barbara Symons

Richard & Elizabeth Chisholm

Jacqueline & Anthony Kerwick

Gabrielle Tagg

Stephen Chivers

Karin Kobelentz & Miguel Wustermann

Arlene Tansey

Olivier Chretien

Wendy Kozica & David O’Callaghan qc

David & Judy Taylor

ClearFresh Water

Ms Sarah R Lambert

Barrie & Jillian Thompson

Warren & Linda Coli

Prof Kerry A Landman

Matthew Toohey

Sally Collier

Philip Lawe Davies

G C & R Weir

P. Cornwall & C. Rice

TFW See & Lee Chartered Accountants

Sally Willis

Annabel Crabb

Wayne & Irene Lemish

Anonymous (24)

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Beverly & Ian Pryer Angela Roberts GM & BC Robins Mrs J Royle Garry Scarf & Morgie Blaxill Boris & Jane Schlensky Berek Segan obe am & Marysia Segan

ACO CHAIRMAN’S COUNCIL Mr Guido Belgiorno-Nettis am Chairman, Australian Chamber Orchestra & Executive Director, Transfield Holdings

Mr Bruce Fink Executive Chairman, Executive Channel Network

Mr Andrew McDonald & Ms Janie Wittey Westpac Institutional Bank Ms Naomi Milgrom ao

Aurizon Holdings Limited

Mr Angelos Frangopoulos Chief Executive Officer, Australian News Channel

Mr Philip Bacon am Director, Philip Bacon Galleries

Mr Richard Freudenstein Chief Executive Officer, FOXTEL

Mr David Baffsky ao

Ms Ann Gamble Myer

Mr Brad Banducci Director, Woolworths Liquor Group

Mr Daniel Gauchat Principal, The Adelante Group

Mr Marc Besen ac & Mrs Eva Besen ao

Mr James Gibson Chief Executive Officer, Australia & New Zealand BNP Paribas

Mr Leigh Birtles & Mr Peter Shorthouse UBS Wealth Management Mr John Borghetti Chief Executive Officer, Virgin Australia Mr Matt Byrne Director, ROVA Media Mr Michael & Mrs Helen Carapiet Mr John Casella Managing Director, Casella Family Brands (Peter Lehmann Wines) Mr Stephen & Mrs Jenny Charles Mr & Mrs Robin Crawford Rowena Danziger am & Kenneth G. Coles am Mr David Evans Executive Chairman, Evans & Partners Dr Bob Every ao Chairman, Wesfarmers Ms Tracey Fellows Chief Executive Officer, REA Group

Mr 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 Simon & Mrs Katrina Holmes à Court Observant Mr John Kench Chairman, Johnson Winter & Slattery Ms Catherine Livingstone ao Chairman, Telstra

Ms Jan Minchin Director, Tolarno Galleries Mr Jim & Mrs Averill Minto Mr Alf Moufarrige Chief Executive Officer, Servcorp 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 The Hon Malcolm Turnbull mp & Ms Lucy Turnbull ao Mr David & Mrs Julia Turner

Mr Andrew Low

Ms Vanessa Wallace & Mr Alan Liddle

Mr David Mathlin

Mr Peter Yates am Deputy Chairman, Myer Family Investments Ltd & Director, AIA Ltd

Ms Julianne Maxwell Mr Michael Maxwell

Mr Peter Young am & Mrs Susan Young

41

ACO GOVERNMENT PARTNERS 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 COMMIT TEES SYDNEY DEVELOPMENT COMMITTEE

MELBOURNE DEVELOPMENT COUNCIL

EVENT COMMITTEES

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

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

SYDNEY

Debbie Brady

Sandra Ferman

Paul Cochrane Investment Advisor, Bell Potter Securities

Fay Geddes

Ann Gamble-Myer

Lisa Kench

Guido Belgiorno-Nettis am Chairman ACO & Executive Director, Transfield Holdings Bill Best Maggie Drummond Tony Gill Andrea Govaert John Kench Chairman, Johnson Winter & Slattery Jennie Orchard Tony O’Sullivan Peter Shorthouse UBS Wealth Management Mark Stanbridge Partner, Ashurst Alden Toevs Group Chief Risk Officer, CBA Nina Walton

42

Colin Golvan qc

John Taberner (Chair) Lillian Armitage Judy Anne Edwards

Julie Goudkamp Elizabeth Harbison Julianne Maxwell Elizabeth McDonald

Shelley Meagher Director, Do it on the Roof

Catherine Powell

James Ostroburski Director, Grimsey Wealth

Liz Williams

Joanna Szabo Simon Thornton Partner, McKinsey & Co.

Nicola Sinclair Lynne Testoni Judi Wolf BRISBANE Philip Bacon Kay Bryan Andrew Clouston Ian & Caroline Frazer Cass George

DISABILITY ADVISORY COMMITTEE

Edward Gray

Amanda Tink Independent Consultant, Amanda Tink Consultancy

Wayne Kratzmann

Morwenna Collett Manager, Project Controls & Risk Disability Coordinator, Australia Council for the Arts

Marie-Lousie Theile

Helen McVay Shay O’Hara-Smith Beverley Trivett Bruce and Jocelyn Wolfe

ACO CORPOR ATE PARTNERS 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

43

Experience a Divine Culture

“Brilliant choreography… extravagantly beautiful.”

—Broadway World

“The orchestra is phenomenal. They are VERY VERY on top.”

— Roger Tallman, Seven-time Emmy Award-winning composer/producer

ALL-NEW 2016 SHOW WITH LIVE ORCHESTRA Listen to samples of Shen Yun’s music on: ShenYun.com/music

PERTH 30 Jan - 6 Feb

ADELAIDE 8 - 9 Feb

SYDNEY 8 - 13 March

The Regal Theatre

Festival Theatre www.bass.net.au 13 12 46

Sydney Lyric Theatre

ticketek.com.au 1300 795 012

Presented by: Falun Dafa Association of Australia Inc

Ticketmaster.com.au 1300 795 267

ShenYun.com

ACO NE WS

ABOVE: Sharon Roffman teaches Penrith Public School students about music and art.

Photo by Heidrun Lohr

PENRITH RESIDENCY AND ACO SOLDIERS’ SET TLEMENT PUBLIC SCHOOL VISIT In August, Teacher Artist, Violinist and frequent ACO collaborator Sharon Roffman joined ACO musicians at the inaugural Penrith Strings Residency. Students from greater western Sydney worked with ACO musicians and Penrith Symphony Orchestra musicians at the Joan Sutherland Performing Arts Centre for three days, culminating in their first public concert. The students rehearsed four works for string orchestra to improve their technique and instrumental skills before performing to an enthusiastic audience at the Joan’s Q Theatre.

BELOW: ACO musician Julian Thompson plays for students at Soldiers’ Settlement Public School.

Photo by Fiora Sacco

The Penrith Residency continued for a further three days with the ACO Inspire Quartet joining Sharon Roffman to visit Penrith schools as a part of the ACO Music & Art Program. Sharon and the ACO Inspire Quartet visited St Marys North Public School and Penrith Public School to deliver ACO Music & Art lessons and perform interactive concerts for the whole school.

August also saw ACO musicians visit Soldiers’ Settlement Public School to deliver workshops and a schools concert in conjunction with the Australian Children’s Music Foundation (ACMF). This visit gave students the opportunity to learn about string instruments, hear a string quartet perform, and hear their own string ensemble, which is supported by the ACO and the ACMF, perform with our ACO musicians.

45

THIS IS OPERA

WITH RAMĂ“N GENER Wednesdays, 6.30PM AEST Explore the wonderful world of operatic music, focusing on a different opera each episode.

foxtelarts.com.au

Satu V채nsk채, Principal Violin

MURAL: MAYA HAYUK PHOTO: CAITLIN WORTHINGTON DESIGN: BRONWYNROGERS.COM WESF1341